It's the first of December! Time to crack open the family Sears or J.C. Penney Holiday Wishbook catalog and start planning your list for Santa. Lots of Mego action figures, maybe a model kit or two, a radio-controlled TWIKI... and a "Space Case" to carry your figures around in.
Here are some of the most eagerly-desired holiday gifts of the 1970s.... which ones did you have under the tree?
You can find more Space: 1970 Wishbook memories HERE and HERE.
Friday, November 30, 2012
The Space: 1970 Holiday Wishbook
It's the first of December! Time to crack open the family Sears or J.C. Penney Holiday Wishbook catalog and start planning your list for Santa. Lots of Mego action figures, maybe a model kit or two, a radio-controlled TWIKI... and a "Space Case" to carry your figures around in.
Here are some of the most eagerly-desired holiday gifts of the 1970s.... which ones did you have under the tree?
You can find more Space: 1970 Wishbook memories HERE and HERE.
Here are some of the most eagerly-desired holiday gifts of the 1970s.... which ones did you have under the tree?
You can find more Space: 1970 Wishbook memories HERE and HERE.
Mr. & Mrs. Smith 2005 Hollywood Movie Watch Online
Released : June 07, 2005
Genres : Action, Comedy, Romance, Thriller
Cast : Angelina Jolie, Brad Pitt, Adam Brody, Amy Hathaway, Angela Bassett, Benton Jennings, Bryan Anthony, Christian Jensen, Greg Ellis, Jennifer Morrison, Jimmy Shubert, Julius Callahan, Keith David, Kerry Washington, Maree Cheatham, Mark Ivanir, Mark Newsom, Melissa Hurley, Michael-John Wolfe, Michelle Monaghan,
Cellular 2004 Hindi Dubbed Movie Watch Online
Release Date : 10 September 2004
Director : David R. Ellis
Genre : Action, Crime, Thriller
Cast in Cellular :
Caroline Aaron ... Marilyn Mooney
Brenda Ballard ... Irate Customer #1
Kim Basinger ... Jessica Martin
Will Beinbrink ... Young Security Guard
Jessica Biel ... Chloe
Chase Bloch ... Timid Boy
Chelsea Bloch ... Surf Girl's Friend
Chantille Boudousque ... Chloe's Chilly
Watch Free Last Night 2010 Online
Release Date: 5 November 2010
Director: Massy Tadjedin
Stars: Keira Knightley
Genres: Drama, Romance
Cast in Last Night :
Keira Knightley ... Joanna Reed
Sam Worthington ... Michael Reed
Eva Mendes ... Laura
Griffin Dunne ... Truman
Stephanie Romanov ... Sandra
Guillaume Canet ... Alex Mann
Anson Mount ... Andy
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Watch From Prada to Nada Online
Release Date: 28 January 2011
Stars: Camilla Belle
Director: Angel Gracia
Genres: Comedy, Drama, Romance
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Despicable Me 2010 Hollywood Movie Watch
Released : June 27, 2010
Directors : Pierre Coffin, Chris Renaud
Genre : Animation, Comedy, Family
Cast in Despicable Me :
Steve Carell ... Gru (voice)
Jason Segel ... Vector (voice)
Russell Brand ... Dr. Nefario (voice)
Julie Andrews ... Gru's Mom (voice)
Will Arnett ... Mr. Perkins (voice)
Kristen Wiig ... Miss Hattie (voice)
Miranda Cosgrove ... Margo (voice)
Dana Gaier ...
Mr. Bean Holiday 2007 Hollywood Movie Watch Online
Released : March 22, 2007
Director : Steve Bendelack
Genre : Comedy
Cast in Mr. Bean's Holiday :
Rowan Atkinson ... Mr. Bean
Steve Pemberton ... Vicar
Lily Atkinson ... Lily at the Stereo
Preston Nyman ... Boy with Train
Sharlit Deyzac ... Buffet Attendant
Francois Touch ... Busker Accordion
Emma de Caunes ... Sabine
Arsene Mosca ... Traffic Controller (as Arsene Mosca)
Watch Free Hop Movie Online
Release Date: 1 April 2011
Director: Tim Hill
Genres: Animation, Comedy, Family, Fantasy
Cast in Hop :
James Marsden ... Fred O'Hare
Russell Brand ... E.B. (voice)
Kaley Cuoco ... Sam O'Hare
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Watch Hanna Movie Online
Release Date: 8 April 2011
Director: Joe Wright
Stars: Saoirse Ronan, Olivia Williams
Genres: Action, Adventure, Mystery, Thriller
Cast in Hanna :
Saoirse Ronan ... Hanna
Olivia Williams ... Rachel
Eric Bana ... Erik
Cate Blanchett ... Marissa
Tom Hollander ... Isaacs
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Players 2012 Hindi Movie Watch Online
Release Date : 6 January 2012
Director : Abbas Alibhai Burmawalla, Mastan Alibhai Burmawalla
Gener : Action, Drama, Thriller
Cast in Players :
Bobby Deol ... Ronnie
Abhishek Bachchan ... Charlie Masceranhas
Bipasha Basu ... Riya
Sonam Kapoor ... Naina Briganza
Aftab Shivdasani ... Veer
Neil Nitin Mukesh ... Spider
Vinod Khanna ... Victor Dada
Shweta Bhardwaj
Sikander Kher ...
Watch The Awakening Movie Online
Release Date : 16 September 2011
Director : Nick Murphy
Genres : Horror, Thriller
Cast in The Awakening :
Rebecca Hall ... Florence Cathcart
Dominic West ... Robert Mallory
Imelda Staunton ... Maud Hill
Lucy Cohu ... Constance Strickland
Joseph Mawle ... Edward Judd
Shaun Dooley ... Malcolm McNair
John Shrapnel ... Reverend Hugh Purslow
Diana Kent ... Harriet Cathcart
Isaac
Faster 2010 Hollywood Movie Watch Online
Release Date : 24 November 2010
Director : George Tillman Jr.
Gener : Action, Crime, Drama, Thriller
Cast : Dwayne Johnson
Cast in Faster :
Dwayne Johnson ... Driver, Mauricio Lopez ... Prison Guard, Jim Gaines ... Inmate, Tom Berenger ... Warden, Jan Hoag ... Receptionist, Courtney Gains ... Telemarketer, Billy Bob Thornton ... Cop, Michael Irby ... Vaquero, Josh Clark ... Uniform,
In the Blink of an Eye 2009 Hollywood Movie Watch Online
Release Year : 2009
Director : Michael Sinclair
Genre : Thriller
Cast : David A.R. White, Eric Roberts, Logan White, Phillip Abraham, Lonnie Colon, Kass Connors, Anise Fuller, Jessica Magnuson, Carey Scott, Sean Sedgwick
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ZMD: Zombies of Mass Destruction 2009 Hollywood Movie Watch Online
Director : Kevin Hamedani
Release Date : 18 April 2009
Genre : Comedy, Horror
Cast : Janette Armand, Doug Fahl, Cooper Hopkins, Bill Johns, Russell Hodgkinson, Ali Hamedani, Cornelia Moore, James Mesher, Andrew Hyde, Ryan Barret, Victoria Drake, Linda Jensen, Sydney Sweeney, Jake Gear, Erik Lagace
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Impatient Vivek 2011 Hindi Movie Watch Online
Release Date: 7 January 2011
Director: Rahat Kazmi
Genres: Comedy, Romance
Star Cast: Sayali Bhagat, Vivek Sudarshan, Hrishikesh Joshi, Sharmila Goenka, Hemangi Rao, Anurag Saxena, Nirmal Soni, Ashok Beniwal, Vijay Bhatia
Cast in Impatient Vivek :
Sayali Bhagat ... Shruti
Vivek Sudarshan ... iV
Hrishikesh Joshi ... Jaggi
Charu Asopa ... Rani
Rounaog Ahuja ... Annu
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Jungle Love 1990 Hindi Movie Watch Online
Release Date : 12 July 1990
Director : V. Menon
Gener : Action, Adventure, Drama
Cast in Jungle Love :
Rocky ... Tarzan / Raja
Kirti Singh ... Jane / Rita
Goga Kapoor ... Treasure Hunter
Mahesh Anand ... Chief Henchman
Gajendra Chouhan
Shiva ... Amazon Queen
Rita Bhaduri ... Rani's Mother
Aruna Irani, Satish Shah, Shamsuddin, Sunil Dhawan, Ramna, Bindu Khamal, Shabuam, Prashanth
The Italian Job 2003 Hollywood Movie Watch Online
Release Date : 30 May 2003
Director : F. Gary Gray
Gener : Action, Crime, Thriller
Cast in The Italian Job :
Mark Wahlberg ... Charlie Croker
Jason Statham ... Handsome Rob
Charlize Theron ... Stella Bridger
Donald Sutherland ... John Bridger
Seth Green ... Lyle
Fausto Callegarini ... Italian Guard
Mary Portser ... Stella's Receptionist
Mos Def ... Left Ear
Jimmy Shubert ...
Munich 2005 Hollywood Movie Watch Online
Release Date : 6 January 2006
Director : Steven Spielberg
Genres : Drama, History, Thriller
Cast : Eric Bana, Alexander Beyer, Alon Abutbul, Ami Weinberg, Ayelet Zurer, Brian Goodman, Daniel Craig, Geoffrey Rush, Greg D'Agostino, Jaymes Butler, Joram Voelklein, Kevin Collins, Lisa Werlinder, Lynn Cohen, Makram Khoury, Mathieu Kassovitz, Merik Tadros, Moritz Bleibtreu, Moshe Ivgy,
Watch Underworld Awakening Online
Release Date : 20 January 2012
Directors : Mans Marlind, Bjorn Stein
Genres : Action, Fantasy, Horror
Cast in Underworld: Awakening
Kate Beckinsale ... Selene
Stephen Rea ... Dr. Jacob Lane
Michael Ealy ... Detective Sebastian
Charles Dance ... Thomas
Kurt Max Runte ... Troop Leader
Kris Holden-Ried ... Quint
Theo James ... David
Tyler McClendon ... Scientist
India Eisley ...
Kaun Kise Da Beli 2008 Punjabi Movie Watch Online
Genre: Drama
Cast: Preet Brar, Preet Madan, Kamal Brar, Jagtar Jaggi
Producer: Iqbal Singh Dhillon
Director: Jagtar Singh
Language: Punjabi
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Toonpur Ka Superhero 2010 Hindi Movie Watch Online
Release Date : 24 December 2010
Director : Kireet Khurana
Gener : Animation, Adventure
Cast : Ajay Devgan, Kajol
Cast in Toonpur Ka Superhero :
Ajay Devgan
Kajol
Sanjay Mishra ... Shyam
Delnaaz Paul ... Ramola
Tanuja ... Kajol's Mom
Mukesh Tiwari ... Inspector Kitkite
Vivek Vaswani ... P.K. Dhoot
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Running on Empty Dreams 2009 Hollywood Movie Watch Online
Release Date : 2009
Director : Nitara Lee Osbourne
Genre : Drama, Romance
Cast : Kathleen Benner, Rachel Owens, Jose Rosete, Wil Rillero, Sevan McBride, Deuandra T. Brown, Jeremy Ray, Michael Harrelson, Amber Ryan, Courtney Lato, James Ray, Travis Hansen, Chelsea Zeleny, Chris Irizarry
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Harry Potter and the Half-Blood Prince 2009 Hollywood Movie Watch Online
Release Date : 17 July 2009
Director : David Yates
Genre : Adventure
Cast : Daniel Radcliffe, Michael Gambon, Dave Legeno, Elarica Gallagher, Jim Broadbent, Geraldine Somerville, Bonnie Wright, Julie Walters, Rupert Grint, Emma Watson, Helena Bonham Carter, Timothy Spall, Alan Rickman, Oliver Phelps
Cast of Harry Potter and the Half-Blood Prince
Daniel Radcliffe ... Harry
Return of the Living Dead Rave to the Grave 2005 Hollywood Movie Watch Online
Release Date : 15 October 2005
Director : Ellory Elkayem
Gener : Comedy, Horror, Sci-Fi
Cast in Return of the Living Dead Rave to the Grave :
Aimee-Lynn Chadwick ... Becky
Cory Hardrict ... Cody
John Keefe ... Julian Garrison
Jenny Mollen ... Jenny
Peter Coyote ... Uncle Charles
Claudiu Bleont ... Aldo Serra
Sorin Cocis ... Gino
Cain Manoli ... Jeremy (as Cain Mihnea Manoliu)
Watch The Mummy Online
Release Date : 7 May 1999
Director : Stephen Sommers
Genres : Action, Adventure, Fantasy
Cast in The Mummy :
Brendan Fraser ... Richard 'Rick' O'Connell
Rachel Weisz ... Evelyn 'Evy' Carnahan
John Hannah ... Jonathan 'Jon' Carnahan
Arnold Vosloo ... High Priest Imhotep
Patricia Velasquez ... Anck Su Namun
Kevin J. O'Connor ... Beni Gabor
Oded Fehr ... Ardeth Bay
Tuc Watkins ...
WWE Backlash 2009 Hollywood Movie Watch Online
Release Date : 26 April 2009
Genre : Action, Sport
Cast in WWE Backlash :
John Cena ... Himself
Dave Bautista ... Batista
Paul Levesque ... Triple H
Adam Copeland ... Edge
Dalip Singh ... The Great Khali
Randy Orton ... Himself
Paul Wight ... Big Show
Glenn Jacobs ... Kane
Chris Jericho ... Himself
C.M. Punk ... Himself
Ted DiBiase Jr. ... Himself
Jeff Hardy ... Himself
Cody
Harry Potter and the Chamber of Secrets 2002 Hollywood Movie Watch Online
Released : November 03, 2002
Director : Chris Columbus
Genre : Family, Adventure, Fantasy, Mystery
Cast : Emma Watson, Daniel Radcliffe, Alan Rickman, Bonnie Wright, Christian Coulson, Jason Isaacs, Jenny Tarren, John Cleese, Julie Walters, Kenneth Branagh, Maggie Smith, Miriam Margolyes, Richard Harris, Robbie Coltrane, Rupert Grint, Shirley Henderson, Tom Felton, Warwick Davis
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Dashavatar 2009 Hindi Movie Watch Online
Starring : Kamal Haasan, Asin, Jaya Prada and Mallika Sherawat
Director : K.S. Ravi Kumar
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Chaar Din Ki Chandni 2012 Hindi Movie Watch Online
Release Date : 9 March 2012
Director : Samir Karnik
Genres : Comedy, Romance
Cast in Chaar Din Ki Chandni :
Tusshar Kapoor ... Rohit
Kulraj Randhawa ... Chandni
Farida Jalal, Mukul Dev, Anupam Kher, Johnny Lever, Om Puri, Anita Raj, Chandrachur Singh, Rahul Singh, Sushant Singh
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Watch Act of Valor Online
Release Date : 24 February 2012
Directors : Mike McCoy, Scott Waugh
Genres : Action, Adventure, Thriller
Cast in Act of Valor :
Alexander Asefa ... Christo's Thug
Jeffrey Barnachea ... Recruit
Kenny Calderon ... Christo's Thug
Drea Castro ... Recruit
Charles Chiyangwa ... Somalian
Roselyn Sanchez ... Lisa Morales
Jason Cottle ... Abu Shabal
Dimiter Marinov ... Kerimov
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Watch WWE Viva Las Divas Online
Release Date : 5 April 2005
Director : Kevin Dunn
Genres : Documentary, Sport
Cast in WWE Viva Las Divas :
Jonathan Coachman, Amy Dumas, Joy Giovanni, Christie Hemme, Lauren Jones, Maria Kanellis, Melina Perez, Dawn Marie Psaltis, Trish Stratus, Amy Weber, Torrie Wilson
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Watch WWE The Epic Journey Of Dwayne The Rock Johnson Online
Release Date : 23 February 2012
Genres : Sport
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Predators 2010 Hollywood Movie Watch Online
Release Date : 30 July 2010
Director : Nimrd Antal
Genre : Action, Adventure, Sci-Fi, Thriller
Cast : Adrien Brody, Topher Grace, Alice Braga, Walton Goggins, Oleg Taktarov, Laurence Fishburne, Danny Trejo, Louis Ozawa Changchien, Mahershalalhashbaz Ali, Carey Jones, Brian Steele, Derek Mears
Cast in Predators :
Adrien Brody ... Royce
Topher Grace ... Edwin
Alice Braga ...
Charlie and the Chocolate Factory 2005 Hollywood Movie Watch Online
Release Date : 15 July 2005
Director : Tim Burton
Cast : Johnny Depp
Gener : Adventure, Family, Fantasy, Comedy
Cast in Charlie and the Chocolate Factory :
Johnny Depp ... Willy Wonka
Freddie Highmore ... Charlie Bucket
David Kelly ... Grandpa Joe
Missi Pyle ... Mrs. Beauregarde
James Fox ... Mr. Salt
Franziska Troegner ... Mrs. Gloop
Helena Bonham Carter ... Mrs. Bucket
Noah
Watch Return to the Blue Lagoon Online
Release Date: 2 August 1991
Director: William A. Graham
Stars: Milla Jovovich
Genres: Adventure, Romance
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Spider Man 3 Hollywood Movie Watch Online
Released : April 16, 2007
Genres : Action, Thriller, Sci-Fi, Adventure
Director : Sam Raimi
Cast : Kirsten Dunst, Andre B. Blake, Bill E. Rogers, Bill Nunn, Brenna Roth, Bruce Campbell, Bryce Dallas Howard, Carolyn Neff, Christopher Jude, Christopher Stadulis, Cliff Robertson, Dan Callahan, David Backus, Dylan Baker, Elizabeth Banks, Elya Baskin, Emilio Rivera, Gregg Daniel, J.K.
Watch The Blue Lagoon Online
Release Date : 5 July 1980
Director : Randal Kleiser
Genres : Adventure, Drama, Romance
Cast in The Blue Lagoon :
Brooke Shields ... Emmeline
Christopher Atkins ... Richard
Bradley Pryce ... Little Paddy
Chad Timmerman ... Infant Paddy
Leo McKern ... Paddy Button
Alan Hopgood ... Captain
William Daniels ... Arthur Lestrange
Gert Jacoby ... Sailor
Jeffrey Kleiser ... Lookout
The Fighter 2010 Hollywood Movie Watch Online
Release Date : 17 December 2010
Director : David O. Russell
Gener : Biography, Drama, Sport
The Fighter : A look at the early years of boxer "Irish" Micky Ward and his brother who helped train him before going pro in the mid '80s.
Cast : Mark Wahlberg, Christian Bale
Cast in The Fighter :
Mark Wahlberg ... Mickey Ward
Christian Bale ... Dicky Eklund
Amy Adams ... Charlene Fleming
Watch Jack and Jill (2011) Online
Release Date : 11 November 2011
Director : Dennis Dugan
Genres : Comedy
Cast in Jack and Jill :
Adam Sandler ... Jack Sadelstein / Jill Sadelstein
Al Pacino ... Himself
Katie Holmes ... Erin Sadelstein
Elodie Tougne ... Sofia Sadelstein
David Spade ... Monica
Norm MacDonald ... Funbucket
Geoff Pierson ... Carter Simmons
Valerie Mahaffey ... Bitsy Simmons
Gary Valentine ...
Watch Extremely Loud And Incredibly Close Online
Release Date : 20 January 2012
Director : Stephen Daldry
Genres : Adventure, Drama, Mystery
Cast in Extremely Loud And Incredibly Close :
Tom Hanks ... Thomas Schell
Thomas Horn ... Oskar Schell
Sandra Bullock ... Linda Schell
Max von Sydow ... The Renter
Zoe Caldwell ... Oskar's Grandmother
Jenson Smith ... Aurelia Black
Ray Iannicelli ... Baz Black
Miguel Jarquin-Moreland ...
Watch Mimic 2 Online
Release Date : 17 July 2001
Director : Jean de Segonzac
Genres : Horror, Thriller, Sci-Fi
Cast in Mimic 2 :
Alix Koromzay ... Remi Panos
Bruno Campos ... Det. Klaski
Will Estes ... Nicky
Gaven E. Lucas ... Sal Aguirre
Edward Albert ... Darksuit
Jon Polito ... Morrie Deaver
Alex Draper ... O'Neal
Dick Stilwell ... Sergeant
Jody Wood ... Det. Clecknal
Jim O'Heir ... Lou
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Watch WWE Divas Undressed (2002) Online
Release Date : 29 June 2002
Genres : Documentary, Sport
Cast : Torrie Wilson, Torrie Wilson, Dawn Marie Psaltis, Jacqueline Moore, Terri Runnels, Nidia Guenard, Lillian Ellison, Nora Greenwald, Jonathan Coachman
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Trishul 1978 Hindi Movie Watch Online
Release Date : 4 May 1978
Director : Yash Chopra
Gener : Action, Drama, Musical, Family
Cast in Trishul :
Amitabh Bachchan ... Vijay Kumar
Sanjeev Kumar ... Raj Kumar Gupta / R.K. Gupta
Shashi Kapoor ... Shekhar Gupta
Hema Malini ... Sheetal Varma
Rakhee Gulzar ... Geeta
Waheeda Rehman ... Shanti
Prem Chopra ... Balwant Rai
Poonam Dhillon ... Babli / Kusum Gupta
Sachin ... Ravi
Little White Lies 2010 Hollywood Movie Watch Online
Release Date: 20 October 2010
Director: Guillaume Canet
Gener: Comedy, Drama
Cast in Little White Lies:
Franois Cluzet ... Max Cantara
Marion Cotillard ... Marie
Benot Magimel ... Vincent Ribaud
Gilles Lellouche ... ric
Jean Dujardin ... Ludo
Laurent Lafitte ... Antoine
Valrie Bonneton ... Vronique Cantara
Pascale Arbillot ... Isabelle Ribaud
Jol Dupuch ... Jean-Louis
Anne
Watch Frankenstein (1994) Online
Release Date : 4 November 1994
Director : Kenneth Branagh
Genres : Drama, Horror, Romance, Sci-Fi
Cast in Frankenstein :
Kenneth Branagh ... Victor Frankenstein
Robert De Niro ... The Creature
Tom Hulce ... Henry Clerval
Susan Field ... Frau Brach
Jimmy Yuill ... Grigori
Helena Bonham Carter ... Elizabeth
Hugh Bonneville ... Schiller
Aidan Quinn ... Captain Robert Walton
Celia
Tarzan 1999 Hollywood Movie Watch Online
Release Date : 18 June 1999
Director : Chris Buck, Kevin Lima
Gener : Animation, Adventure, Drama, Family
Cast : Tony Goldwyn, Minnie Driver
Cast in Tarzan :
Tony Goldwyn ... Tarzan (voice)
Minnie Driver ... Jane Porter (voice)
Glenn Close ... Kala (voice)
Brian Blessed ... Mr. Clayton, the Gorilla Hunter (voice)
Nigel Hawthorne ... Professor Archimedes Q. Porter (voice)
Lance
The Fast and the Furious: Tokyo Drift 2006 Hollywood Movie Watch Online
Release Date : 16 June 2006
Director : Justin Lin
Genre : Action, Crime, Drama, Thriller
Cast : Lucas Black, Damien Marzette, Trula M. Marcus, Zachery Ty Bryan, Brandon Brendel, Daniel Booko, David V. Thomas, Amber Stevens, Ashika Gogna, Christian Salazar
The Fast and the Furious: Tokyo Drift 2006 Hollywood Movie Watch Online Putlocker Link:
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Crank 2006 Hollywood Movie Watch Online
Release Date : 1 September 2006
Directors : Mark Neveldine, Brian Taylor
Genre : Action, Crime, Drama, Thriller
Cast : Jason Statham, Amy Smart, Jose Pablo Cantillo, Efren Ramirez, Dwight Yoakam, Carlos Sanz, Reno Wilson, Edi Gathegi, Glenn Howerton, Jay Xcala, Keone Young
Cast in Crank :
Jason Statham ... Chev Chelios
Amy Smart ... Eve
Jose Pablo Cantillo ... Verona
Efren Ramirez
Escape Fire: The Fight to Rescue American Healthcare
Escape Fire: The Fight to Rescue American Healthcare has the power to enlighten and frighten. It's a compelling call to action for a nation that's wasting its potential. It's arguments are based on seemingly irrefutable facts and figures, yet it's not quite a home run—more like a ground rule double.
Its thesis is like the plot of Prometheus. You see where it wants to go, but the path there is strewn with bumps and holes. Yes, our health care system is problematic—in fact, "problematic" is a massive understatement. And the film hammers that home with precision. However, it flubs the landing just a little by not offering a solution worthy of the problem. Eating right, exercising, stress relief—all good things. But can these practices change government policy on corn subsidization? Or a fast food company's pricing model? Probably not—at least not in any reasonable amount of time.
But Escape Fire is well-intentioned and features brilliant men and women speaking truth to power. Taken in context, it's rather convincing. Aren't convinced bacon and eggs for breakfast every day is dangerous? Escape Fire has a few people you ought to meet. Think meditation and acupuncture are hippy-dippy nonsense? Think again. Directors Susan Frömke and Matthew Heineman, along with the experts they call upon, back up their claims with solid facts, but the claims feel flimsy. I have a thousand questions I'd like to ask some of these individuals, and as my surrogate, Frömke, Heineman, and their filmmaking team let me down.
The film's other problem is its title. "Escape Fire" refers to the notion that the solution to an overwhelming problem might be right in front of your face. A crew of firefighters are trapped on the side of a mountain when its leader strikes a match and starts burning the ground around him. The men and women around him panic, and most of them ultimately parish, but the captain knew the flames would sail past him in search of more oxygen. It's a clever metaphor, but the way the film references it is overdone and silly.
The healthcare problem, at least as its described in Escape Fire, has many facets, and none is more successfully tackled in this documentary than military healthcare—particularly as it relates to a soldier's dependency on prescription drugs. We follow a sergeant in the Army who's being evacuated after taking a bullet in the Korengal Valley (made famous in the superb 2010 documentary Restrepo). He's on so many drugs for his legs, as well as PTSD (most of the men he fought with perished). At one point, we see him on the evac helicopter actually fall over he's so high on morphine. It's disturbing and sad, especially as we get to know him more. Unlike many of his fellow soldiers, he's able to motivate himself to kick the habit, and what get him to do so is acupuncture—a technique this self-described hick is incredibly skeptical of at first. The results win him over; When he has these little pins in his ear, he's damn near invincible. It's a moving comeback from a damaged hero, and it's easily this film's strongest thread.
Escape Fire is full of other honest and admirable individuals with compelling personal stories—like a woman who's had dozens of stints put in before the age of 40 and a doctor who's forced to float from practice to practice because she likes to educate and spend time with her patients. This personal touch, as well as the impressive scope of the picture, make Escape Fire recommendable. It's not, however, among the year's best documentaries; It's merely good. It's searching for an answer that might not be there, and the answers it ultimately poses are nothing but paper tigers.
HITCHCOCK DAY: AUTEUR THEORY
Here's a subgenre I bet none of us expected: movies about Helen Mirren playing the wife of a famous artist who treats her rather shabbily that focus far more on her character and their difficult marriage than it does on his creation of the famous works that are, after all, the only reason we care about these people anyway. And yet here we have Hitchcock, with Mirren as long-suffering Alma Reville, wife of legendary film director Alfred Hitchcock (Anthony Hopkins) and if it's not exactly like The Last Station (Mirren as long-suffering Sofya Tolstoy) in the particulars, the taste it leaves in one's mouth is rather dismayingly similar: hey look, famous people are screwed up too, and boy that Mirren, whatta actress! Don't you just want to throw Oscars at her like jelly beans? All of it surrounded by a significantly less-than-enlightening depiction of the Great Man's process.
Alas, Mirren does not here refer to her husband as her "big cock" as she did in The Last Station, though it would be simultaneously more appropriate and dirtier.
Adapted by John J. McLaughlin from Stephen Rebello's Alfred Hitchcock and the Making of Psycho, the film is about, well, look at the book it was adapted from. This is, indeed, a backstage story about the creation of the groundbreaking Psycho, with heavy emphasis on the director's infamous sexual hang-ups, and his nasty relationship to the blonde actresses in his career, and the toll this takes on his relationship with Alma, presented by the movie (as was, I understand, largely true in life), as the éminence grise of Hitch's entire career, not exactly so responsible for his decisions as to be a secret co-director, but better able than any other collaborator in his entire career to give him advice and suggestions that cut to the very heart of whatever it is he was trying to accomplish with each new project.
The film's story is more than a little bit aggrandized - it is certainly not the case that Hitchcock and Reville faced a financial wipeout if Psycho failed, for example - but all in the spirit of good, sudsy, fun backstage entertainment, and parts of the movie are terrifically winning: scenes of Hitch negotiating studio executives, scenes of him running ideas past Reville, who greets them with the special flavor of classy deprecation that Mirren does so well, scenes of everybody on the set of Psycho going about the sausage-making of film production.
And parts of the movie suck: namely, the parts that assume that we're much, much more infested in Hitchcock and Reville as a married couple in crises than as a thorny pair of collaborators whose working relationship is made tricky by the fact that they are married, and that he has a notorious tendency to unsuccessfully seduce his leading ladies. I mean, there are dozens of hundreds of movies about marriages in crisis; the particular dynamic of the Hitchcock/Reville marriage as it was expressed through their filmmaking is something that has virtually never appeared anywhere else - for it requires an artist of Hitch's stature married to a woman of Reville's independence and creativity - and every minute the film plops her in a fictional, aggravatingly trite subplot about a flirty screenwriter played by a particularly unctuous Danny Huston is a film it is not spending with the making of Psycho, and with the torments that come about when talented people try to push as hard against the system as quickly and to such an extreme as Hitchcock was doing with Psycho; hardly an accident that some of the film's most vibrant and alive scenes feature the director squaring off with MPAA censor Geoffrey Shurlock (Kurtwood Smith, impeccably cast), the most nuts-and-bolts moments in a film that veers drunkenly from being fixated on the minutiae of filmmaking in one moment to airing the broadest, most vague sentiments about obsessive personalities and lifelong romantic partners in the next, hardly elucidating Psycho, and by virtue of telling considerably exaggerated and fictionalised version of the participants' lives, doesn't do much to elucidate Hitchcock either, though I suppose if Hitchcock raises Reville's profile - even I, a Hitchcock junkie, have learned more about her in the run-up to this film than in the entirety of my life before now - then it's doing the Lord's work.
Aside from spending far too much time dawdling on subjects that it's hard to care about, Hitchcock is, anyway, largely insubstantial filmmaking; Sacha Gervasi, the director of the excellent documentary Anvil: The Story of Anvil, making his fiction(ish) debut, demonstrates no real flair for anything other than making sure all the actors are in shot (a film about Psycho is required, I do think, to have something exciting going on stylistically), and he does very little to help along their performances: those who come to the table with all their talent in tow, like Hopkins and Mirren, are largely fine, though those who typically need a bit more nudging, like Scarlett Johansson (looking nothing like Janet Leigh) end up lost and confused-looking, and those who typically need all the help they can get, like Jessica Biel (passable as Vera Miles, the actress who committed the unforgivable sin against Hitch of having a personal life), flail about miserably and embarrassingly.
And since the movie is basically the "Oscars for Tony and Helen" show, let's go ahead and end with them: both are perfectly satisfactory, neither is revelatory: Mirren can do this kind of character in her sleep and very much seems to have done just that, rousing herself only for the florid Oscar clip scene that showed up so big in the trailer ("all they can see is the Great and Glorious genius AL-fred Hitch-cock!!!"), while Hopkins, considerable more alert and robust in his unashamedly hammy performance, resembles the famous director not at all: his makeup is a joke, but of course that's not the actor's fault, and while Hopkins gets the positively dehydrated sense of humor down, and in the film's opening nails a perfect "good evening", he doesn't come even close to capturing the psychological dysfunction that the movie wants us to see there, very clearly preferring to play a more avuncular Hitch than the screenplay apparently has in mind. But he's fun to watch without being deranged, like he can sometimes tend to be; I suspect the Hopkins fanboys (I am positive they exist) are going to be much happier with the movie than just about anyone else, because frankly, there's not much besides that to go on.
A last note: one of the unifying principals of the movie is that Hitchcock has visions, or hallucinations, or daydreams, of Wisconsin cannibal Ed Gein (Michael Wincott), the inspiration for Robert Bloch's novel Psycho in the first place; the idea is that Gein is Hitchcock's dark muse, or evil kindred spirit, or something. It doesn't play and it's astonishingly stupid, and all by itself I should say that it costs the movie a whole entire point.
5/10
Alas, Mirren does not here refer to her husband as her "big cock" as she did in The Last Station, though it would be simultaneously more appropriate and dirtier.
Adapted by John J. McLaughlin from Stephen Rebello's Alfred Hitchcock and the Making of Psycho, the film is about, well, look at the book it was adapted from. This is, indeed, a backstage story about the creation of the groundbreaking Psycho, with heavy emphasis on the director's infamous sexual hang-ups, and his nasty relationship to the blonde actresses in his career, and the toll this takes on his relationship with Alma, presented by the movie (as was, I understand, largely true in life), as the éminence grise of Hitch's entire career, not exactly so responsible for his decisions as to be a secret co-director, but better able than any other collaborator in his entire career to give him advice and suggestions that cut to the very heart of whatever it is he was trying to accomplish with each new project.
The film's story is more than a little bit aggrandized - it is certainly not the case that Hitchcock and Reville faced a financial wipeout if Psycho failed, for example - but all in the spirit of good, sudsy, fun backstage entertainment, and parts of the movie are terrifically winning: scenes of Hitch negotiating studio executives, scenes of him running ideas past Reville, who greets them with the special flavor of classy deprecation that Mirren does so well, scenes of everybody on the set of Psycho going about the sausage-making of film production.
And parts of the movie suck: namely, the parts that assume that we're much, much more infested in Hitchcock and Reville as a married couple in crises than as a thorny pair of collaborators whose working relationship is made tricky by the fact that they are married, and that he has a notorious tendency to unsuccessfully seduce his leading ladies. I mean, there are dozens of hundreds of movies about marriages in crisis; the particular dynamic of the Hitchcock/Reville marriage as it was expressed through their filmmaking is something that has virtually never appeared anywhere else - for it requires an artist of Hitch's stature married to a woman of Reville's independence and creativity - and every minute the film plops her in a fictional, aggravatingly trite subplot about a flirty screenwriter played by a particularly unctuous Danny Huston is a film it is not spending with the making of Psycho, and with the torments that come about when talented people try to push as hard against the system as quickly and to such an extreme as Hitchcock was doing with Psycho; hardly an accident that some of the film's most vibrant and alive scenes feature the director squaring off with MPAA censor Geoffrey Shurlock (Kurtwood Smith, impeccably cast), the most nuts-and-bolts moments in a film that veers drunkenly from being fixated on the minutiae of filmmaking in one moment to airing the broadest, most vague sentiments about obsessive personalities and lifelong romantic partners in the next, hardly elucidating Psycho, and by virtue of telling considerably exaggerated and fictionalised version of the participants' lives, doesn't do much to elucidate Hitchcock either, though I suppose if Hitchcock raises Reville's profile - even I, a Hitchcock junkie, have learned more about her in the run-up to this film than in the entirety of my life before now - then it's doing the Lord's work.
Aside from spending far too much time dawdling on subjects that it's hard to care about, Hitchcock is, anyway, largely insubstantial filmmaking; Sacha Gervasi, the director of the excellent documentary Anvil: The Story of Anvil, making his fiction(ish) debut, demonstrates no real flair for anything other than making sure all the actors are in shot (a film about Psycho is required, I do think, to have something exciting going on stylistically), and he does very little to help along their performances: those who come to the table with all their talent in tow, like Hopkins and Mirren, are largely fine, though those who typically need a bit more nudging, like Scarlett Johansson (looking nothing like Janet Leigh) end up lost and confused-looking, and those who typically need all the help they can get, like Jessica Biel (passable as Vera Miles, the actress who committed the unforgivable sin against Hitch of having a personal life), flail about miserably and embarrassingly.
And since the movie is basically the "Oscars for Tony and Helen" show, let's go ahead and end with them: both are perfectly satisfactory, neither is revelatory: Mirren can do this kind of character in her sleep and very much seems to have done just that, rousing herself only for the florid Oscar clip scene that showed up so big in the trailer ("all they can see is the Great and Glorious genius AL-fred Hitch-cock!!!"), while Hopkins, considerable more alert and robust in his unashamedly hammy performance, resembles the famous director not at all: his makeup is a joke, but of course that's not the actor's fault, and while Hopkins gets the positively dehydrated sense of humor down, and in the film's opening nails a perfect "good evening", he doesn't come even close to capturing the psychological dysfunction that the movie wants us to see there, very clearly preferring to play a more avuncular Hitch than the screenplay apparently has in mind. But he's fun to watch without being deranged, like he can sometimes tend to be; I suspect the Hopkins fanboys (I am positive they exist) are going to be much happier with the movie than just about anyone else, because frankly, there's not much besides that to go on.
A last note: one of the unifying principals of the movie is that Hitchcock has visions, or hallucinations, or daydreams, of Wisconsin cannibal Ed Gein (Michael Wincott), the inspiration for Robert Bloch's novel Psycho in the first place; the idea is that Gein is Hitchcock's dark muse, or evil kindred spirit, or something. It doesn't play and it's astonishingly stupid, and all by itself I should say that it costs the movie a whole entire point.
5/10
SPOTLIGHT ON PHILIPPA JANE KEYWORTH'S THE WIDOW'S REDEEMER
Philippa Jane Keyworth's debut novel is out today: The Widow's Redeemer. If you like me, love historical fiction novels, you are invited to discover more about her Regency novel and about herself. Read the excerpt, watch her video presentation and visit her links. Enjoy!
Book Blurb
“Does she have no thought to propriety?”
“No, aunt, I cannot lie to you. I do not think she does.”
A penniless young widow with an indomitable spirit. A wealthy viscount with an unsavory reputation.
London, 1815: After her husband’s untimely death, Letty Burton comes up from the country with her domineering mother-in-law. Hiding a past she wishes to forget and facing an uncertain future, all she wants is to navigate London Society as a silent companion. A chance meeting with London’s most eligible bachelor sets in motion a series of events that will bring her quiet life under the unfriendly scrutiny of the ton. With the net of scandal, debts, and rivals closing in, will she let her dark past dictate her life forever? Will she learn to trust again? And most importantly, will she allow herself to love?
Excerpt (Chapter 1):
Everything has beauty, but not everyone sees it.
Confucius
Confucius
“I don’t understand your meaning, sir.” A little crinkle appeared between Letty’s brows. She folded and unfolded her stitchery, her hands becoming more agitated with every second that passed.She cast the sewing onto a small side table and began teasing the frayed cuffs of her muslin day dress before standing abruptly. Leaving the doctor behind, she walked over to the small window set deeply into the farmhouse wall. Silence followed. She stared at the rugged slabs of stone that made up the thick wall and kept the winter winds at bay.The beginning of the week had brought her husband back from the gaming hells of London. He had been sickening from exposure to rain and cold on his journey home and had fallen from his horse. Could life be so ready to change? Were the cards being dealt as she stood here?The physician was packing up instruments into his old leather bag. There was the clink of draft bottles as they slotted into place, the creak of un-oiled leather, and the click of a stiff clasp.Letty swung back round to face the retreating doctor. “But surely there is something more that may be done?”His small white head shook in a well-acted sadness. Perhaps he had given this news a dozen times, perhaps he had given it a hundred times over. His headshake was so perfected and his eyes so full of sympathy. It was a slow and definite last retreat.“It is merely a matter of nursing him until his time comes.” He paused, wetting his bottom lip before taking a long breath. “Has he drawn up a will?”Letty’s thoughts scattered everywhere at once. She had not thought about a will. Even the mention of one but two days ago would have seemed unwarranted, almost absurd. Yet here John lay, with waxy skin and red-rimmed eyes, the smell of fever on him. The scent was curious; body odors were mingling with the wood smoke and damp, producing a rank and stale smell.A will, was that what the doctor had said? John had been in charge of business matters, and he would not have had the forethought to write a will at seven and twenty, or at least not the care.“I am not sure.” She reached a hand up, unconsciously checking her hair. These were not things she had expected to confront in her second year of marriage.“I suggest you summon your lawyer as soon as possible. It is hard to estimate how much time your husband has left.”She nodded dumbly, blinking quickly in a last, vain attempt to understand the enormity of what was happening. A sad smile marked his lips, as though that settled the business. With no more to be done, he took up his case and descended the tight spiral staircase.Letty followed behind, grappling with the feeling of shock but still aware of her obligation to see the doctor out. In front of the house, the small boy who looked after the farm’s horses, waited with the doctor’s animal. Letty watched the physician mount the small Dartmoor pony. The animal shook his head in impatience for his hay and stable and was only happy once his hooves were falling in a steady beat. John’s wife waited at the door until the creature disappeared from sight.For a moment she stood silently, contemplating the sentence which had just this evening been hung over her life. The gathering gloom descended upon her still figure, leaving her a lonesome silhouette in the evening farmyard. Dew settled unbidden upon the landscape, the droplets disturbed a little by a sea breeze. The sky was dark—hues of blue, gray, red, and purple all slowly merging into one as night formed above her. In a far off pasture the soft moo of a cow could be heard. The familiar sound brought her back to the problems at hand. She shook off the desire to sleep and, turning on her wooden heel, walked hastily inside.The moonlight was firmly in control of the rugged landscape outside the window when she finally drifted off. The large winged armchair in her husband’s room had become her home in the past week, ever since he had been taken ill. The heavy woolen blanket, which was now draped across her unconscious frame, had become the roof over her head.The farmhands had brought John back after finding him unhorsed and drenched on one of the farm tracks. After all, a drunk man was no horseman. Letty had not heard from him while he had been in Town and even his return had been a surprise.A small fire, which had been lit early in the evening, was glowing sluggishly in the grate. The scent of it had gradually penetrated everything in the room. Objects surrounding the bed were cast in an unusual light. Several rapidly drawn up letters scattered a small desk in the corner of the room, the little amount of wax on each one looking like a small arachnid in the dim light. A bowl of tepid water reflected a little of the firelight, giving the depths an eerie, luminescent appeal. A rag hung over the side of the basin, like a lone shipwreck survivor crawling to safety.Letty was awakened by nightmares only half an hour after she fell asleep. Too many worries consumed her mind which, until settled, would prevent her from further rest. Soon, realizing the cold had frozen her aching joints, she rose to dab her husband’s brow. He made no indication of consciousness. Pausing a moment, she watched the knitting and un-knitting of his feverous brow before turning and making her way to the desk. She shuffled the letters that lay there into some kind of order and gingerly placed another log on the fire.“Lettice?”She spun on her heel at the sound of the rasping voice. Small feet bore her swiftly from the fireplace to John’s side. She knelt on the wooden floor to better look into his weary eyes. He was groggy, his eyes roving about the room, though Letty could see lucidness as they settled upon her.“Yes, John? How do you feel?” She dunked the cloth in the basin and made to wipe his beaded brow.“No, no more of that. You have made me cold enough.” He turned his head from her.She nodded slightly, placing the rag back into the basin.“Why has this come upon me?” he cried out suddenly. “I am in such pain!” He writhed on the bed and upset the soiled bed linens.“How can I make you more comfortable? Your pillows, do you wish to sit up?”“That’s the last thing I want to do, Lettice. My back, it aches terribly.” He paused. So little strength was left to him; it was an exertion even to speak a single sentence–especially a sentence filled with anger. “My mother was right. We should never have left Town. None of this would have come upon us.”Her eyes dropped to the disordered bedcovers. “We would never have met.”He made no response and turned his head away once again. Letty could not stand the feeling of ineptness. She stood up, pausing by the chair, and then made her way to the fire. There was an old loaf of bread left on a cutting board by its side. She was hungry; it was early morning, a long time since she had had her frugal dinner. She started sawing off a piece to toast over the fire.“Will you not ask if your sick husband wants something to eat?”“Do you?”“No, but you could at least act the caring wife.”Letty did not answer. It was best she refrained while John was in this mood. Then, with a sobering feeling, she realized that perhaps there would not be many more of his moods to bear.“The doctor said…well, he said the fever is not abating. He was worried. You are weakening rather than strengthening.”“And so I expect he thinks I should call the lawyer.” John coughed, a wracking sound that clawed at his lungs and rattled his core.“He did mention it, yes.” She did not mean it as an attack, but John took it to be one.“So quick to make me sign over my fortune. I have been ill but a week.” The well-known scowl lines of his face deepened in a sneer.“John?” She turned to face him. Despite their differences, to tell a man he was dying could never be an easy thing. How could she approach it? How could she say it?As it was, she would not have to bear the discomfort of speaking it. He had turned his head away again, and he would not turn it back now. He had read it in her anxious eyes all too clearly. Death was inevitable to all men and to him it would come sooner than to most.She stayed by his bed, quiet, trying hard to clear her mind of all the thoughts that clamored for attention. It was still dark beyond the walls of the house, dark like her mind which was filled with a hundred worries. She would go on through the night worrying, waiting by his side and watching his pain.Dawn came slowly. She rose from the chair she had been waiting in and walked round the bed to face him. As her gaze fell on his face, the cockerel crowed. His eyes were cold, distant, and lifeless. His body was pale and hard, the worries of a lifetime written in the lines of his harsh, heavy face. She left him there. She did not close his eyes but walked through the cold house in search of her shawl so that she could go to the village and fetch the funeral men. The lawyer never came and neither did her tears.John’s body was made ready for burial, and the farm’s tenants were duly informed. Letty would be the only one following the coffin to the graveyard on that bleak walk. No friends came; even family, it appeared, were unable to attend. Letty wondered that John’s mother did not come to bury her son, to see the last trace of his earthly self disappear into the ground. It would not be until later that she would receive a letter explaining that, upon hearing of her son’s death, the mother had locked herself in her room and was refusing to eat or come out. To lose a husband had been the first trial for that mother to overcome, but now a son also within two years was more than she could bear. So Letty was left to walk behind her husband’s coffin alone.The last of the rich brown earth was tossed carelessly by the gravedigger. The soil sprayed across the grave that contained a body that was once a man. Feeling a cold northerly breeze spring up, Letty clasped the material of her thin pelisse closer. She looked around the deserted graveyard, sighed quietly, and then turned to make the lonely walk home.* * *Letty’s mind was absent. Her body, however, was seated in a large leather armchair, the springs of which were becoming rather too obtrusive, while the stuffing was half there and half missing. The chair was in a tiny room at the back of a building that constituted the solicitors’ offices. The rambling structure was situated in the village, a little set back from the other buildings, and was condemned by many to be in a worse state of repair than the infamous blacksmith’s. This was partly due to the age and personality of the main law-working occupants, but it was also because their clientele possessed a low standing and, therefore, a deficient income.Despite the building’s exterior and the general tattiness of the objects within, it was a tidy little office. Nothing seemed out of place and, unlike most solicitors’ desks, paperwork was not scattered across it. Letty was alone in the room for a long while. The faint mutterings and voices, muffled by the wall, floated in to her. The noises all washed over her, and she did not pay them much attention. How could she be interested in the chit-chat of persons she had never met when her future was being located, shuffled, and glanced over?The man who would be the bearer of all news concerning her future eventually opened the door. He paused on the threshold. Letty could hear his steady breathing though she did not look round. Her head remained perfectly still, her eyes forward, and she had a politeness about her carriage. She clasped her hands loosely in her lap, ready for whatever would be thrown into them. She may not have had a governess who had taught her fine languages or clever mathematics but, thanks to her parson scholar of a father, she was no fool. That pause upon the threshold was one small thing which warned her of what was to come.Why would a solicitor pause on the threshold, run a handkerchief over the perspiration that had suddenly beaded on his brow, give four brisk sniffs, and then straighten his plain cravat before facing his client? The answer was plain and it was simple. It whispered itself into Letty’s mind. It said: fear.She smiled faintly as the solicitor took his seat. He was a short, wiry old man and rather outmatched by the much too large wooden desk. He managed a small, polite smile before he placed the papers he had been carrying carefully out before him. With all of them equally spaced and perfectly straight, he cleared his throat and began.“Now, Mrs. Burton, ah, here we are, ah, yes. Now I have drawn up and put together all the estate’s values and assets including the farm and the house.” He refrained from using the term “your house”, and that was when she began to realize her true predicament. “I have then compared them to repayments needing to be made, yes, um, now….” He readjusted his wire-rimmed spectacles while the small tuft of white hair in the center of his head quivered. “Yes, ah….”Letty’s heart was tugged a little by the awkward situation this man had been placed in. She rested a tentative hand on the desk but took care to distance it from the solicitor’s own hands. She captured his gaze with her frank brown eyes. “Mr. Glenville, I am led to believe that sometimes husbands have little to leave to their wives due to unfortunate business circumstances leading up to a sudden death. I understand that this cannot be helped.” She kept her eyes on his, speaking far more with them than with her mouth.“Yes, yes, of course. So glad you understand, Mrs. Burton. It can cause such upset, you see, when the value of the estate and assets comparative to various debts is read out. That is why—well, never mind that.” He reshuffled the papers then took them up again and read on in a calm, precise voice. When he had finished, Letty remained poised for a few moments longer, allowing the information to take its rightful place in her mind. She had been completely unaware of the debts and the precarious position John had been in before he died.“I see,” she said finally, with far more firmness than Mr. Glenville had expected. “And now tell me truthfully: can the assets fulfill the repayments in their entirety with anything left over?” Her eyes fell back into focus as she spoke, containing a hardness that had not been there before.“Well, Mrs. Burton, this is where it gets rather more complex. You see, your husband’s affairs had fallen into, well, how shall I say? Difficult times. Therefore, through my calculations of his estate and the debts he accrued from purchases, as well as the debts from ah…several respectable establishments in London.”Letty’s neck could not help but tense at the reference to her husband’s regular appearance at some of London’s most fashionable gaming hells. It had not been unusual for him to be away from Cornwall for weeks at a time while he entertained himself in London. She remembered the look of disgust and the lack of farewell as he journeyed away from their house each time he went to the metropolis. How could he, a bred gentlemen, stand to be in the country with little or no entertainment? Coupled with this was the severe lack of society that had attended him ever since his marriage to Letty. So severe were the consequences of his disadvantageous marriage that to spend only moments in his wife’s presence was too much for him to bear.He would be off, of course, entertaining himself in some hell or another, chasing days of past glory in the far-gone seasons. He met his friends, the ones she was never permitted to see, the ones in front of whom she could only prove an embarrassment. She had often wondered what those friends had heard of her. If it were spoken from John’s lips then it would not be praise. There had been a few times when his words had stung more than his hand upon her—not many, but a few.“Oh, I beg your pardon, Mr. Glenville. Could you please repeat what you just said?” Letty’s back straightened and her mind returned from that far off place.“Have no fear, Mrs. Burton.” Mr. Glenville smiled slightly. He liked Lettice Burton, even if she had married above her station. She seemed a sweet girl and yet, as he saw her sitting there, he reflected that she was much changed from the girl he had seen on her wedding day. She no longer looked an innocent, fresh-faced child; she was a woman now, at least about the eyes. There was a sort of wisdom there, a lack of that childlike naivety she had once borne. “I understand this is a difficult time. Losing a spouse is a terrible thing, especially at so young an age.”Letty bowed her head in assent but behind the eyes that Mr. Glenville had deemed wise, there was no grieving heart. Was that wrong? Letty felt pangs of guilt and yet, as she raised her head again and felt the slight bruising at the back of her neck, the guilt bled away.“What I was beginning to explain was the financial plan for Highfield. In order to cover the debts owed, I am afraid that the only way is to sell the house and the farm along with it.”Letty, after several days of widowhood, felt the first tears pricking her eyes. The guilt came back, but it was overcome with sadness. She thought with fondness—and bitterness—of the home she had shared with John, and for a moment could not bear the thought of its inevitable loss.“I understand, Mr. Glenville. I give you all the authority to see to the matter. I shall prepare the house and farm for a new owner and take my leave of the tenants.”“Madam, I know this is outside of my authority, but I just wish to inquire—have you anywhere to go? I would not go about selling this property for you if you have no safety.”Letty smiled at him, his kindness a surprise yet fitting with his winsome face. “It is quite all right, Mr. Glenville. I am sure that my family will take me in.” She said it with a certainty she was far from feeling. “In the meantime, the debts must be paid. Please sell Highfield, and before other debts are settled, take your own wages out of the sum. I do not wish to see you underpaid.”Mr. Glenville looked down at the desk, shuffling papers in a brisk fashion. He pulled a handkerchief out of his pocket and fluffed it about his nose. He was trying his hardest to smile his thanks without seeming impertinent. When he looked up, he saw a large smile brightening Letty’s mouth and it instantly put him at his ease. The smile remained, covering the anxiety inhabiting her mind and protecting her from further sentiment or questions. She rose to exit.Mr. Glenville came out from behind his desk and made to take her hand. The sudden movement caused Letty to shrink back instinctively, her arms moving to protect her body. Mr. Glenville’s owl-like eyebrows rose and crinkled in confusion. Letty, her wide eyes taking in what she had just done unconsciously and the harmless gesture of the man which she had misread, dropped her hands to her sides in embarrassment.“Thank you, Mr. Glenville,” she said, trying to speak as though nothing unusual had just occurred. “You have been exceedingly helpful. If you could send me a missive here and there, to update me on the sale’s progress and debt repayments, I would greatly appreciate it.” She made no move to give him her hand.The small man, willing to ignore the strange episode, bowed deeply before straightening again. Something flashed in his eyes, but Letty missed the look of admiration he bestowed upon her. She was already crossing the threshold, planning in her mind what needed to be done next.***Letty had barely eaten a thing at lunch, and now, as she was walking to the farm tenants’ houses, a feeling of weakness came over her. She would not be eating until the leave-taking was done, however long it took. The sky was overcast though it was not likely to rain. Letty observed the sun-whitened clouds that threw everything into an oddly naked light.The dirt track, which she had walked down so many times to oversee the farm work while John was away, was slightly damp thanks to last night’s rain. Her black widow’s garb had been bought at the cheapest price, so if a little mud spattered the hemline she did not much care. She was too used to walking in the country to be bothered about hemlines and complexion.Her small figure went in and out of the few cottages on the farm. She bade farewell to the many families, the familiar smell of animals and earth in her nose. She was touched by the few words of condolences that were uttered, even if the tenants cared little for the loss of John. She saw their many concerned eyes and knew their feelings were for her.To them she was the kindly parson’s daughter who came and asked after each and every one of them, never forgetting a name. Yes, they would be sorry to see her go, yet the promise of a new master who might not be as tyrannical as the last was something that gave them hope. Why had the gentleman come from Town to a small piece of Cornwall in the first place? It was a piece of the country scorned by the modish, and clearly it had been scorned by him as well.Letty knew of the many questions that her union with John had raised. They had been worlds apart in station and they would never have married had it not been for one indiscretion. That one incident, which had been so easily misread, was the reason she had been married for two years to a man who did not love her. If only John had not led her into a compromising situation because of his own desires; if only she had not so easily mistaken his lust for love. He had been a man whom she had thought she loved, and it had taken time for that naivety to fade after their hasty marriage. She had slowly realized his resentment of her, and it was a resentment that had in two years grown savage.Yet, as she spoke to each tenant she felt a slight loss, a slight sense of pain at the parting she was making from the place that had been her home, no matter the circumstances. She remembered that she needed to write a letter to her parents asking their shelter. Would they be able to take her back into their parsonage? Somehow, it seemed impossible to go back to her childhood home–that place where her father had once tutored John, where they had met, where the unfortunate incident had happened which forced them to marry.Too much had happened to her, had been inflicted upon her, for her to return to that place where she had once been so innocent. She felt as though the innocence she had worn in her youth had become polluted. She could not return to live the life of someone she would never be again. As the last tenant closed the door behind her, she turned towards her home, and as she walked back in the twilight, she knew that tonight, at least, it was too late to think upon the future.***The following morning brought a letter from Theodora Burton, Letty’s sister-in-law, who resided in Truro. The small, pretty hand, familiar to Letty, brought a little smile to the young widow’s lips. What had her relative been up to now?
Dearest Lettice,
17 October 1815
How are you? I am so sad to hear of John’s passing away. It was such a dreadful shock! I actually said to Mrs. Grockel, my housekeeper, how sudden it was. I even dropped my paintbrush when I read the letter you sent me about it. (I was in the midst of decorating a small cabinet and now it is totally ruined as I dropped a black paintbrush right in the middle. I have no idea what to do about it. Mrs. Grockel said to paint it one color again. I told her if she wished to spend hours repainting the pattern she is welcome to it!)Anyway, I am getting quite beside the point! Mr. Burton—well, David to you, I suppose, since you are family—has become quite ill, and as I thought you may be in need of some company and so shall I, I am inviting you to come and stay with us a while. Would you like to? Please say yes, for if I only have Mrs. Grockel to speak to I may fall ill myself, though I do not wish to exaggerate, of course.I hope everything is well with you, dear sister, and I look forward to seeing you soon. I send my love—Your dearest sister-in-law,Theodora Burton
Letty folded the letter and laid it in her lap. She turned to gaze out of the parlor window onto green fields that heaved up and fell away outside. Her thumb stroked the thick paper; perhaps it would be good to visit Theo. It had been a long time since she had seen her and it would be a way to save her parents any expense. Her father had been graced with a decent parish, but that did not mean money had ever been plentiful. The thought of her father only brought her mind back to John. If only money had not been so scarce when she had been young! Her father would not have had to take on gentlemen to tutor. She would never have met John, and they would never have married in a desperate attempt to avert the scandal.She suddenly shook herself. What was she doing? Self-pity would help nothing. The past was set in stone and ultimately unchangeable. She must think of the future. If she could not change past actions, she could at least try to survive the present. She reprimanded herself and then, flicking the long plait of hair she had been fiddling with back over her shoulder, she rose clasping the letter. She sat in John’s old chair at the large wooden desk, the high back overshadowing her, and took out a sheet of paper. Once the letter to Theo was finished, sealed, and sent, Letty went about packing the few dresses she owned into a small trunk. She saw to the business of the farm, and finally coming back to Highfield, she began saying goodbye to her home.***And so the farm, the house, and all the possessions therein were left to the debt collectors. Letty took her final leave with only a small trunk and a portmanteau to her widowed name. She removed to her sister-in-law’s house in Truro. While Theodora’s husband remained sick, Letty would be the young wife’s comforter and companion.The widow remembered with such clarity the day on which she left: the crisp morning air that pinched at her cheeks before she stepped up into the carriage; the sweet smell of earth that was laced with traces of briny sea air; the wind that flung her long hair back and forth, loosing it from the contraptions imprisoning it; the sky that was thick shades of iron gray and layers of towering clouds building above; the heath and shrub covered landscape in all its unruly beauty she knew so well—all was left to the elements behind her. The animals were hidden away in warm homes together, the only farewell being the natural blow of westerly winds.The harshly sprung carriage afforded a small view of the country which she loved through a murky pane of glass. This view she engraved in her mind’s eye. She would keep it for a time when she needed to know there was a place like heaven, a paradise somewhere.
************************************************
The author
Known to her friends as Pip, Philippa Jane Keyworth has been writing since she was twelve in every notebook she could find. Add to this her love for reading, history, and horse-riding, and you have the perfect recipe for creating Regency romances. Pip's debut novel, The Widow's Redeemer (Madison Street Publishing, 2012), brings to life the romance between a young widow with an indomitable spirit and a wealthy viscount with an unsavory reputation.
Buying Links:
Author Links:
Facebook book page: http://www.facebook.com/TheWidowsRedeemer
Twitter: @PJKeyworth
Have a fun weekend.
What are you up to this weekend? We're going out for pasta tonight (I already decided on this) and tomorrow my friend is having a baby shower. I'm excited to share the rest of the 2012 gift guide, coming up next week! Have a good one, and if you're in a blog-reading mood, here are 15 fun links from around the web... Woody Allen answers 12 unusual questions.
Why you should tell your children you're beautiful.
Cool tape.
New York in a nutshell.
Cupboards: Don't forget the inside!
What a pretty skirt.
Blueberry breakfast cake.
An airplane school? Toby would flip.
Let's bring back the dinner party.
Would you wear reflexology sandals?
10 blog posts every new mom should read. (Thank you, Stroller Traffic.)
This guy's a cutie.
An inspiring 103-year-old grandmother.
A cute snowflake diaper for the holidays.
After I wrote about being happy to see your children, one reader pointed out that your eyes should light up for everyone you love, which was a great point. Sometimes when Alex gets home, I'm harried and toss a quick hello over my shoulder. I'm going to change that asap!
Also, after the enthusiastic response to COATT morse code jewelry, the designer is offering 20% off to Cup of Jo readers until December 7th. Just email her at info@coattonline.com with CUP OF JO in the subject line.
The Day After Tomorrow 2004 Hollywood Movie Watch Online
Release Date : 28 May 2004
Director : Roland Emmerich
Genre : Action, Adventure, Sci-Fi, Thriller
Cast : Dennis Quaid, Jake Gyllenhaal
Cast in The Day After Tomorrow :
Dennis Quaid ... Jack Hall
Jake Gyllenhaal ... Sam Hall
Emmy Rossum ... Laura Chapman
Dash Mihok ... Jason Evans
Jay O. Sanders ... Frank Harris
Sela Ward ... Dr. Lucy Hall
Austin Nichols ... J.D.
Arjay Smith ...
Watch Beauty and the Beast (1991) Online
Release Date : 22 November 1991
Directors : Gary Trousdale, Kirk Wise
Genres : Animation, Family, Fantasy, Musical, Romance
Voice Cast in Beauty and the Beast :
Paige O'Hara ... Belle
Robby Benson ... Beast
Richard White ... Gaston
Jerry Orbach ... Lumiere
Jo Anne Worley ... Wardrobe
Mary Kay Bergman ... Babette
Brian Cummings ... Stove
Alvin Epstein ... Bookseller
Tony Jay ...
HITCHCOCK DAY: GENTLEMEN PREFER BLONDES
Toby Jones has, seriously, the worst agent. In 2005, his take on the cartoony Truman Capote in a not-quite-a-biopic Infamous ended up getting pushed back a year when all the attention was gobbled up by Philip Seymour Hoffman playing the same part in a film with a virtually identical story, Capote, which announced right from its title how much more serious and Important In All Ways it was of the two projects. That's a painful, undoubtedly embarrassing experience; but how much worse it must be that that the exact same thing has happened to the poor bastard again: somehow, in 2012, producers got it into their heads that what the world desperately needed right now were films about Alfred Hitchcock being a skeevy creep during the production of his late-career horror films, and while this time, Jones's project made it out first - premiering on HBO in October - once again, his picture has been almost entirely subsumed by the conversation surrounding Anthony Hopkins's take on Hitchcock in Hitchcock (the Capote relationship holding right down to the character's surname as title of the tonier project).
And while it's hard to feel too very sorry for The Girl - for that is the name of the Jones vehicle - it is so, so easy to feel sorry for its star. He's the best thing about the project to an almost laughable degree, for it is a nearly complete failure of dramaturgy, filmmaking, and acting, though there's more to it than just being the only bright spot in a mound of shit. It's altogether as good a performance as Jones has ever given onscreen: a top-notch piece of mimickry (better by far than Hopkins in the more prestigious film), but it goes deeper than that, into a subtly vicious display of petty meanness and villainy that does toe the line of melodrama, to be sure, but always falls back into something more real and thus more unsettling.
The titular is Tippi Hedren (Sienna Miller), who was plucked from TV commercial obscurity in the early '60s by the director to star in two of his late-career, The Birds and Marnie. The facts of the story are not much in doubt: she was at that time the latest in a long line of glamorous blondes cast as the leading ladies in Hitch's movie, and the latest in a long line of those glamorous blondes made profoundly uncomfortable by the director's sexual obsession. What sets Hedren apart is the intensity of Hitch's cruelty towards her, resulting in his largely successful attempt to ruin her career as a leading lady after their working relationship burned to ashes during the Marnie shoot.
None of these points, to my knowledge, have ever been seriously disputed, and Hitchcock's fairly loathsome behavior towards his leading ladies (particularly Vera Miles, whom he never forgave for getting pregnant just before Vertigo shot, and subsequently her replacement, Kim Novak, who received perhaps the worst abuse of any actor Hitchcock ever worked with) is, I presume, fairly well-known to anybody who likes the man's pictures enough to spend time watching a backstage story about their production. But The Girl seems to think that it's being revelatory, only slowly revealing that the droll, genial Hitch has a nasty streak underneath him, like we're meant to be sent on the same horrific journey of discovery that Hedren undergoes over the course of a trim 91 minutes. There are worse sins than telling an audience something it already knows, of course; The Girl commits many of them. Still, it's frustrating as all heck to have a movie misjudge its own shock value this badly, particularly when that shock is all buried in the script and not present in the movie itself much - for that is another one of its sins, that it wants to be a salacious, tawdry biopic, but it's too classy to actually get in their and get grubby with the characters. That, of course, is what happens when you let Julian "Kinky Boots" Jarrold direct your movie; I do not know the work of writer Gwyneth Hughes, though I am pleased to note that she wrote a Jane Austen biopic that was not the same as Jarrold's own Jane Austen biopic, so I will happily assume that they are two milquetoast, middlebrow peas in a pod.
The disconnect between the film's tacky content and its bland, TV-movie production values (this feels like something HBO would have put out in its mid-'90s "finding our way" phase, not in it's 21st Century "we put on Deadwood and Rome" phase) takes some frequently hilarious turns, particularly as the film continues to darken, from merely painting Hitchcock as a pathetic, sexually monstrous tyrant (as he probably was), to eventually suggest him to be some manner of serial rapist who only entered filmmaking for the opportunity to harass starlets (as he probably was not), collaborating with his wife Alma Reville (Imelda Staunton, given only one scene that's nearly up to her skills) not just to make thrillers, but also to seduce and ravage innocent young girls (okay, that's not entirely fair to the movie, but it's also not nearly enough of an exaggeration). The whole thing tips rather decisively from being a true Hollywood story sort of deal, glorying a bit too much in exposing the seedy side of a filmmaking icon but not being unfair, to turning into a daft psychosexual thriller with a Hitchcock who isn't even terribly credible as a movie character, let alone a real-life figure, no matter how hard Jones tries to sell him.
Even this is not the worst part of the film; no, the worst part is that this movie, which slams Hitchcock so hard for using his leading ladies as meat puppets and props and objects of his sad, grubby fantasies, ends up doing exactly the same thing. though she is the film's protagonist and our point of entry into the world of Hitchcock and filmmaking (though filmmaking gets extremely short shrift: the little bit we see on the set of The Birds is the most engaging part of the movie but it's certainly not the focus; and if you don't know what rear projection is already, or that Hitchcock used it a lot, don't expect The Girl to tell you why, exactly, there are so many studios with blank walls for sets), Hedren emerges from the movie a total blank slate, deprived of any character or motivation: she is a mother, we are told, but that fact does not inform her character at all; her ability to feel anything but revulsion and fear of her director is simply not something that The Girl is interested in exploring, and Miller's totally empty performance only makes things worse than they already were in Hughes shallow script. It's easy to see why she was cast - she makes a damn convincing ersatz Hedren - but she has only ever been a completely surface-level actress, and given that the very theme of the movie is that Tippi Hedren was justifiably furious at being trapped by a man who only saw her surfaces, this unfortunate characterisation makes the bottom fall out of a movie already stuck in the fever pits of toothless mediocrity (Jarrold's idea of challenging filmmaking is to dissolve from Hedren's face to a lawn that Hitchcock is walking on, in the first shot - do you get it he's walking all over her - or to crib inappropriate musical cues from Vertigo), for because of this total disinterest in The Girl herself, The Girl reveals itself as hypocritical in addition to being slack, boring storytelling about people, good and bad, who really deserve more interesting, thoughtful treatment than this.
4/10
And while it's hard to feel too very sorry for The Girl - for that is the name of the Jones vehicle - it is so, so easy to feel sorry for its star. He's the best thing about the project to an almost laughable degree, for it is a nearly complete failure of dramaturgy, filmmaking, and acting, though there's more to it than just being the only bright spot in a mound of shit. It's altogether as good a performance as Jones has ever given onscreen: a top-notch piece of mimickry (better by far than Hopkins in the more prestigious film), but it goes deeper than that, into a subtly vicious display of petty meanness and villainy that does toe the line of melodrama, to be sure, but always falls back into something more real and thus more unsettling.
The titular is Tippi Hedren (Sienna Miller), who was plucked from TV commercial obscurity in the early '60s by the director to star in two of his late-career, The Birds and Marnie. The facts of the story are not much in doubt: she was at that time the latest in a long line of glamorous blondes cast as the leading ladies in Hitch's movie, and the latest in a long line of those glamorous blondes made profoundly uncomfortable by the director's sexual obsession. What sets Hedren apart is the intensity of Hitch's cruelty towards her, resulting in his largely successful attempt to ruin her career as a leading lady after their working relationship burned to ashes during the Marnie shoot.
None of these points, to my knowledge, have ever been seriously disputed, and Hitchcock's fairly loathsome behavior towards his leading ladies (particularly Vera Miles, whom he never forgave for getting pregnant just before Vertigo shot, and subsequently her replacement, Kim Novak, who received perhaps the worst abuse of any actor Hitchcock ever worked with) is, I presume, fairly well-known to anybody who likes the man's pictures enough to spend time watching a backstage story about their production. But The Girl seems to think that it's being revelatory, only slowly revealing that the droll, genial Hitch has a nasty streak underneath him, like we're meant to be sent on the same horrific journey of discovery that Hedren undergoes over the course of a trim 91 minutes. There are worse sins than telling an audience something it already knows, of course; The Girl commits many of them. Still, it's frustrating as all heck to have a movie misjudge its own shock value this badly, particularly when that shock is all buried in the script and not present in the movie itself much - for that is another one of its sins, that it wants to be a salacious, tawdry biopic, but it's too classy to actually get in their and get grubby with the characters. That, of course, is what happens when you let Julian "Kinky Boots" Jarrold direct your movie; I do not know the work of writer Gwyneth Hughes, though I am pleased to note that she wrote a Jane Austen biopic that was not the same as Jarrold's own Jane Austen biopic, so I will happily assume that they are two milquetoast, middlebrow peas in a pod.
The disconnect between the film's tacky content and its bland, TV-movie production values (this feels like something HBO would have put out in its mid-'90s "finding our way" phase, not in it's 21st Century "we put on Deadwood and Rome" phase) takes some frequently hilarious turns, particularly as the film continues to darken, from merely painting Hitchcock as a pathetic, sexually monstrous tyrant (as he probably was), to eventually suggest him to be some manner of serial rapist who only entered filmmaking for the opportunity to harass starlets (as he probably was not), collaborating with his wife Alma Reville (Imelda Staunton, given only one scene that's nearly up to her skills) not just to make thrillers, but also to seduce and ravage innocent young girls (okay, that's not entirely fair to the movie, but it's also not nearly enough of an exaggeration). The whole thing tips rather decisively from being a true Hollywood story sort of deal, glorying a bit too much in exposing the seedy side of a filmmaking icon but not being unfair, to turning into a daft psychosexual thriller with a Hitchcock who isn't even terribly credible as a movie character, let alone a real-life figure, no matter how hard Jones tries to sell him.
Even this is not the worst part of the film; no, the worst part is that this movie, which slams Hitchcock so hard for using his leading ladies as meat puppets and props and objects of his sad, grubby fantasies, ends up doing exactly the same thing. though she is the film's protagonist and our point of entry into the world of Hitchcock and filmmaking (though filmmaking gets extremely short shrift: the little bit we see on the set of The Birds is the most engaging part of the movie but it's certainly not the focus; and if you don't know what rear projection is already, or that Hitchcock used it a lot, don't expect The Girl to tell you why, exactly, there are so many studios with blank walls for sets), Hedren emerges from the movie a total blank slate, deprived of any character or motivation: she is a mother, we are told, but that fact does not inform her character at all; her ability to feel anything but revulsion and fear of her director is simply not something that The Girl is interested in exploring, and Miller's totally empty performance only makes things worse than they already were in Hughes shallow script. It's easy to see why she was cast - she makes a damn convincing ersatz Hedren - but she has only ever been a completely surface-level actress, and given that the very theme of the movie is that Tippi Hedren was justifiably furious at being trapped by a man who only saw her surfaces, this unfortunate characterisation makes the bottom fall out of a movie already stuck in the fever pits of toothless mediocrity (Jarrold's idea of challenging filmmaking is to dissolve from Hedren's face to a lawn that Hitchcock is walking on, in the first shot - do you get it he's walking all over her - or to crib inappropriate musical cues from Vertigo), for because of this total disinterest in The Girl herself, The Girl reveals itself as hypocritical in addition to being slack, boring storytelling about people, good and bad, who really deserve more interesting, thoughtful treatment than this.
4/10









