Herr Karl Valentin was one of the most remarkable comedians of the early days of cinema in Germany ( and believe this German Count, those days were not a very funny ones even for the aristocracy ) not to mention his development in an important talkie career. His film 'Der Neue Schreibtisch' is probably one of the most popular and successful short films directed by this funny German director during those early Teutonic days. This kleine movie is a perfect example of the characteristics of Herr Valentin's films and career ( focused with visual gags in his silent films as opposed to more oral in the talkie ones ). Herr Valentin plays those characters he cares about so much (low class people, clerks, retailers that is to say, that kind of funny people that have nothing in common with the serious aristocracy ). They often have to deal with the simple problems such as acquiring a new desk ( ordinary furniture that have nothing in common either with the distinguished aristocratic bureaus ). His simple, short, funny and effective films are the same way (in the techniques of Herr Valentin, he focused his efforts with gags filmed almost in a long shot). His only and uncomplicated intention - to making the audience laugh, included Germans. And now, if you'll allow me, I must temporarily take my leave because this German Count must remove his decadent bureau for a bold rococo one. Herr Graf Ferdinand Von Galitzien http://ferdinandvongalitzien.blogspot.com/. Der neue Schreibtisch. Directed by: Karl Valentin. Starring: Karl Valentin. Genres: Comedy. Rated the #45 best film of 1913. Short Karl Valentin gets a new desk one of which absolutely does not fit his needs. He tries to solve the problem in some really strange ways. Jan 19, 2017 Karl Valentin gets a new desk one of which absolutely does not fit his needs. He tries to solve the problem in some really strange ways.
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It's all gone to hell / everything's gone wrong / all's gone wrong / See movie IT'S ALL GONE PETE TONG. Running time 90 minutes Country Canada Language English Spanish Box office $1,591,879 It's All Gone Pete Tong is a 2004 film about Frankie Wilde (played by ), a who goes completely. The title is a reference to a phrase used in Britain from the 80s to present day, referring to the BBC Radio 1 DJ, standing for 'it's all gone a bit wrong.' The film was released on April 15, 2005. The DVD was released on September 20, 2005. It won two awards at the for Best Feature and Best Actor (Kaye) and swept the awards (Grand Jury and Audience). It was filmed on location in and shot entirely in. [ ] Several famous DJs appear in the film as 'talking heads', giving the film a true sense of authenticity.,,,,, and Tong appear in the film. Ibiza locations used in the movie include music venues;,,,, the historic Pike's Hotel and Cala Longa beach. The film was officially remade in by Indian film director Neerav Ghosh titled and was released in 2011. Contents • • • • • • • • • • • • • • • • Plot [ ] Frankie Wilde was a music producer and a DJ, born in London (). After years of playing in night-clubs he loses his hearing. Frankie's loss of hearing is first apparent when he hears a high-pitched whine instead of an match on TV. At this time, Frankie is making his next album with his 'two mates' Alfonse and Horst, who seem more suited for a rock band. Frankie continues working on his album and playing gigs at clubs, but his hearing degrades rapidly. As a result, progress on his album stagnates. However, Frankie refuses to acknowledge his problem until a gig in, when he cannot hear the second channel in his headphones and must crossfade one song into the next without being able to beatmatch them. The result sounds terrible, and the crowd boos him. Overcome with fear and frustration, he throws the turntable and the onto the dance floor, and is forcibly removed from the club. The next day, Max confronts Frankie about the performance. Frankie agrees to see a doctor, who tells him he's lost hearing in one ear and has 20% left in the other. He warns Frankie that unless he stops abusing drugs and listening to loud noises, he will soon be completely deaf. Even the use of his hearing aid would only further degrade his hearing. Then, during a recording session, Frankie confesses the full nature of his hearing loss to Alfonse. He inserts his hearing aid to demonstrate, and, overwhelmed by the sudden sound exposure, leans close to one of the monitor speakers. Before he can react, however, a frustrated Horst smashes a guitar into an amplifier whose volume Frankie has maximized. The noise is excruciating, and the feedback knocks Frankie unconscious. The damage leaves him permanently deaf. Without his hearing, Frankie cannot complete his album. He loses his recording contract, and Max abandons him. Soon after, Sonya leaves him. The talking head sequences describe this period as his darkest hour, in which he shuts himself into his home, which he has 'soundproofed' with pillows in a desperate bid to recover his hearing. His drug use intensifies, and he appears to be heavily depressed. In one scene, he repeatedly throws his body against the walls. In other, he wraps around his head, either an attempt at suicide or a drastic way to recover his hearing, but dives into the pool before they ignite. In a culmination moment of the movie, Frankie flushes all his drugs down a toilet, only to be faced with the vision of the menacing badger again. The two begin to scuffle, with Frankie eventually gaining the upper hand and beating the badger with a shovel, then grabbing a shotgun and shooting it, upon which the badger begins to bleed cocaine. Frankie then grabs the dying badger's head, and removes it, only to reveal that the badger is, in fact, himself. He then shoots the dying vision of himself in the head. After this dark period, Frankie finds a deaf organization and meets Penelope, an instructor for the deaf who coaches him in lip-reading. They become close, and eventually intimate. He confides his unhappiness at losing music, and she helps him perceive sound through visual and tactile methods instead. Frankie then manages to devise a system for mixing songs, in which he watches while resting his feet on the pulsating speakers, a callback to an earlier claim he made in the film about flip flops. Using this system, he heads to the studio and manages to produce new mix CD (Hear No Evil) entirely by himself. He delivers it to Max, who is wildly pleased – particularly by the potential of using Frankie's disability to increase record sales. He has Frankie take part in advertising and promotional deals which are increasingly offensive and insensitive to deaf people, which Penelope silently disapproves of. He also treats Penelope like he did Sonya; as Frankie's sexual object, not recognizing her substantial role in Frankie's life. In general, Max tends to patronizingly characterize the deaf as pained, helpless victims desperate for a deaf role model. Max convinces Frankie to play live at as a career comeback. He thinks it is an opportunity for Frankie to prove himself to others, despite Frankie's insistence that he has nothing to prove to his critics. The gig goes exceedingly well, and many claim it showcases even greater talent than his early work. After the show, Frankie and Penelope disappear from Max, the media, and the music scene altogether. In a talking heads sequence, characters speculate on where he is now (if alive). As the film ends, we see Frankie disguised as a homeless street musician, who is then met by Penelope and a child (presumably their own). They affectionately walk together down a street unrecognized. Additionally, we see Frankie teaching a group of deaf children how to perceive sound like he does. Characters [ ] Primary [ ] • Frankie Wilde () is the king of DJs, slowly losing his hearing, and soon to lose everything he thinks is important to him: his job, his fame and his trophy wife. • Penelope () is the deaf lip-reading instructor who gives Frankie the tough love he never had and always needed. • Sonya () is Frankie Wilde's supermodel wife. Her days are filled with deciding on what theme is more appropriate for their garden: Japanese or Spanish? • Max Haggar () is Frankie's agent. Fat, balding, and brash, Max is all about money and his mobile phone is his lifeline. • Jack Stoddart () is the ruthless of Motor Records who has no sympathy for Frankie. He says, 'I didn’t want a deaf DJ on the label. I didn’t want the company to be touched with the deaf stamp. Well, business is tough and sometimes you have to make awkward decisions and I’ve made harder decisions than dropping the deaf DJ.' Music [ ] Soundtrack [ ] The film's soundtrack was released by on 4 October 2005 as a for the film. The 'Night' & 'Day' concept for the soundtrack album was conceived by and also compiled by Ben Cherrill, who was at the time, A&R Manager for Positiva Records/EMI. Additional Production & Mixing by James Doman. • Use the “eVetRecs” system on the National Archives website - to request Military Records or • Download and follow the instructions included in the document or • Submit a request for military records by letter: • Mail requests must contain enough information to identify the record. • Certain basic information is needed to locate military service records. This information includes: • The veteran's complete name used while in service (Last, First, MI) • Service number or social security number • Branch of service • Dates of service • Date and place of birth may also be helpful, especially if the service number is not known • Federal law [5 USC 552a(b)] requires that all requests for records and information be submitted in writing. • Each request must be signed and dated. • The SF 180 may be photocopied as needed. Please submit a separate request (either SF 180 or letter) for each individual whose records are being requested. This site provides public access to all VA forms that are appropriate to be on the web. Watch Netflix movies & TV shows online or stream right to your smart TV, game console, PC, Mac, mobile, tablet and more. Start your free trial today. CBD Water Front 180° Harbor view at Transport Hub. Overview Amenities Location Photos Rates Availability. See Role-playing games Rubin, Gayle, 164 Same-sex marriage, 4, SAT, 47 Second Life (video game), 170, 173, 180, 182 Seduction, 23, 31, 41 Sega Saturn. 66 Smart work, 39, 41 Social class, 15, 83, 89, 97,98, 120, 121, 203, 212 South Park (television show), 8 Special task force, 115, 117 Square Enix, 114, 115 STF. Each Dawn I Die was filmed in 1939 with James Cagney playing a crusading reporter Frank Ross who is framed for murder after breaking a story about city corruption. Frank is sure that he'll be prove his innocence and walk out a free man. Each Dawn I Die is yet another in the seemingly endless parade of classic movies Hollywood churned out during its greatest year ever, 1939. This one’s a prison yarn. Each Dawn I Die is a 1939 gangster film featuring James Cagney and George Raft in their only movie together as leads, although Raft had made an unbilled appearance in. Complete your Each Dawn I Die record collection. Discover Each Dawn I Die's full discography. Shop new and used Vinyl and CDs. Amazon.com: Each Dawn I Die: James Cagney, George Raft, Mel Blanc, Arthur Q. Bryan, Jane Bryan, George Bancroft, Maxie Rosenbloom, Stanley. Watch Each Dawn I Die Full Movie Streaming Online Free HD. Watch Movies Online For Free and Download the latest movie at Videome.co. But that's not how the system works at Rocky Point Penitentiary. At Rocky Point he befriends a hood named Stacy played by George Raft and he learns how to survive against not only the vicious Guards but their Rat informers also. Waiting for the information that will free him from prison Frank hopes he doesn't crack first. • Actors:,, Jane Bryan,,,,,, • Directors: William Keighley The following guns were used in the movie Each Dawn I Die. 1973, “”, in, performed by: I can't get used to living here / While my heart is broke, my tears I cry for you • 1999 October 3, J. Stewart Burns, 'Mars University', Futurama, season 2, episode 2, Fox Broadcasting Company Guenther: I guess the hat must have broke my fall. Adjective [ ] broke ( broke, broke) • ( ); • ( ). • ( nautical ) Demoted, of a. He was broke and rendered unfit to serve His Majesty at sea. Synonyms [ ] • ( UK rhyming slang ), ( UK slang ), ( UK slang' ) • See also Derived terms [ ] • Translations [ ]. 1880, James Dunbar, The Practical Papermaker: A Complete Guide to the Manufacture of Paper, page 12: If the broke accumulates, a larger proportion can be used in making coloured papers, otherwise the above quantity is sufiicient. Synonyms for broke at Thesaurus.com with free online thesaurus, antonyms, and definitions. Dictionary and Word of the Day. Forgot your password? Sep 07, 2015 Music video by Joe Budden performing Broke. 2015 Entertainment One U.S., LP http://vevo.ly/f1aK28. • 1914,, Volume 62, page 204: Presumably, most of the brokes and waste were used up in this manner, and during the manufacture of the coarse stuff little or no attention was paid to either cleanliness or colour. • 2014 September 25, Judge Diane Wood,: These mills purchase broke from other paper mills through middlemen and use it to make paper. Etymology 3 [ ] from. Verb [ ] broke ( third-person singular simple present, present participle, simple past and past participle ) • To act as a; to for another. (Can we a quotation of Broome to this entry?) • ( ) To act as procurer in love matters; to pimp. • Fanshawe We do want a certain necessary woman to broke between them, Cupid said. • Shakespeare And brokes with all that can in such a suit / Corrupt the tender honour of a maid. Anagrams [ ] •,. In Latin, the word asterisk (asteriscus) means ‘little star’. We use it in everyday English to note that a word or phrase possesses a special character or to indicate that something has been omitted. The Broke* Team adopted the asterisk as a part of our logo to symbolize hope. The logo is a reminder that we all hold within us a special character that enables us to break through the barriers of life and become stars, become champions, become the exception to the rules we've always been told to obey. Though you may have been omitted or forgotten, though doubters deny your potential to achieve what they deem impossible, you can use this logo as a badge of courage. Let it embolden you. There are others, like you, fighting for their dreams... For their chance to break*. NIGHT CRIES Year: 1990 Classification: G Runtime: 17 min Produced In: Australia Directed By: Produced By: Language: English DIGITALLY REMASTERED! NIGHT CRIES – a story of a white woman and her adopted Aboriginal daughter, told with vibrantly coloured landscapes and a richly constructed soundscape. The film is in part a response by visual artist Tracey Moffatt to Charles Chauvel's celebrated feature film, JEDDA (1955). Shot totally in a studio, the film explores the relationship between an Aboriginal woman and her white mother. The daughter, now the sole carer for her dying mother, dreams of faraway places. During her tending of the old woman, we feel her frustration with her filial responsibilities, her suppressed anger, her own need for warmth and love, her personal loneliness. Her memories and dreams invade her nerve-fraying routine until the old woman dies and we share the daughter's immense sense of loss. Much of the power of the film lies in the artificially created, vibrantly coloured landscape and carefully constructed soundscape. The environment contributes another personality: an unbending, unchanging force. 'Moffatt draws together the elements of autobiographical material with a razor-sharp insight into issues of contemporary history with a vibrant sense of the cinematic.' - Anne Rutherford, Artlink. 'A breathtaking, visual film... It attacks and disturbs with its blunt political advocacy and touches emotionally in its gentler moments on faltering human relationships. It is proof of a new Australian filmmaking sensibility at work.' As I started out watching this movie, I was not really sure just what kind of film ‘Night Cries’ was supposed to be. That is part of this movies charm, appearing. Find great deals on eBay for batman night cries and batman tpb. Shop with confidence. - Scott Murray, Cinema Papers.:::::: © Ronin Films 2018. Le Fort fracture bilateral horizontal fracture of the maxilla. Le Fort fractures are classified as follows: Le Fort I fracture, a horizontal segmented fracture of the alveolar process of the maxilla, in which the teeth are usually contained in the detached portion of the bone. Le Fort II fracture, unilateral or bilateral fracture of the maxilla, in which the body of the maxilla is separated from the facial skeleton and the separated portion is pyramidal in shape; the fracture may extend through the body of the maxilla down the midline of the hard palate, through the floor of the orbit, and into the nasal cavity. Le Fort III fracture, a fracture in which the entire maxilla and one or more facial bones are completely separated from the craniofacial skeleton; such fractures are almost always accompanied by multiple fractures of the facial bones. Mentioned in: fracture breach in continuity of a bone as a result of injury. Known as a closed fracture when there is no break in the skin or open (compound) when there is a wound linking the broken bone to the outside of the body; comminuted when a bone is broken into several pieces, splintered or crushed; complicated when there is injury to surrounding organs and structures; depressed when the broken bone presses on an underlying structure, e.g. Brain or lung; impacted when one part of the broken bone is driven into the other; incomplete when the bone is only cracked or fissured, called a greenstick fracture in children. A pathological fracture can occur in abnormal bone (e.g. With a cancerous deposit) as a result of force which would not break a normal bone; also known as a spontaneous fracture when there is no appreciable violence. Open fracture ( ō'pĕn frak'shŭr). One in which a wound through the adjacent or overlying soft tissues communicates with the site of the break; called also compound fracture. A classification system has been used which is based on the mechanism of injury and the extent of tissue damage. In type I, a bone fragment was briefly forced through the skin leaving a communicating wound; type II fractures are caused by impact and there is damage to overlying tissues and exposure of the bone; in type III, there is extensive damage and loss of overlying tissues, including shearing and degloving wounds, with loss of vascular supply. Compound fracture definition, a fracture in which the broken bone is exposed through a wound in the skin. Image via Ah, Groundhog Day. On this Groundhog Day – February 2, 2017 – will Punxsutawney Phil – called the world’s most beloved seasonal prognosticator by his handlers in Punxsutawney, Pennsylvania – see his shadow? If not, it means spring will come early this year at least, according to folklore. Groundhog Day, a U.S. And Canadian tradition, comes every year on February 2. It has its roots in astronomy, in the sense that it’s a seasonal festival, tied to the movement of Earth around the sun. It’s a great excuse to go outside and enjoy some revelry during the winter months. Groundhog Club handler Ron Ploucha, center, holds Punxsutawney Phil, the weather prognosticating groundhog, during the 129th celebration of Groundhog Day. Aug 08, 2017 Bill Murray at the bar on Tuesday night at the August Wilson Theater before seeing “Groundhog Day,” the Broadway musical based on the film in which he. Follow the links below to learn more. The great weather prognosticator. See Phil on the far left? Image via Punxsutawney Phil, the great weather prognosticator. We all know the rules of Groundhog Day. On February 2, a groundhog is said to forecast weather by looking for his shadow. If it’s sunny out, and he sees it, we’re in for six more weeks of winter. On the other hand, a cloudy Groundhog Day is supposed to forecast an early spring. Of course, it can’t be cloudy, or sunny, everywhere at once. And many towns in the U.S. And Canada have their own local groundhogs and local traditions for Groundhog Day. But by far the most famous of the February 2 shadow-seeking groundhogs is Punxsutawney Phil in Punxsutawney, in western Pennsylvania, which calls itself: original home of the great weather prognosticator, His Majesty, the Punxsutawney Groundhog. Since 1887, members of the have held public celebrations of Groundhog Day. Punxsutawney is where Bill Murray was in the movie Groundhog Day. From the looks of things a good time is had by all. How accurate is Phil? NOAA’s National Climatic Data Center says Phil’s forecasts have shown in recent years. AccuWeather, on the the hand, says the groundhog is a, with an 80 percent accuracy rate. Groundhog Day has its roots in astronomy. What you might not know is that Groundhog Day is really an astronomical holiday. It’s an event that takes place in Earth’s orbit around the sun, as we move between the solstices and equinoxes. In other words, Groundhog Day falls more or less midway between the December solstice and the March equinox. Each cross-quarter day is actually a collection of dates, and various traditions celebrate at this time. February 2 is the year’s first cross-quarter day. Of course, the division of the year into segments is common to many cultures. Our ancestors were more aware of the sun’s movements across the sky than we are, since their plantings and harvests depended on it. Image Credit: One final note. It’s supposed to be bad luck to leave your Christmas decorations up after Groundhog Day. The National Geographic Society once studied the groundhog and found him right only one out of every three times. But what the heck? It’s all in good fun. So whether you celebrate with a and a real shadow – or just pause a moment on this day to reflect on the passing of the seasons. Bottom line: Groundhog Day comes every year on February 2. It has its roots in astronomy, in the sense that it’s a seasonal festival. “Then put your little hand in mine” Groundhog Day is a well-loved 1993 film that the trope; with at his deadpan best and a much-lauded script, the film is considered a modern classic. Phil Connors (Murray), an arrogant and news station in, his new producer Rita (Andie MacDowell), and cameraman Larry (Chris Elliott) go to to film the annual Groundhog Day festival. Phil loathes the annual celebration and is surly throughout the proceedings, wanting nothing more than to pack up and go home. That proves impossible when a sudden blizzard arrives and closes the roads, forcing Phil and the crew to stay the night. He wakes up the next morning to find it’s Groundhog Day again. Everyone goes on exactly as they did the previous day, with only him aware of it. Though surprised, Phil goes through the motions, still gets stuck in Punxsutawney, and wakes up the next morning to find it’s still Groundhog Day — again. And so on, with no end to the loop in sight. The movie proceeds to follow Phil as he tries to both adjust to and escape from his bizarre dilemma, with the comedy and drama drawn from the various ways he reacts to it. Groundhog Day contains examples of the following tropes: •: The psychiatrist Phil visits disbelieves his story and then offers to schedule another appointment for tomorrow. Cue Phil covering his face with a cushion and punching it. •: Phil becomes this by the end of the movie. •: While it doesn’t happen for the world, Phil what they would do if there was no tomorrow. Their enthusiastic answer is that they could do whatever they wanted, now with no consequences. Inspired by this, Phil decides to live his in the most outlandish way possible. •: There’s an entire montage of these when Phil tries to refine his technique on Rita (only to get shot down every time). •: As usual with Bill Murray, every slap is real. •:, Phil doesn’t like his fanbase, but normally keeps it off camera. However, within the loop, at times, he doesn’t bother hiding it, though. •: When Phil drives the truck off the cliff to kill him and the groundhog, it doesn’t have a driveline. •: Western Pennsylvania does not experience sunrise on February 2 until around 7:00 AM. In the film, it’s already broad daylight by 6:00 AM. Because it saves the crew from repeatedly having to catch and film through twilight, which is a tall order because it’s so brief and wanders in time due to cloudy conditions. •: At the end of the film, shots of the swing band show an upright plucked bass, but the soundtrack has an electric bass. •: Scooter, as The Groundhog. •: A rare in-universe example. Many of the characters seen in the Punxsutawney crowd scene and the diner become major characters in Phil’s life as he’s forced to become intimately familiar with the town, especially Nancy, Gus, Ralph, and even his piano teacher. •: Occurs at the groundhog party. •: Phil waking up next to Rita demonstrates that the time loop is finally over. •: • Phil’s discovered the greatest diet plan ever. • And he doesn’t think twice about in the diner, either. Of course, Rita worries about his potential to get “cholesterol, lung cancer,,” but he can afford to disregard her advice. Phil: My years are not advancing as fast as you might think. •: The entire montage of Phil committing suicide over and over again, full stop. It’s easy to feel sorry for him, but the movie still plays up the comedy of the suicides. •: Phil invokes this during one of his cycles. “Once again, the eyes of the nation have turned here to this [ silly voice] tiny village in Western Pennsylvania, blah, bl-blah, bl-blah!” •: The causes Phil to go through a breakdown period where he and, when that doesn't work, to Rita. He eventually settles down and becomes rather zen about the whole thing. So at ease with the whole thing does he get that he finally gets his one perfect day with Rita and snaps out of the loop, a much better and saner person for it. •: Phil tries in vain to call Pittsburgh for assistance when he gets stuck in the blizzard: “Don’t you have some kind of a line that you keep open for emergencies, or celebrities? I’m a celebrity in an emergency!” •: At the beginning of the movie, Phil could really do with being taken down a peg or two. The time loop obliges, and then some — but it also allows him to eventually put himself back together as a better person. •: A subtle one. On his very first repeated day Phil suspects that the radio just plays yesterday's tape. Then he grows to hate Sonny&Cher's 'I Got You Babe', playing on the radio every repeated Groundhog Day morning. Finally, Phil progresses to February 3rd. Only to be awaken by the same song (albeit a different segment, to indicate that the change has happened) at the same time again. Looks like they did use yesterday's tape after all. • This is even lampshaded by the subsequent conversation between the radio hosts. Phil: [ Day one] Chance of departure today: one hundred percent. Phil: [ Day two] Chance of departure today eighty percent seventy-five to eighty? Phil: [ Day????] Will you hold my room? I’m gonna stay another day. •: Phil initially uses this power for evil (namely, stealing money from an armored car). He later uses it for more benevolent purposes by becoming a sort of guardian angel to everybody. •: The very premise is an extreme time-based example of this trope, but there is also the blizzard blocking the road to Pittsburgh (and hence forcing Phil to stay in Punxsutawney), which acts as a more conventional spatial one. •: Phil eventually realizes that the time loop he’s in allows him to live without consequences or guilt. He uses his situation to steal money from an armored car and weasel his way into sex with an attractive local woman. He also tries to weasel his way into sex with Rita, but his failure there spurs his. • See below, however, as the worst Phil ever does is deck Ned and kill Punxsutawney Phil in his first suicide attempt. •: Although by that point, Phil is savvy enough to have deliberately arranged it. • And the best part of this? He wasn’t even really ‘arranging’ it, and certainly not in an attempt to take advantage of Rita. •: Phil attempts CPR in an alley as a last-ditch effort to save a homeless old man, but it doesn’t work. (Nothing does, really. The man dies every time, regardless of what Phil does to save him.) •: plays a doctor. He makes a very good doctor, since most people associate him with. (He later cameoed as a doctor again in.) • Or, depending on how Phil uses his predicament. •: According to, they averted this trope by not having Phil go down the really dark path (where he would be utterly cruel to people and even kill them without consequence). •: Phil, par excellence. Larry: I don’t know, Phil. Perhaps it’s that giant blizzard we’re not supposed to get. • Rita shows this off on occasion, especially her way of getting rid of Ned. •: Albeit more bittersweetly than usual due to Phil’s anguish; see below. •: A montage of Phil's numerous attempted suicides. •: Phil is eventually driven to the depths of suicidal despair by the endless repetition of February 2. Then, he’s driven into even further depths of suicidal despair by the fact that suicide doesn't work. Interestingly, it’s when he’s at his lowest that he eventually decides simply to tell Rita the truth of what’s happening to him and things begin to improve from that point on. •: This happens in the same scene as the entry. After Debbie and Fred Kleiser get the Wrestlemania tickets from Phil, she kisses him on the lips. Fred then kisses Rita on the cheek, provoking an angry glare from Debbie. • Justified, though, since Phil helped them get married and got them tickets, while Rita didn’t do anything for them. •: A montage of Rita slapping Phil across the face is, of course,. •: Several times. It doesn’t take. Phil: There is no way this winter is EVER going to end, as long as this groundhog keeps seeing his shadow. I don't see any other way out. He's got to be stopped. •: The time loop can be thought of as this. When Phil’s stolen truck (with him in it) falls off a cliff, Larry suggests unconvincingly that he could still be alive. The truck then immediately explodes. •: Closer to ‘Everything Before the Girl,’ but it counts. •: On the next to last 'day', Rita joins Phil to see how he deals with eternity. She's told everything resets on February 3. However, when it's midnight, she's surprised, and asks him why there's no reset. He replies he never said it was at midnight. Technically, the film begins on February 1 in the afternoon and ends in the early morning of February 3. But the time loop made Phil spend at least ten years within this time span. The same could be said about, a and this film. •: Used to full effect by Bill Murray. •: Of the ‘covering my face with a pillow and punching it’ variety. Phil: So, what do I do? Psychiatrist: I think we should meet again. How's tomorrow for you? [ Phil slowly covers head with a pillow] Psychiatrist: [ Phil starts punching the pillow] •: Phil will never be able to save the old homeless man. His realizing this is a key part of his decision to use the time loop for good. There’s one for Phil’s failed attempts at wooing Rita (with repeated slaps in the face), another for his attempts to save the old hobo’s life, and a particularly morbid one of him repeatedly committing suicide. •: • Zig-zagged. At first, Phil indulges in his ability to relive the same day over and over again, by overeating, sleeping with women, stealing money, and committing felonies. But later, his inability to form a bond with Rita slowly wears him down. He becomes depressed and tries to kill himself, but later, he decides to use his time loop for good • A cop tells Phil he can either return to Punxsutawney or freeze to death. Phil: I'm thinking. •: Phil is going through precisely these stages as he learns how to deal with the eponymous day. First he can't believe it (denial), then he does all sorts of anti-social things like over-eating, robbing the armored car, sleeping with all of the attractive women in town, etc. (anger), then he tries to figure out what he can do (bargaining), then he just gives up and falls back into bed and/or tries to kill himself (despair), until finally he accepts the situation and becomes a better person. •: Phil has an unusual way of doing a countdown with fingers •: Ned Ryerson, provoking the same reactions from Phil that Phil causes in others. •: Italian director Giulio Manfredonia in 2004 using Italian and Spanish actors. The plot is extremely similar (the two major differences being that it happens in the Canary Islands and that the protagonist has to film storks) and has many scenes that follow the original exactly, but there are some notable differences (some of which make the Italian version less empathetic). •: • The very first words out of Phil's mouth is where he'd want to be most of all. He's pointing on a weather map, but since we're looking at him live, he's pointing to blue screen: nothingness and nowhere. • A very clever one. Before Phil even enters the time loop, he complains about having to do the Groundhog Day Festival every year. During the first ceremony, Phil describes everything that’s going to happen before it does. “They do the same old shtick every year. Guy comes out with a big stick and raps on the door. They pull the little rat out. They talk to him. The rat talks back. And then they tell us what’s going to happen.” • Sound familiar? He begins doing that later in the film, especially with the armored-car heist. • At the beginning of the movie, Phil’s co-anchor mentions a story about sex and violence in movies. Both appear later on. •: A perceptive viewer’s first clue that Phil escaped the is that the radio is playing a different part of “I Got You Babe” when it turns on the final time. • Rita saying that her ideal man plays an instrument. Unlike other instances of Rita mentioning things she likes, this is true foreshadowing: by the time he takes up the piano, Phil is no longer doing things to impress her but rather to better himself. • One instance becomes this by way of: When Phil catches a boy falling out of a tree and the boy runs away without thanking him, he says, 'You little brat! You have never thanked me! See you tomorrow! The 'maybe' from Phil's perspective means 'Maybe I'll just let you fall and break your arm tomorrow,' but from the viewer's perspective, it also means 'Maybe this is Phil's last day in the loop, and he won't need to save the boy tomorrow.' Which, in fact, it is. •: One of the women whom Phil seduces is dressed thus because she thinks she’s going to a costume party. •: One of Phil’s stages. Done gloriously by Bill Murray. Rita: You’re God? Phil: I’m a god. I’m not the God. I don't think • Earlier in the film, though, Phil has such an, he denies there’s a blizzard because. •: A very rare non-videogame, non-interactive-media example. After being trapped in the loop for God knows how long and getting God knows how many endings, Phil manages to help everyone in the town with all of their problems, woo Rita, and bring about a perfect day. Only then does the loop break. Unfortunately, even on a perfect day someone just has to die. •: Phil eventually becomes one once he becomes resigned to the loop. He starts doing good deeds, over and over, and adding new ones as he finds new opportunities each day. He saves a boy from falling, saves the mayor from choking in a restaurant, he buys enough insurance from Ned to help Ned meet his quota (which becomes even more amazing when you realize that this is February 2), et cetera. Eventually, the whole town loves him, but even this alone can’t break the cycle. Only when he becomes such a nice guy that Rita truly falls in love with him does tomorrow come. •: Ned: “Don’t you tell me you don’t remember me, because I sure as heck-fire remember you!” •: This film is the by virtue of its basic premise of the film (Phil keeps looping back to February 2). This film also indirectly named the trope. •: Phil becomes this in some of the early cycles when he realizes that no tomorrow means no consequence. He takes the opportunity to indulge in unhealthy food, wild behavior, and bedding various women through what amounts to save-scumming. •: Even if it did take from his perspective. •: Several happen between Phil and Rita over the course of the film, mainly when they’re playing in the snow together. •: While on camera. Larry: He might be OK. Larry: Well, no, probably not now. • The day in which Phil tells Rita about the time loop and convinces her it’s real makes you think it’ll be the final loop. When he wakes up afterward, the audience is more disappointed than Phil that the has hit again. •: To opening-act Phil (“People like blood sausage: people are morons.”). •: During the loop where Phil demonstrates his intimate knowledge of Punxsutawney’s residents to Rita and she stays in his room with him,, but she doesn’t hear any of it due to drifting off towards sleep. His awakening the next day marks his decision to use the loop to better himself. • What really makes him use the loop for good and not ill is the realization that, even if he will never be able to save the homeless man, he can still help others. Ned: Ned Ryerson. “Needlenose Ned”? “Ned the Head”? C’mon, buddy. Case Western High. Ned Ryerson: I did the whistling-belly-button trick at the high-school talent show? Ned Ryerson: got the shingles real bad senior year, almost didn’t graduate? Ned Ryerson: I dated your sister Mary Pat a couple times until? •: An extremely bored and depressed Phil kills himself multiple times. Then, in a subsequent scene, he lists each one to Rita calmly as a shocked waitress looks on.. •: Phil complains to that in his time loop, he does the same thing over and over, and nothing he ever does matters. One of them mumbles “That about sums it up for me.” •. SIR 2018 is comprehensive, current and core to your practice. No other meeting offers the diversity of topics, the range of learning environments, the unparalleled access to expert faculty and leading thinkers in the specialty. Picture yourself in L.A. - March 17-22, 2018. Who should attend? SIR 2018 is designed to meet the. View Select Income REIT SIR investment & stock information. Get the latest Select Income REIT SIR detailed stock quotes, stock data, Real-Time ECN, charts, stats and. • • • Sir is an address used in a number of situations in many anglophone cultures. The term can be used as a formal prefix, especially in the, for males who have been given certain honours or titles (such as and ), where usage is strictly governed by law and custom. The term is also commonly used as a respectful way to address a man, usually of superior or holding a commissioned. Equivalent terms of address to females are 'ma'am' or ' in most cases, or in the case of a young woman, girl, or unmarried woman who prefers to be addressed as such, 'miss'. The equivalent term for a knighted woman or baronetess is Dame, or 'Lady' for the wife of a knight or baronet. Contents • • • • • • • • • • • • • • • • • • • • • • Etymology [ ] 'Sir' derives from the honorific title, used in Spanish, Italian, French, German, and Swedish. Sire developed alongside the word seigneur, also used to refer to a feudal lord. Both derived from the senior, sire comes from the declension senior and seigneur, the declension seniōrem. The form 'Sir' is first documented in in 1297, as title of honour of a knight, and latterly a, being a variant of sire, which was already used in English since at least c.1205 as a title placed before a name and denoting knighthood, and to address the (male) Sovereign since c.1225, with additional general senses of 'father, male parent' is from c.1250, and 'important elderly man' from 1362. British and Commonwealth honorifics [ ]. His entitlement to the style of 'Sir' derived from his position as a baronet. The prefix is used with the holder's given name or full name, but never with the surname alone. For example, whilst Sir Alexander and Sir would be correct, Sir Fleming would not. The equivalent for a female who holds a knighthood or baronetcy in her own right is ', and follows the same usage customs as 'Sir'. Although this form was previously also used for the wives of knights and baronets, it is now customary to refer to them as 'Lady', followed by their surname; they are never addressed using their full names. For example, while Lady Fiennes is correct, Lady Virginia and Lady Virginia Fiennes are not. The widows of knights retain the style of wives of knights, however widows of baronets are either referred to as 'dowager', or use their forename before their courtesy style. For example, the widow of Sir, would either be known as Dowager Lady Troubridge or Laura, Lady Troubridge. Combinations with other titles and styles [ ] In the case of a military officer who is also a knight, the appropriate form of address puts the professional military rank first, then the correct manner of address for the individual, then his name. Examples include: •,, (after 1941) •,,,,, (after 1941) This is also the case with academic titles, such as professor. For example, is both a professor and a knight bachelor; his correct title would be Sir Patrick Bateson. The title of Doctor, however, is not used in combination with 'sir', with the knighthood taking precedence. Knighted doctors are addressed as knights, though they may still use any post-nominal letters associated with their degrees. Clergy who receive knighthoods do not use the title 'Sir', but instead refer to their knighthood using post-nominal letters. For example, the Reverend Dr, is never referred to as Sir John Polkinghorne. Clergy of other denominations may use different conventions. Peers who have been knighted are not addressed as 'Sir' in the formal sense of the style, as their titles of nobility take precedence. If the heir apparent to a dukedom, marquessate or earldom holds a courtesy title and has been knighted, the same principle applies to him, as well as to the male heirs of a duke or a marquess, who are styled 'Lord X'. For instance, diplomat Lord, KCMG, KCVO, who was a younger son of the, continued to be styled as 'Lord Nicholas' following his knighthood in 1986, not 'Lord Sir Nicholas'. Other male heirs of an earl who lack courtesy titles, and the male heirs of a viscount or baron, do however use the style of 'Sir' if knighted, the style following that of 'The Hon'. Entitlement [ ]. In the robes of the Order of the Garter, as a consequence of the. As a foreign national he was not entitled to use the prefix 'Sir', but could use the post-nominal letters KG after his name. Today, in the UK and in certain Commonwealth, a number of men are entitled to the prefix of 'Sir', including, knights of the and; although foreign nationals can be awarded these honours, they are explicitly excluded using the prefix, instead using the associated. Holding a Commonwealth citizenship that recognise the British as head of state are entitled to use the styling. Common usage varies from country to country: for instance, dual -American citizen, knighted in 1974, is often styled 'Sir Sidney Poitier', particularly in connection with his official duties, although he himself rarely employs the title. The permissibility of using the style of 'Sir' varies. In general, only dynastic knighthoods in the personal gift of the Sovereign and Head of the Commonwealth – the Order of the Garter, the Order of the Thistle and the knighthoods in the Royal Victorian Order – are recognised across the Commonwealth realms, along with their accompanying styles. Knighthoods in the gift of the government of a Commonwealth realm typically only permit the bearer to use his title within that country or as its official representative, provided he is a national of that country; Commonwealth realms may consider knighthoods from other realms to only be foreign honours. For instance, was reprimanded by Buckingham Palace and the British government in 2016 for asserting that an honorary Antiguan knighthood allowed him the style of 'Sir' in the UK. Of, was the last surviving Knight Grand Commander of the Established in 1783 and primarily awarded to men associated with the, Knight of the were entitled to the style of 'Sir'. Regular creation of new knights of the order ended in 1921 upon the formation of the. With the death of the last knight in 1974, the Order became dormant. As part of the consolidation of the crown colony of, the was established in 1861 to reward prominent British and Indian civil servants, military officers and prominent Indians associated with the Indian Empire. The was established in 1878 as a junior-level order to accompany the Order of the Star of India, and to recognise long service. From 1861 to 1866, the Order of the Star of India had a single class of Knights (KSI), who were entitled to the style of 'Sir'. In 1866, the order was reclassified into three divisions: Knights Grand Commander (GCSI), Knights Commander (KCSI) and Companions (CSI); holders of the upper two degrees could use the title 'Sir'. From its creation in 1878 until 1887, the Order of the Indian Empire had a single class, Companion (CIE), which did not entitle the recipient to a style of knighthood. In 1887, two higher divisions, Knight Grand Commander (GCIE) and Knight Commander (KCIE) were created, which entitled holders of those ranks to the style of 'Sir'. The last creations of knights of either order were made on 15 August 1947 upon Indian independence. All British honours and their accompanying styles were officially made obsolete in when the became a modern in 1950, followed by in 1956. The Order of the Star of India became dormant in the Commonwealth realms from February 2009, and the Order of the Indian Empire after August 2010, when the last knights of the orders died. Philippines honorific [ ] As a privilege of the members of the Order of the, the prefix 'Sir' is attached to their forenames while wives of Knights add the prefix 'Lady' to their first names. These apply to both spoken and written forms of address. The Knights of Rizal is the sole order of knighthood in the Philippines and a constituted Order of Merit recognized by the. The prefix is appended with the relevant post-nominal according to their rank at the end of their names: Knight of Rizal (KR), Knight Officer of Rizal (KOR), Knight Commander of Rizal (KCR), Knight Grand Officer of Rizal (KGOR) and Knight Grand Cross of Rizal (KGCR). Among the notable members of the Knights of Rizal include who was conferred a Knight Grand Cross of Rizal on 11 February 1998. Educational, military and other usage [ ] Usage within the education system [ ] 'Sir', along with miss for females, is commonly used in the British school system to address teachers; and or members of faculty as well as staff. Usage of these terms is considered a mark of respect, and can be dated back to the 16th century. The practice may have been an attempt to reinforce the authority of teachers from lower social classes among classes of largely upper class students. Jennifer Coates, emeritus professor of English language and linguistics at has criticised the use of the title for male teachers, saying that 'Sir is a knight. There weren't women knights, but 'Miss' is ridiculous: it doesn't match 'Sir' at all. It's just one of the names you can call an unmarried woman', and that 'It's a depressing example of how women are given low status and men, no matter how young or new in the job they are, are given high status'. This view is not unchallenged however. The chief executive of the, Debbie Coslett, said '. They call me 'Miss', I'm fine with that. They're showing respect by giving me a title rather than 'hey' or 'oi, you' or whatever', and dismissed the male/female issue as 'That's just the way the English language works'. In the Southern United States, the term 'sir' is often used to address someone in a position of authority or respect, and is commonly used in schools and universities by students to address their teachers and professors. Whereas the British and Commonwealth female equivalent is miss, students will often refer to female teachers as ma'am. In the Northeast United States, particularly New England, there remains influence of both the British and French traditions as noted above; in general parlance, teachers, authority-figures, and so forth, are referred to by a title of respect such as 'Sir' for males and 'Miss, Ms, or Mrs' for females: 'Miss' for unmarried, younger-females; 'Ms' for senior, elder, or ranking females that may or may not be married (see article Ms/Mrs/Miss); and 'Mrs' for married or widowed females. The predominant form of address remains 'Sir/Ma'am', though in some sectors -- such as service, hospitality, or politics -- 'Sir/Madam(e)' prevails, while in Northern Maine -- Aroostock County & St John's Valley -- most female teachers or public officials, regardless of marital status, are addressed 'Miss' in English or 'Madame' in French, though the two are not interchangeable. As noted in Coslett's statement above citing her personal acceptance of 'Miss', generally teachers or other public officials may specify to which form they prefer, while in other cases social & cultural norms dictate the appropriate form. Usage within the military and police [ ] If not specifically using their rank or title, 'sir' is used in the to address a male, senior commissioned officer or civilian. Privates and, such as corporals and sergeants, are addressed using their ranks. Similarly, in both the (USAF) and (RAF), 'sir' is used to address all male commissioned officers. Male non-commissioned officers and airmen are addressed by their rank. In the RAF, male are addressed as Mr by commissioned officers, but as 'sir' by non-commissioned officers and airmen. In the (RCMP), only are addressed as 'sir'; NCOs and are addressed by their rank. Male officers of the rank of or above are addressed as 'Sir' (women of inspecting rank are called Ma'am). [ ] In the, a (RSM), the most senior non-commissioned officer, is addressed as 'Sir' by his subordinates. In the, male superiors are respectfully known by their surname followed by 'sir'. For example, Inspector Wong would be addressed or referred to as 'Wong-sir'. Male police officers are sometimes known colloquially as 'Ah-sir' (阿Sir) to the wider public. Usage within the service industry [ ] The term 'sir' is also used frequently in the customer service industry, by employees to refer to customers, and sometimes vice versa. In the USA, it is much more common in certain areas (even when addressing male peers or men considerably younger). For example, a 1980 study showed that 80% of service interactions in the South were accompanied by 'sir' or ma'am, in comparison to the Northern United States, where 'sir' was only used 25% of the time. See also [ ] • • Notes [ ]. • Ayres-Bennet, Wendy (1996). 'The 'heyday' of Old French (French in the 12th and 13th centuries)'. A History of the French Language Through Texts. London: Routledge.. Retrieved 2 February 2015. Retrieved 2 February 2014. Archived from on 15 March 2015. Retrieved 2 February 2015. Retrieved 2 February 2015. Retrieved 2 February 2015. • Royal Navy Flag Officers, 1904-1945:, admirals.org.uk • Australian Dictionary of Biography:, adb.online.anu.edu.au •. Retrieved 10 October 2017. •, 1 June 2016, accessed 16 August 2016 • 'Something of the Knight.' ,, no, 1420, 10 June 2016 • Donovan, Ned; Gallagher, Ian (28 May 2016)... Retrieved 16 August 2016. Retrieved 3 February 2015. Retrieved 3 February 2014. 1 November 2015. Retrieved 1 November 2015. Retrieved 3 February 2015. Juchter van Bergen Quast, LLM (in Dutch). Retrieved 2017-12-06. Official Gazette of the Republic of the Philippines. Retrieved 2017-12-06. Official Gazette of the Republic of the Philippines. Retrieved 2017-12-06. Retrieved 2017-12-06. • ^ Paton, Graeme (13 May 2014)... Retrieved 4 February 2014. • ^ Hudley, Anne; Mallinson, Christine (2011). 'A Regional and Cultural Variety'. Understanding English Language Variation in U.S. NY, USA: Teachers College Press.. • Rush, Robert S. NCO Guide (9th ed.). PA, USA: Stackpole Book. Retrieved 4 February 2015. • Guldin, Gregory Eliyu (1992). Urbanizing China.. External links [ ] Look up in Wiktionary, the free dictionary. Deliverance is a 1972 American thriller film produced and directed by John Boorman, and starring Jon Voight, Burt Reynolds, Ned Beatty and Ronny Cox, with the latter. Question: 'What does the Bible say about deliverance?' Answer: Deliverance is defined as “a rescue from bondage or danger.” Deliverance in the Bible is the acts of God whereby He rescues His people from peril. In the Old Testament, deliverance is focused primarily on God’s removal of those who are in the midst of trouble or danger. He rescues His people from their enemies (1 Samuel 17:37; 2 Kings 20:6), and from the hand of the wicked (Psalm 7:2; 17:13; 18:16-19; 59:2). He preserves them from famine (Psalm 33:19), death (Psalm 22:19-21), and the grave (Psalm 56:13; 86:13; Hosea 13:14). The most striking example of deliverance is the exodus from Egypt (Exodus 3:8; 6:6; 8:10). Here is God defined as the Deliverer of Israel who rescues His people, not because they deserve to be rescued, but as an expression of His mercy and love (Psalm 51:1; 71:2; 86:13). In the New Testament, God is always the subject—and His people are always the object—of deliverance. The descriptions of temporal deliverance in the Old Testament serve as symbolic representations of the spiritual deliverance from sin which is available only through Christ. He offers deliverance from mankind’s greatest peril—sin, evil, death and judgment. By God’s power, believers are delivered from this present evil age (Galatians 1:4) and from the power of Satan’s reign (Colossians 1:13). All aspects of deliverance are available only through the person and work of Jesus Christ, who was Himself delivered up for us (Romans 4:25) so that we would be delivered from eternal punishment for sin. Only Jesus rescues us from the “wrath to come” (1 Thessalonians 1:10). Another aspect of deliverance concerns the temporal. While believers are delivered once for all time from eternal punishment, we are also delivered from the trials of this life (2 Peter 2:9). Sometimes that deliverance is God simply walking through the trials by our side, comforting and encouraging us through them as He uses them to mature us in the faith. Paul assured the Corinthian believers that “no temptation has seized you except what is common to man. And God is faithful; he will not let you be tempted beyond what you can bear. But when you are tempted, he will also provide a way out so that you can stand up under it” (1 Corinthians 10:13). In these cases, rescue is not immediate, but in due time, after patience has had its perfect work (James 1:2-4, 12). God makes the way of escape simultaneously with the temptation which, in His perfect will and timing, He permissively arranges or allows for His people. Deliverance is often sought from evil spirits or the spirit of lust, jealousy, etc. It’s important to understand that, as believers, we already have eternal victory over Satan and demons. But we can be delivered from their influence in our lives by using two weapons God has given us as part of our spiritual armor with which we battle “against the powers of this dark world and against the spiritual forces of evil in the heavenly realms” (Ephesians 6:12-17). The believer defends himself with the shield of faith and uses the offensive weapon of the Word of God. Against these two, no spirit can prevail. By holding up the shield of faith, we extinguish the flaming spiritual arrows they send against us, arrows of lust, doubt, guilt, jealousy, evil speech, and all manner of temptations. With the sword of the Spirit, which is the Word of God, we overcome the evil one by proving his temptations to be lies because he is the father of lies (John 8:44). John’s second letter commends the young Christians whose spiritual strength came from the Word of God living in them. By the offensive weapon of the Truth, we overcome the evil one (1 John 2:14). Deliverance from sin, rescue from trials, and escape from the influence of a world in the control of the evil one come only through Christ, the Son of God who has come and “has given us understanding, so that we may know him who is true. And we are in him who is true—even in his Son Jesus Christ. He is the true God and eternal life” (1 John 5:19-20). Recommended Resource: Related Topics: Return to: Return to: What does the Bible say about deliverance? Jump to: • (5) • (1) Summaries • The Cahulawassee River valley in Northern Georgia is one of the last natural pristine areas of the state, which will soon change with the imminent building of a dam on the river, which in turn will flood much of the surrounding land. As such, four Atlanta city slickers - alpha male Lewis Medlock, generally even-keeled Ed Gentry, slightly condescending Bobby Trippe, and wide-eyed Drew Ballinger - decide to take a multi-day canoe trip on the river, with only Lewis and Ed having experience in outdoor life. They know going in that the area is ethno-culturally homogeneous and isolated, but don't understand the full extent of such until they arrive and see what they believe is the result of generations of inbreeding. Their relatively peaceful trip takes a turn for the worse when half way through they encounter a couple of hillbilly moonshiners. That encounter not only makes the four battle their way out of the valley intact and alive, but threatens the relationships of the four as they do and are asked to do things they never thought possible within themselves. — • Four Atlanta businessmen embarked on a canoeing trip through a river in deep Georgia. The reason behind their trip is that the local power company is planning to dam the river, making it into a giant lake. Knowing that this will be the last time they will get to see the river, the group decides to take that last chance. But, when the men come across some hostile locals, things start to take a turn for the worse as one of the men gets raped and one is severely injured while canoeing down the river. Soon enough, the four men begin to realize that they must survive the brutality of the American wilderness. The synopsis below may give away important plot points. Synopsis • Atlanta businessmen Lewis (Burt Reynolds), Ed (Jon Voight), Bobby (Ned Beatty), and Drew (Ronny Cox) decide to canoe down the fictional Cahulawassee River in the remote Georgia wilderness, expecting to have fun and see the glory of nature before the river valley is flooded over by the upcoming construction of a dam and lake. Lewis, an experienced outdoorsman, is the de facto leader. Ed is also a veteran of several trips but lacks Lewis' machismo. Bobby and Drew are novices. From the start, it is clear the four are aliens in this unknown locale. The redneck locals are crude and unimpressed with the presence of outsiders, and the film implies that some of them are inbred. Drew briefly connects with a local mentally-challenged, inbred, banjo-playing boy by joining him in an impromptu bluegrass jam (the 'Dueling Banjos'). But when the song ends, the boy turns away without saying anything, refusing the impressed Drew's handshake. The four 'city boys', as they are called by one of the unfriendly locals, exhibit a slightly condescending attitude toward the locals; Bobby, in particular, is patronizing toward them. Nevertheless, Lewis manages to negotiate with a pair of local mechanics (by bribing them) to drive their Bronco vehicles to a town downriver, where they will pick them up in three days. Afterwards, the four get into their two canoes and paddle off. The men spend the day canoeing down the river in pairs before camping by the riverside at night. Shortly before they retire for the night, Lewis tells the others to be quiet and disappears into the dark woods to investigate a sound he heard. He returns shortly after and says that he didn't find anything. When asked whether he heard 'something or someone,' he tells them he doesn't know. The next morning, Ed wakes first, and heads into the woods with his bow and arrow. He sees a deer, but cannot keep his aim straight. He fires and misses. He returns as the others are finishing breakfast and loading the canoes. Bobby and Ed get away first, and Lewis says that he and Drew will catch up. After a while, Bobby and Ed pull off to the side to wait, and notice a pair of unkempt hillbillies emerging from the woods; one toothless (Herbert 'Cowboy Coward), and one wielding a shotgun (Bill McKinney). Bobby speculates that they have a still hidden in the woods and amicably offers to buy some, but the hillbillies immediately become angry, and are not moved by Bobby's sarcastic comment. The two hillbillies force Bobby at gunpoint to strip naked. The lead hillbilly chases after and physically harasses Bobby as he tries to escape. Bobby's ear is twisted to bring him to his hands and knees, and he is then ordered to 'squeal like a pig'. Ed is bound to a tree with his own belt by the toothless hillbilly, helpless as McKinney's character violently sodomizes Bobby. As the two hillbillies now set their sights on Ed's 'pretty mouth', Ed notices Lewis sneaking up behind them through the trees with an arrow drawn. Lewis shoots and kills the rapist with a single arrow through his back, as the toothless hillbilly quickly escapes into the woods. Lewis and Drew begin to argue with each other about whether to inform the authorities. While Drew wants to find a phone to call the police, Lewis argues that they would be arrested and not receive a fair trial, as he claims that the entire local hillbilly population are related to one another, and the jury would be comprised of 'the dead man's friends and relatives'. Likewise, Bobby does not want the incident of his sodomy to become public. Lewis tells them that since the entire area will be flooded by a lake soon, the body would never be found, and that the escaped hillbilly could not possibly risk informing the police on them, since he had participated in the incident. The men vote to side with Lewis' recommendation to bury the dead hillbilly's body and continue as though nothing had happened. During the digging, Drew is obviously agitated, and screams at each exertion. After having buried the body, the four make a run for it downriver, cutting their trip short. Soon, disaster strikes as the canoes reach a dangerous stretch of rapids. In the lead canoe, Ed repeatedly asks Drew to don his life jacket, but an unnerved Drew ignores him without a word of explanation. As Drew and Ed reach the rapids, a faint gunshot is heard and Drew's head appears to shake, perhaps from being shot, and he falls forward into the river. After Drew disappears into the river, Ed loses control of his canoe and both canoes collide on the rocks, spilling Lewis, Bobby, and Ed into the river. Ed and Drew's wooden canoe breaks in half while Lewis and Bobby's metal canoe remains intact. Lewis breaks his right femur on a rock and the others are washed ashore alongside him in a gorge facing a massive cliff. The badly-injured Lewis believes the toothless hillbilly shot Drew and is now stalking them. Later that night, under cover of darkness, Ed climbs the nearby rock face in order to dispatch the suspected shooter using his bow, while Bobby stays behind to look after Lewis. Ed reaches the top and hides out until the next morning, when he sees a man standing on the cliff holding a rifle, looking down into the gorge where Lewis and Bobby are hiding. The man appears to be the hillbilly that escaped through the woods. Ed, a champion archer who earlier lost his nerve while aiming at a deer, again freezes in spite of his clear shot. The man notices Ed and fires his rifle as Ed clumsily releases his arrow. Ed falls to the ground in a panic and accidentally stabs himself with another of his arrows. The man stumbles toward Ed and is about to kill him when he drops his rifle and collapses, revealing Ed's arrow sticking through the back of his neck (Ed had in fact hit him after all). Ed suddenly remembers that the hillbilly who tried to assault him had no front teeth, but upon initial examination, this man appears to have all his teeth, but upon closer examination, Ed discovers that his victim has a partial, movable plate for his front teeth. Which are missing. Ed lowers the body down the cliff with a rope and climbs down after it. His rope breaks and he and the dead body fall into the river. Ed swims ashore and meets with Bobby and Lewis. Ed asks more than once if Bobby is certain the dead man is the same toothless hillbilly as the one they confronted earlier. Clearly irritated and not completely sure himself, Ed snaps at Bobby and asks him to confirm the dead man's identity. Ed and Bobby weigh the dead hillbilly down with stones and drop him into the river and then set out with the injured Lewis in the surviving canoe. A little later, they come upon Drew's grotesquely-contorted corpse. After being unable to find any definite gunshot wound on the dead Drew (save for a deep gash on his forehead which may or may not be a graze from a bullet), they also weigh it down into the river. Ed points out that they don't want the authorities examining Drew's body and possibly discovering a gunshot wound. Ed gives a short eulogy and sinks Drew into the river to ensure that he will never be found. With Lewis injured and Drew dead, Ed becomes the leader, trying to ensure their story is consistent, knowing the authorities will investigate. After canoeing through more rapids, Ed, Bobby, and Lewis finally reach their destination, the town of Aintry, which will soon be submerged by the river and is currently being evacuated. They call the police and take the injured Lewis to the local hospital while Sheriff Bullard (played by the author James Dickie himself) arrives to investigate the incident. One of the deputies, Arthur Queen, has a missing brother-in-law (ostensibly one of the hillbillies Lewis and Ed killed) and is highly suspicious of the 'city boys' version of events. Ed and Bobby visit Lewis' hospital room to make sure Lewis' version of events is consistent with theirs. While they are uncertain whether the apparently unconscious Lewis understands them, as the doctors enter, Lewis appears to awaken, gives Ed and Bobby a knowing wink, and says he remembers nothing. Ed and Bobby then spend the night at a local boarding house and have an uneventful dinner with the local tenants who tell them that they are leaving town soon because of the dam-lake project. Another day or two later, Ed and Bobby pack up their two Bronco trucks outside the boarding house and they prepare to pick Lewis up from the hospital and drive home. Just then, Sheriff Bullard suddenly appears and asks Ed why there were four life jackets found in the canoe when only he, Lewis, and Bobby came out of the river. Stammering, Bobby suggests there may have been an extra one, then realizes his mistake. But Ed intervenes and says 'no', that Drew was not wearing his life jacket when he fell into the river and he does not know why. The sheriff also tells them that his men found the remains of one of the canoes above the last set of rapids where the guys claim that Drew drowned, plus no trace of Drew's body has been found along the river. Ed continues to feign ignorance, claiming not to know anything as well as claiming not to have seen anyone else in the area. While the Sheriff remains suspicious, but having no evidence to arrest them (or perhaps sensing the truth of what happened) he simply tells Ed: 'Don't ever do nothin' like this again. Don't ever come back up here. I don't ever wanna see you or your friends again! I'd kinda like to see this town die peaceful,' to which Ed readily agrees and drives away with Bobby. The men vow to keep their story a secret for the rest of their lives, which proves to be psychologically burdensome for Ed; in the final scene, he awakes screaming from a nightmare in which a dead man's hand (presumably that of the possibly-mistaken man shot by Ed's arrow on the top of the cliff) rises from the lake. |
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