TAXIDERMIA I remember your family home. Upstairs, the second to the right your door. Now it’s locked and dark All silence and dust Your room as it was before: A Museum of Remembrance and Joy But you mistrust me now, you mistrust me now. Gyorgy Palfi's grotesque tale of three generations of men, including an obese speed eater, an embalmer of gigantic cats, and a man who shoots fire from below the waist. Jul 13, 2007. Peter Bradshaw: A visually striking, provocative dish served up with the most horrid ingredients imaginable. More Taxidermia images. May 17, 2007 trailer for taxidermia. Even the scrooges will smile at 3 free months of ad-free music with YouTube Red. The Tomatometer rating – based on the published opinions of hundreds of film and television critics – is a trusted measurement of movie and TV programming quality. - Toys on the second shelf, books at the height of the eyes Now you have other things to attend: - Duties you can’t avoid, risings about to be.life never takes a break.! There’s no room for child remains You mistrust me now, you mistrust me now I could make you doubt, you mistrust me now. ‘Cause I bring you to those spaces of soft rind Yes, I take you to those places you learned to shun to those days in which ice creams melt in our hands Too busy we were Plucking petals, one by one Planning huts up on trees or naming tadpoles on the pond - Oh! That has a tail, oh look! That has a frog’s leg! -Toys on the second shelf, books at the height of the eyes, games underneath the bed All under control no no No need to update. Whenever the time to empty that home arrives you’ll regret not having been cleaning up And you’ll mistrust me then even more than now You mistrust me now, you mistrust me now. I could make you doubt, you mistrust me now. I bring you to those spaces of soft rind. Yes, I bring you to those places you learned to shun. ‘Cause I bring you to those spaces of soft rind Yes, I take you to those places you learned to shun credits. Marc Bischoff, as a sallow, cadaverous taxidermist in the Communist era, in a film by the Hungarian director Gyorgy Palfi. Credit Regent Releasing Among the grotesque images paraded through Gyorgy Palfi’s film the most indelible are neither the graphic depiction of an obsessive voyeur masturbating with fire nor the shearing of a pig’s tail attached to a newborn baby. They are found in its extended scenes of sport-eating competitions by a Hungarian team of gourmands during the Communist era. Seated in a row of troughs, the contestants, who have the pillowy bodies of sumo wrestlers, shovel slop down their throats as fast as they can swallow it in a race against the clock. During the breaks between rounds they regurgitate torrents of vomit, while comparing techniques of “cross-swallowing.” If Nora Ephron’s is an irresistible invitation to dine, “Taxidermia” is an equally compelling one to fast. A meditation on the bestial appetites of humanity by the Hungarian director who made his 2002 debut with the much-admired, nearly silent “Taxidermia” relentlessly focuses on sex, food and innards. It might also be an allegory about repression and Hungarian national identity over the last 70 years. Beautifully lighted, with elegant, fluid cinematography, it includes some stunning, magic-realist flourishes. The revolving image of a wooden bathtub finds its function changing with each revolution. A stuffed human body with the head removed and a stitched torso, exhibited in a museum, suggests a Dadaist parody of Michelangelo’s David. Directors who borrow from the aesthetic include David Cronenberg and Terry Gilliam, and, in its cruder expressions, the practitioners of torture porn. Palfi’s film aspires to high art. In his director’s note he states, “My aim was to create not just an auteur film but an enduring, personal auteur film.” He might have added “in the European tradition.” The message is a brutal reminder that beneath a thin veneer of civilization we are animals who kill and torture one another and who devour other animals. “Taxidermia” is a generational triptych that begins during World War II and ends in the present and whose parts dissolve into one another. The first two are adapted from stories by the Hungarian writer Lajos Parti Nagy; Mr. Palfi contributed the final segment. In Part 1 Vendel Morosgovanyi (Csaba Czene), a servile military orderly and peeping Tom in a remote wintry outpost, obsessively spies on the wife and daughters of his sadistic commanding officer, who treats him like a slave. Vendel finds comfort in secret lust. He tortures himself with a candle flame, drinks fire and in a spectacular special effect turns his erect penis into a flaming rocket. After he copulates with the lieutenant’s slovenly wife in a scene in which squeals and grunts are accompanied by his fantasies of her daughters and a slaughtered pig, she becomes pregnant. The cuckolded commander shoots Vendel in the head but brings up his child, Kalman Balatony (Gergo Trocsanyi). Born with a pig’s tail that is severed at birth, Kalman grows up to be a speed eater for a team seeking recognition by the International Olympic Committee. The eating marathons and accompanying military pageantry mercilessly satirize the empty pomp of Communist rallies. Kalman marries Gizi (Adel Stanczel), a fellow speed eater. After their honeymoon, while she is pregnant, the couple put on an eating exhibition in which they consume much of a vat of red caviar. The story jumps to the present. Gizi has left Kalman (now played by Gabor Mate in a fat suit), who subsists on a diet of unwrapped candy bars that he swallows whole; he has grown so enormous he is unable to move. Kalman, who lives alone with three glowering cats that he is fattening by feeding them lumps of lard, is regularly visited by his resentful son, Lajos (Marc Bischoff), a sallow, cadaverous taxidermist. Discovering his father dead one day, Lajos proceeds to stuff him. Then he locks himself into a Rube Goldberg-worthy contraption and begins stuffing himself; father and son end up as works of art displayed in a museum. Treatises could be written on the relation between life and art, the bestial and spiritual, in “Taxidermia.” A central ingredient that runs through the movie is a current of humor. “Just as the body is overcome by desire, so naturalism is overcome by surrealism,” Mr. Palfi declares. Barely able to contain a smirk, “Taxidermia” makes it grimly funny. TAXIDERMIA Opens on Friday in New York and Los Angeles. Directed by Gyorgy Palfi; written by Zsofia Ruttkay and Mr. Palfi, based on stories by Lajos Parti Nagy; director of photography, Gergely Poharnok; edited by Reka Lemhenyi; production designer, Adrien Asztalos; produced by Peter Miskolczi, Gabor Varadi, Gabriele Kranzelbinder, Alexander Dumreicher-Ivanceanu, Alexandre Mallet-Guy and Emilie Georges; released by Here Media/Regent Releasing. In Manhattan at the Cinema Village, 22 East 12th Street, Greenwich Village. In Hungarian and Russian, with English subtitles. Running time: 1 hour 31 minutes. This film is not rated.
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In Mumbai taxi rides are as cheap as chips, as long as you don't end up hailing someone like Raghu, a short-tempered cabbie who loves giving passengers the run around in Milan Luthria's Taxi No. Played outstandingly by acclaimed character actor Nana Patekar, this entertaining comedy-drama - inspired by Roger Michell's Changing Lanes - will take you on an entertaining journey through two contrasting lives. When Raghav (Patekar) crosses paths with Jai (John Abraham), the arrogant son of a millionaire who is on his way to court to claim his legacy, a simple cab ride kicks off a 24-hour journey in which things go spectacularly wrong. They may not have the congestion charge to deal with, but Mumbai city throws up its fair share of other problems for the pair, both of whom stand to lose their most prized possession - Raghu his wife and kids and Jai his family fortune. Fortunately writer Rajat Arora's skilfully adapted screenplay and sharp dialogues make you want to hang on during their traumatic expedition. 'ADEPT DIRECTION' Boasting gallons of fun, energy and some rather dangerous looking Indian car chases, Luthria's adept direction captures Mumbai's frenetic pace and people, from its notorious traffic jams to shady side-street characters. But above all, his film provides both Patekar and Abraham the opportunity to shine as two strangers who unexpectedly turn into vicious adversaries. Even Sonali Kulkarni and Sameera Reddy get a decent look in as their suffering partners. If you like your Bollywood to steer clear of schmaltz, take a trip to see Taxi No. In Hindi with English subtitles. End Credits Director: Writer: Stars:,,, Genre:, Length: 116 minutes Cinema: 24 February 2006 Country: India Cinema Search Where can I see this film? New Releases. Raghav Shastri (Nana Patekar), an Insurance Salesman to the world, but a caustic, instinctively witty cabbie in reality, who needs thirty thousand rupees by the end of the day. Jai Mittal (John Abraham), the equally acidic heir to a resourceful business family, who needs a bit more. Three hundred crores actually. Also by the end of the day Jai needs to contest his father’s will in court and needs Raghu’s cab to get there. Raghu needs every rich client he can get as a passenger so the two meet. And a predictable cab ride kicks off a roller-coaster journey that depicts a contrasting tale in which on either side of the seat that divides them, are two problems that arise from diametrically opposed perspectives of life. Taxi No 9211 focuses on Raghav Shastri (Nana Patekar), a cab driver in Mumbai who lies to his wife about his job, pretending to be an insurance salesman. One day, he gives Jai Mittal (John Abraham), a young businessman, a lift. Jai is fighting for ownership rights of his late father's estate. Unfortunately, the cab gets into an accident with Jai escaping as he's in hurry. In the process however, Jai loses the key to the vault containing his father's will in the back of Raghav's taxi. Raghav decides to hide it from Jai, who, in search for his lost item, goes to Raghav's house and tells his wife what he really does for a living. She leaves him, taking their son, and Raghav decides to take revenge. Raghav and Jai vow to kill each other, as they blame each other for their woes. When Raghav fails to kill Jai he targets Jai's girlfriend, Rupali (Sameera Reddy). As Raghav chases Rupali she is saved by Jai at the very last moment. Jai lets Rupali escape and he attacks Raghav. They have a dirty car fight, but both survive. Raghav then decides to go to Jai's place. Jai returns to his apartment from a second court hearing regarding his father's estate in defeat, because he doesn't have his father's will. He discovers the will, torn to pieces and pasted on the wall of his apartment. Jai becomes depressed and feels lonely after his friends left him. Soon he even gets dumped by Rupali. Losing everything that used to be precious for him, Jai realise how brutal life can be, and begins respecting his father and his work. On the other side Raghav is caught again by police and taken to police station where his wife tells his real character and problem within himself. Soon he realise his deeds. Later, he is bailed out of prison by a repentant Jai. They both go to Jai's apartment for a drink and Raghav returns the Will saying he never destroyed it, rather he tore the fake one. Jai rejects the will and decides to begin afresh. Raghav also gets a second chance with his family. Character Error When Sonali Kulkarni buys tickets for Nasik she asks for two tickets for the 9 pm train but later when Nana Patekar is in John Abraham's house he says my wife is going to Nasik by the 11:30 pm train. Continuity After Jai Mittal leaves the court in a car, we can see the same arch of the BMC building in the background twice. Continuity In the taxi, Nana applies the brakes, John falls forwards and still has his chain around his neck and only the next scene he remembers that he lost his chain during the incident. Errors in Geography The Old Gothic building used as the Mumbai High Court is actually the St Xavier's technical institute on Mahanagr Plaika Marg, Mumbai. Actress Priyanka Chopra plays a special cameo at the end of the film, hinting that she is John's new girlfriend in the movie. The account number of John Abraham's character, Jai Mittal, is 1129, which is 9211 backwards. 9 2 11: Nau Do Gyarah marks the comeback of actress Sonali Kulkarni in Hindi, who was last seen in 'Danav'. The movie was remade in Tamil as 'TN 07 AL 4777', and in Telugu as 'Game', with Mohan Babu and his son Vishnu Babu. The very first movie soundtrack for which music composer Bappi Lahiri has sung for someone else besides himself. This movie was inspired from the Hollywood movie 'Changing Lanes', with John Abraham playing Ben Affleck's role and Nana Patekar portraying Samuel L Jackson's role in this Hindi version. The Bourne Supremacy is a 2004 American-German action spy thriller film starring Robert Ludlum's Jason Bourne character. Though it takes the name of the second Bourne. Plot summary, trailer, cast and crew information, user reviews, and message board. The Bourne Supremacy movie reviews & Metacritic score: The Bourne Supremacy re-enters the shadowy world of expert assassin Jason Bourne (Damon), who continue. Running time 108 minutes Country United States Germany Language English Italian Russian German Budget $75 million Box office $288.5 million The Bourne Supremacy is a 2004 American-German film starring 's character. Though it takes the name of, its plot is entirely different. The film was directed by from a screenplay. Released the film to theaters in the United States on July 23, 2004. It is the second in the. It is preceded by (2002) and followed by (2007), (2012), and (2016). The Bourne Supremacy continues the story of, a former suffering from. Bourne is portrayed. The film focuses on his attempt to learn more of his past as he is once more enveloped in a conspiracy involving the CIA and Operation Treadstone. The film also stars as Ward Abbott, as Pamela Landy and as Nicky Parsons. Contents • • • • • • • • • • • Plot [ ] Two years after his disappearance, () and Marie Kreutz () are now in,. Still experiencing about his former life as a assassin, he records them in a notebook. In, two CIA agents subordinate to Pamela Landy () are paying US$3 million for the 'Neski files', documents on the theft of $20 million in seven years prior. The deal is interrupted by Kirill (), an agent for 's who works for Russian oil Yuri Gretkov (). Kirill plants Bourne's fingerprint at the scene, interrupts the deal, kills everyone involved and steals the files and money. He travels to Goa to kill Bourne, but Bourne spots him and flees with Marie. Kirill shoots and kills Marie instead of Bourne. Their vehicle plunges into a river and Bourne leaves after unsuccessfully attempting to revive Marie. Bourne travels to with money and passports. After finding Bourne's fingerprint that Kirill planted, Landy asks Deputy Director Ward Abbott () about Operation Treadstone, the defunct CIA program to which Bourne belonged. She tells Abbott that the CIA agent who stole the $20 million was named in the Neski files. Some years previously, Russian politician Vladimir Neski was about to identify the thief when he was supposedly murdered by his wife in a Berlin hotel. Landy believes that Bourne and Treadstone's late supervisor, Alexander Conklin, were somehow involved and that Bourne killed her two agents. Both Abbott and Landy go to Berlin to capture Bourne. In Naples, Bourne allows himself to be identified by security. He subdues his CIA interrogator and from his cell phone. From the subsequent phone call, he learns about Landy and the. Bourne goes to to visit Jarda (), the only other remaining Treadstone operative. Jarda informs Bourne that Treadstone was shut down after Conklin's death, and tries to incapacitate him. Bourne kills Jarda and escapes before the CIA arrives. Bourne follows Landy and Abbott as they meet former Treadstone support technician Nicky Parsons () to question her about Bourne. Believing that the CIA is hunting him again, Bourne calls Landy from a nearby roof and is told of the reason for his pursuit. He demands a meet-up with Nicky and indicates to Landy that he can see her in the office, shocking the entire CIA team. Bourne kidnaps Nicky at the meet-up in, and learns from her that Abbott was the head of Treadstone, not Conklin. He remembers that he murdered Neski in Berlin, but Nicky knows nothing about it, so he lets her go. Bourne then visits the hotel where the killing took place and recalls more of his mission—he killed Neski on Conklin's orders, and when Neski's wife showed up, he shot her to make it look like a. Danny Zorn (), Conklin's former assistant, suspects that Bourne was not involved. He explains his theory to Abbott, who kills him. Bourne breaks into Abbott's hotel room and records a conversation between him and Gretkov that incriminates them in the theft of the $20 million. Abbott admits to Bourne that he stole the money, ordered Bourne to murder Neski, ordered Kirill to retrieve the files, and have Bourne framed and silenced in Goa. Abbott expects Bourne to kill him, but Bourne, thinking of Marie, refuses, leaving his gun on the table. After Bourne leaves, Landy confronts Abbott about her suspicions and he commits suicide. Later, Landy returns to her hotel room where she finds an envelope that Bourne has delivered to her room containing the tape of Abbott's conversations with Gretkov and Bourne. Listening to the tape, she realizes that Bourne is now vindicated. Bourne goes to to find Irena Neski, the daughter of Vladimir Neski. Kirill, tasked once again by Gretkov with killing Bourne, finds and wounds him. Bourne flees in a stolen taxi and Kirill chases him. After a long high-speed chase also involving police vehicles, Bourne forces Kirill's vehicle into a concrete divider. Bourne walks away, leaving a seriously wounded Kirill. Gretkov is subsequently arrested. Bourne locates Irena and confesses to murdering her parents; after apologizing, he leaves. Later in New York, Bourne calls Landy; she thanks him for the tape, reveals to him his original name and date of birth, and asks him to meet her. Bourne then says, 'Get some rest, Pam. You look tired', indicating that he is in New York and watching her. • as • as Marie Helena Kreutz • as Ward Abbott • as Nicolette 'Nicky' Parsons • as Kirill • as Danny Zorn, Abbott's assistant • as Pamela Landy • as Jarda • as Yuri Gretkov • as Martin Marshall • as Tom Cronin • as John Nevins • as Kim • as Kurt • as Teddy • as Irena Neski Production [ ] There were no plans to make a sequel to The Bourne Identity (2002) when it was conceived. Matt Damon commented, 'When The Bourne Identity came out I said, 'There is very little chance we will do a second film, just because nobody on the team who made the first wants to make another movie if it can't be as good as, or better than, the first one. ' According to producer, the plot point of Marie's kidnapping to force Bourne back into his assassin persona in the novel The Bourne Supremacy and Bourne's threat to come after the CIA if they came after him again in the previous film, were the inspiration for the plot. Marshall said that screenwriter thought of an idea that Bourne 'would go on what amounts to the samurai's journey, this journey of atonement.' Producer Paul L. Sandberg felt that Gilroy's 'veering away from the plot of the book' was necessary 'because so much of the world has changed since the book's publication.' The producers replaced director Doug Liman. This was mainly due to the difficulties Liman had with the studio when making the first film, and their unwillingness to work with him again. British director was selected to direct the film after the producers saw (2002), Greengrass' depiction of the Bloody Sunday shootings in Northern Ireland, at Gilroy's suggestion. Producer Patrick Crowley liked Greengrass' 'sense of the camera as participatory viewer', a visual style Crowley thought would work well for The Bourne Supremacy. The film was shot in reverse order of its settings: some portions of the car chase and the film's ending were shot in Moscow, then most of the rest of the film was shot in and around Berlin, and the opening scenes in Goa were filmed last. According to a June 2008 article from The Guardian, 'Two weeks before [the film's] release, [Greengrass] got together with its star, Matt Damon, came up with a new ending and phoned the producers saying the new idea was way better. And it would cost $200,000 and involve pulling Damon from the set of for a. Reluctantly the producers agreed—the movie 10 points higher with the new ending'. Reception [ ] Box office [ ] The Bourne Supremacy brought in over $52,521,865 on it's opening weekend, putting it at No. 1 for the weekend box office (July 23-25, 2004). The film went to gross over $176,241,941 (61.1%) in North America, with the international release being $112,258,276 (38.9%) resulting in a complete total of $288,500,217 worldwide. Critical response [ ] The film received positive reviews from critics. Review aggregation website gives the film a score of 81% based on reviews from 189 critics, with an average score of 7.2/10. The site's consensus reads 'A well-made sequel that delivers the thrills.' At, which assigns a normalised rating out of 100 based on individual reviews, the film achieved an average of 73 based on 39 reviews, indicating generally favorable reviews. This section needs expansion. You can help. (January 2014) Accolades [ ] At the 2005, veteran Russian and Scottish stunt driver won the 'Best Vehicle' award for their driving in the Moscow scene. Dan Bradley, the film's won the overall award for stunt coordinator. The film ranks 454th on 's 2008 list of the 500 greatest movies of all time. Year Organization Award Category/Recipient Result 2005 ASCAP Award Top Box Office Films: John Powell Won 2005 Saturn Award Best Actor — Nominated 2005 Critics Choice Award Best Film – Popular Nominated 2005 C.A.S. Retrieved September 30, 2012. Retrieved 2007-08-06. • Bennett, Bruce (2008-05-28).. Retrieved 2009-09-10. • 'Picking Up the Thread'.. The Bourne Supremacy (2004). Retrieved 2010-07-16. • 'Setting Bourne's World'.. The Bourne Supremacy (2004). Retrieved 2010-07-16. Retrieved 2011-11-09. • Armstrong, Stephen (June 8, 2008).. The Guardian. Retrieved August 20, 2012. Retrieved 2011-11-09. Retrieved 2010-08-24. Retrieved August 24, 2007. External links [ ] Wikiquote has quotations related to: • on • at •. The Adventures of Huckleberry Finn study guide contains a biography of Mark Twain, literature essays, a complete e-text, quiz questions, major themes, characters, and a full summary and analysis of. The Adventures of Huck Finn is a 1993 American adventure film written and directed by Stephen Sommers, distributed by Walt Disney Studios Motion Pictures and Buena. Huck and Jim are characters of great nobility and heart, and their friendship is deep and loving. Jim is patient, kind, caring, and wise. Huck, though he has been taught and believes that slavery is right -- and that he will go to hell for helping a slave run away -- makes a conscious decision to do so anyway. Though he has been taught that black people are inferior, Huck brings himself, in an especially moving scene, to apologize to Jim for thoughtless behavior, and he 'warn't ever sorry for it afterwards, neither.' All of that said, Huck does lie and steal, and he cheerfully rationalizes both. Parents need to know that The Adventures of Huckleberry Finn is a classic by Mark Twain. The novel includes frequent use of the 'N'-word (and other now-dated terms), but the book is clearly anti-racist and anti-slavery. Children, especially younger ones, may need some help seeing how Twain uses the racist talk to show the stupidity of racism and the characters who espouse it. Huck has been taught to be racist, too, but he overcomes this, even though he thinks doing so is wrong -- a clever approach that may be too sophisticated for some young readers to understand without help. There's also some violence and several deaths, including two children. There's a reason why many consider THE ADVENTURES OF HUCKLEBERRY FINN to be one of the great -- if not the greatest -- American novel. It broke many of the literary rules of its time and thus set the pattern for much of American literature ever since. It's told in first-person dialect by a great-hearted but ignorant bumpkin of a boy who understands far less than the reader but who knows how to follow his heart over his head. And it deals forthrightly, and scathingly, with racism, the great American problem. Those who attempt to ban this book (and it is one of the most frequently challenged, year after year) can't see the forest for the trees. They see the liberal use of the 'N' word and assume it's racist, when in fact it's just the opposite -- it's a powerful, and powerfully moving, statement against racism (as well as slavery, war, and a host of other American problems). Despite its flawed final section, when Tom Sawyer reappears and the author reverts to the style of that lighthearted, lightweight book, this remains, more than 100 years after its publication, a book that every teen should read. • Families can talk about the book's racist characters. Why did Twain put them there? Did he agree with what they're saying? How have feelings about the 'N'-word (and other words used here) changed since Mark Twain's day? • What do you, the reader, understand in this story that Huck doesn't understand? How does Twain use Huck to convey his messages? What are those messages? • Why do you think so many people consider this to be a great work of American literature? What do you think of the final section, when Tom Sawyer reappears in the story? Does it fit with the rest of the book? Why or why not? Culture Shock: Flashpoints: Literature: Mark Twain's Adventures of Huckleberry Finn|| Mark Twain's Adventures of Huckleberry Finn was called vulgar in the 19th century and racist in the 20th. Mark Twain's Adventures of Huckleberry Finn 1885 Samuel Clemens, whose pen name is Mark Twain, publishes Adventures of Huckleberry Finn in 1885 in America. He has been at work for eight years on the story of an outcast white boy, Huck, and his adult friend Jim, a runaway slave, who together flee Missouri on a raft down the Mississippi River in the 1840s. The book's free-spirited and not always truthful hero as well as its lack of respect for religion or adult authority draw immediate fire from newspaper critics. The ungrammatical vernacular voice in which Huck narrates the book is also attacked as coarse and inappropriate. Some readers find the colorful stories Huck tells immoral, sacrilegious, and innapropriate for children. The Concord, MA, library bans Adventures of Huckleberry Finn a month after its publication, calling it 'trash and suitable only for the slums.' Other libraries follow suit. In the decades after Twain's death in 1910, Adventures of Huckleberry Finn gains the status of a masterpiece. Novelist Ernest Hemingway remarks that 'All modern American literature comes from one book by Mark Twain called Huckleberry Finn,' and other writers as diverse as American poet T.S. Eliot and African American novelist Ralph Ellison add their acclaim. It is increasingly studied at both the high school and college level, where its literary merit and the insights it offers into American society are praised. In particular, some consider Twain's satire to be a powerful attack on racism. Others see Adventures of Huckleberry Finn not as an attack on racism, but as inherently racist itself. African Americans and others, led by the NAACP, begin to challenge the book in the 1950s, appalled by the novel's portrayal of the slave Jim and its repeated use of the word 'nigger.' The book is removed from some schools in the New York City school system, and its place on required reading lists is threatened in other cities. Debates about Adventures of Huckleberry Finn continue to the present day. The crux of the controversy remains race, although some, notably Pulitzer Prize-winning author Jane Smiley, also assert that the book's reputation as a literary classic is exaggerated. In 1998, Kathy Monteiro, parent of a student in a Tempe, AZ, high school, sues the school district, claiming that an already tense racial environment was exacerbated by the assignment of Adventures of Huckleberry Finn as required reading. Although the judges decline to ban the book, they do state that a school district has a legal duty to take reasonable steps to eliminate a racially hostile environment and can be held liable for damages if they fail to make this effort. While Monteiro and her supporters hail this as a victory, the questions of whether Adventures of Huckleberry Finn contributes to a racially hostile environment and whether it should be assigned in high school remain unresolved. For more about Adventures of Huckleberry Finn and teaching controversial topics, see, a guide for teachers on this Web site. Is the first film in the Culture Shock series. Culture Shock:||||. Xpress Wax gives deep gloss and long lasting shine and protection for delicate finishes. Easy spreading and fast drying formula for clearcoat and enamel finishes. Virtually dust -free removal. Xpress Wax features a unique lotion-like emulsion designed for ease of application and removal. Watch trailers, read customer and critic reviews, and buy Stoner Express directed by Lee Lennox & Wayne Lennox for $9.99. Directed by Lee Lennox, Wayne Lennox. With Jonathan Readwin, Sean Power, Eline Powell, Eric Lampaert. Jack comes to Amsterdam to find his father and, through a. May be used as a speed hand wax, orbital wax or DA machine polish. Xpress Wax quickly enhances and brightens paint finishes. Perfect for use on all types of finishes including cars, trucks, motorcycles, boats and planes. Fast and easy to use: • Wash, dry vehicle prior to waxing. • Shake container well before use. • Apply with a clean, dry towel. • Allow product to dry and wipe off with clean towel. Note: Do not apply in direct sunlight or to hot surfaces. The main theme of Stoner Express aka AmStarDam is weed. The actor, actress, script writer, director, crew everyone was high when they are making this movie. That is why they enjoyed making the film and did not care what are they making. So if you decide to watch the movie then make sure that you are also high when you are watching the film. It is a typical average film. The story is predictable, and there was nothing unique about the script. And also there was no twist or surprise in the plot. Although it is a comedy movie but there was not much comedy in it that you can laugh. Overall acting is also average. Eline Powell looked so cute and beautiful in it but her performance was not very good in the film. To sum it up, not recommended. But if you are high already, then go watch the film, you might enjoy it. Congressman's daughter passing through a small town in Mississippi dies in a mysterious triple homicide, a team of F.B.I. Agents descends to investigate, the team's brilliant but jaded lead agent battling demons both past and present, as his beautiful, tough-as-nails partner tries to hold him and the case together. They find a struggling and corrupt sheriff's department, a shadowy and much-feared figure, who seems to be pulling all of the town's strings from his mansion on the edge of town and a local victim with a strange connection to a number of the town's most prominent figures. I just watched this. Luckily I didn't pay for it. Had I had to have paid for it, I would be really upset. As it is, I was just baffled. Nov 5, 2015 - 4 min - Uploaded by ToriKellyVEVOGet Tori Kelly's new single “Hollow” out now! Download: TKHollow // Spotify. Clearly, anyone who as watched it knows how bad it is and that's the end of that. For those that have not watched it and who maybe are looking for something to watch and are looking at movie ratings in order to decide, run. Run fast and furiously away from this movie. Not only is it all levels of bad, but it is so obvious that the people involved in making it tried desperately to lie and manipulate people into watching it through a series of fake reviews. To begin, as another rater said, in no universe or galaxy anywhere would anyone give this craptacular piece of time-stealing trash anything above a 4, much less a 9 or a 10. I would bet the farm on that and with that in mind, let me do the faker math for you. Reviewer stevenafillingane IMDb member since January 2017 only one review ever, you guessed it, for this movie rates it a 10, and cannot stop talking about Miles Doleac. A fake review and reviewer if ever there was one. I'd bet 10-1, the director himself as he seems a little angry at the real reviewers. Reviewers kennedya-73401 and mindibennett both reviewed this AND ONLY The Historian (a film ALSO by - SURPRISE!!! - Miles Doleac), a 10. Obvious fakes and 10-1 another Doleac fake account. Reviwer michaelscasey-05453 IMDb member since December 2016, one review, for yes, this crapfest of a movie, rating it an 8 and doing a much better job at not appearing to be overly enthused about it, but using basically word-for-word the same verbiage and 'film noir' references as in their other fake reviews, AND Lol. He just CANNOT help but mention Miles Doleac (again). Casey goes on to say that the way they speak in this movie is more or less verbatim what he grew up around and that the director Miles Doleac has just moved that on to the big screen. Doleac, it is what you inferred and then translated onto the screen with pretty terrible results. In closing, I believe that there must be a level of integrity and ethics involved in everything. No, I am not perfect, but I don't THINK I would ever try and fool others into watching something I had filmed, with such an obvious and unabashed series of lies. Awful film, awful attempt at ratings deception. Even if it is ever streaming for FREE, skip this one like the plague. Tropes used by the film: •: Having to keep your family safe during a genocide is a huge one. Add on the extra terror Paul must endure due to the fact that his wife is Tutsi and his children are half Tutsi. • Though not addressed by the film, Rusesabagina is in fact half-Tutsi himself, meaning that he was at even greater personal risk than implied, plus his children were technically 3/4 Tutsi. •: General Bizimungu. Therefore, easily bribed with good scotch. •: In reality, Paul's wife understood, if reluctantly, why he had to stay behind to protect the people sheltering in the hotel. • See also below. It's one thing to stand up to psychotic, blood-crazed mobs when you're an armed ass-kicker. It's another thing altogether to do it when you're a hotel manager armed only with an iron backbone and wits. •: But dramatized for the sake of the movie. •: The closest you'll get in a movie so dark despite being commented on as not being dark as the real thing. As the hotel refugees are leaving by way of UN-emblazoned transports, a swarm of Hutu militiamen are seen on the road ahead. Colonel Oliver is armed with a pistol, and he does nothing but cock it and order them to 'Keep driving.' Then, against what seems to be a building, a group of Tutsi rebels emerge from the nearby foliage and open fire, giving the trucks a way to pass through. •: The hotel 'Mille Collines', which means 'the thousand hills', is another name for the country Rwanda. •: A fairly obvious case. True to history, Paul and his family make it to safety along with the rest of the hotel refugees; Sadly however, nearly a million Rwandans were not as fortunate by the time the violence was stopped. •: Paul is viewed as one by Georges Rutaganda and many other Hutu extremists, due to his marriage to a Tutsi woman and his reluctance to partake in Hutu supremacist activities. Nov 17, 2011. If true, the story of Paul Rusesabagina, as told in the 2004 film Hotel Rwanda, would be truly inspirational. Here is a Rwandan who faced down the militia to protect the terrorised families who had sought shelter at the five-star Hotel des Mille Collines in Kigali. He alone had heroically saved hundreds of. Hotel Rwanda is a 2004 British-Italian-South African historical drama film directed by Terry George. It was adapted from a screenplay written by both George and Keir Pearson. It stars Don Cheadle and Sophie Okonedo as hotelier Paul Rusesabagina and his wife Tatiana. Based on the Rwandan genocide, which occurred. Hotel Rwanda (2004) cast and crew credits, including actors, actresses, directors, writers and more. •: One of Paul's hotel employees is a virulent Hutu partisan who tells the militia about the location of the Tutsi refugees. •: Paul does absolutely everything in his power and then some to guarantee the survival of his family and the other refugees. •: Those Hutus like Gregoire who didn't actively take part in the genocide but were happy to take advantage of it. And basically the rest of the world as well-for example through the UN security council's painfully obvious loophole abuse to prevent the genocide being recognized as a genocide note It was so ridiculous that former President Clinton, in 2004, traveled to Rwanda and apologized for failing the country so completely. •: The film depicts the genocide as being a consequence of this logic. •: At the start of the film, Paul goes to pick up some supplies from Rutaganda. It's a fairly casual exchange. One of the forklift operators brings a load of crates and Rutaganda shouts that it's the wrong one. When the operator reverses the machine, the top crate falls off and splits open on the ground. It's full of machetes. •: • Paul has one shortly after driving on a road covered with hundreds of mutilated corpses. It's the first moment when he's alone after the genocide begins. • Colonel Oliver has one when he finds out the U.N. Soldiers aren't going to protect the refugees or help them get out of the country. •: General Bizimungu. Directed by Terry George. With Don Cheadle, Sophie Okonedo, Joaquin Phoenix, Xolani Mali. Paul Rusesabagina was a hotel manager who housed over a thousand Tutsi. Biography Paul Rusesabagina was a hotel manager who housed over a thousand Tutsi refugees during their struggle against the Hutu militia in Rwanda. In the film, he's portrayed as only motivated by self-interest. While uninterested in protecting Tutsis unless Paul is paying him to do so, he also shows no particular desire to see them dead, unlike other Hutu officers. He also adamantly insists to Paul that he did not commit any atrocities when he has no obvious reason to lie. The real life Bizimungu, however, did indeed lead massacres. •: A rather sobering example in the opening to the film, which includes the radio clip ' voiced concern at the deteriorating situation in Sarajevo.' , alluding to the, which occurred only a few short years before the Rwandan genocide. •: Paul's boss in Belgium, Mr. Tillens, who is horrified by the genocide, does what he can to help Paul and the refugees, notably doing more than his nation's actual government to help. •: Subverted. Paul finds his wife and family hiding in a shower, wielding a shower hose as a weapon. He even points out, 'What were you going to do with this?!' Especially since the water was turned off by that point. •: Colonel Oliver when he finds out the U.N. Isn't going to stop the genocide. •: • And a particularly brutal one at that. Oliver: No one controls them. •: Sleazy employee receives zero comeuppance for selling out the first band of refugees attempting to flee the hotel, which nearly gets some of them -including Paul's family-killed. The original script took this even further, where an enraged Paul actually attempts to chase him down, only to give up and allow Gregoire to escape his just deserts. •: There's lots of bonus material if you buy even the, though, including by the real Paul Rusesabagina himself. •: Nick Nolte plays a Canadian colonel named Oliver, rather than the real-life who was the Force Commander for UNAMIR. Whether this was to avoid historical inaccuracies or because he didn't want to isn't clear. •: The United Nations soldiers, but not by choice. Oliver: I'm only allowed to leave four soldiers stationed here, Paul. And they're not allowed to shoot. •: The pretty much., the anti-Tutsi 'Hutu Power' radio station we hear on the film. •: According to the real Paul Rusesabagina, the level of violence was downplayed for the film, saying 'You couldn't invite someone to watch the real thing.' •: Happens to the Tutsi women and girls captured by Rutaganda and his militiamen. Unfortunately, this is very much, since this was not only institutionalized but encouraged by the militias and military. One survivor of the genocide reported being raped more than 5 times a day while the men stood around and watched. •: All the Hutu soldiers are this with the possible excepction of General Bizimungu. •: The Hutu militia does this, sliding their machetes against the ground while closing in on the Tutsi refugees. •: Given the choice between shooting the Tutsi refugees or being shot himself, Paul instead bribes the soldier holding him at gunpoint into releasing them. Jack: 'I think if people see this footage, they'll say oh my God, that's horrible. And then they'll go on eating their dinners.' Note Sadly, in, that is exactly what happened. •: It's theorized that the assassinated President Habyarimana did this so it would give his followers an excuse for committing the genocide (which was pre-planned). The movie takes this angle. •: in-universe. Paul's associate explains the distinction between Hutu and Tutsi as having basically just been an invention of the Belgians during. However, the reality is more complex than that, as pre-existing notions of Tutsi and Hutu ethnic groups did exist, and theories abound concerning migration patterns of the Tutsi and where they may have come from centuries earlier. However, the cultures and bloodlines are so mixed in Rwanda as to make the black-and-white distinction used by the Interahamwe. Colonel Oliver: Don't bullshit me, Paul, you're the smartest guy here. You have them all eating out of your hand. You'd own this fucking hotel, except for one thing. You're black. You're not even a nigger. You're an African. They're not gonna stay, Paul. They're not gonna stop the slaughter. A few white international characters are introduced as being disturbed and wanting to help with the situation in Rwanda. Once the UN makes the order to ship them out, though, they prove to be ineffective. •: Doubles as a moment when a refugee angrily shuts off the radio as UN officials continue to bullshit the issue as the question of genocide is discussed. Paul's disgust really sums up the utter callousness of the UN through the crisis. Archer mentions that not even a little girl has been spared by the Hutu militia. PeelersAt Williams-Sonoma, we know how important it is for professional and amateur cooks alike to have tools that are versatile enough to tackle numerous recipes. Our selection of peelers are the pinnacle of useful tools, and you can use them to prepare foods like fruits and vegetables for cooked and baked dishes. Choose from stainless-steel and silicone tools to suit your needs and make sure to select a material that will protect the surface or your pans, particularly if you are using nonstick cookware. Keep everything organized and readily at hand by storing peelers and other cooks tools together in accessible that also add style to your countertop. Peelers are excellent and can help you prepare veggies for casseroles, salads and baked delights. Our peelers are available in a variety of styles including julienne, serrated and swivel peeler types. All of our peelers feature sharp blades typically constructed of stainless-steel. Julienne peelers are great for zesting, adding garnish and for hardier vegetables, such as carrots. Horror Highlights: Kate Beckinsale at Wizard World Sacramento, Peelers Blu-ray / DVD, Attack Of The 50 Foot Film Fest 6 June 2017 8:16 AM, -08:00. I have never been very adept at using peelers except for carrots. Vegetable Peeler Reviews. Show us what you're slicing with your Cutco. You could be featured! Serrated peelers remove the skins off waxy and slippery vegetables while reducing the dangers of slippage easily. Swivel peelers are designed to cut only the peel without digging into the vegetable beneath. If you work with potatoes often, look for a built-in potato eye remover to speed up the process. Peelers are ideal fruit and citrus tools that allow you to create specialty cocktails with citrus zest or peel fruits quickly to make them easier to eat for the younger members of your family. Use a peeler to remove just the skin on apples to give to toddlers so you don’t have to worry about them choking on the thick apple skins. Look for peelers that feature soft-grip handles that are also nonslip, so you have maximum control even when your hands or fruits are wet. Peelers can also be used as by looking for a stripper and peeler combination. Herb strippers allow you to remove the potent leaves from your favorite ingredients while easily removing the stems from your recipes. Stems can often time taste bitter, so strippers and peelers are a terrific option when working with leafy items like kale and parsley. Just insert the herb stem into the hole root-end first, then pull gently to remove leaves from the stem. You can even use herb strippers to fine-tune garnishes that you will use to adorn plated main courses for fancy get-togethers. Peelers are versatile kitchen tools that double as to help you create delightful sweets and savory treats the whole family will adore. If you love baking homemade bread, peelers are useful for adding healthy components without much extra work. Make zucchini bread that features finely shredded zucchini bits by using a fine serrated peeler for thin slices. Use a julienne peeler to cut thin strips of hard vegetables, such as sweet potatoes and pumpkins, for fall-inspired bread that pair perfectly with a warm cup of coffee or citrus tea. Use peelers when making to add fresh fruits to your creations. Make a homemade, warm apple pie by first using a peeler to remove the skins for apples that will stay smooth and juicy without losing their crunchy texture. Peelers can also be used to add ginger and root spices to rich, earthy pies and bread for a succulent taste and aromatic flavor. If you require several different types of peelers for your baking needs, opt for a stacking peeler that includes all three blades for an all-in-one peeler that can handle any task. All-in-one peelers easily snap together for organized storage and can be separated with minimal strength when you want to get down to business. Contents • • • • • • • • • • • • • • • • • • • • • • • • • • Early life [ ] Peel was born at Chamber Hall,, Lancashire, to the industrialist and parliamentarian and his wife Ellen Yates. His father was one of the richest textile manufacturers of the early. Peel was educated briefly at, at, then at and finally, where he took a double first in Classics and Mathematics. He was a law student at in 1809 before entering Parliament. Peel saw part-time military service as a Captain in the Manchester Regiment of in 1808, and later as Lieutenant in the in 1820. Peel entered politics in 1809 at the age of 21, as MP for the Irish of,. With a scant 24 electors on the rolls, he was elected unopposed. His sponsor for the election (besides his father) was the,, the future Duke of Wellington, with whom Peel's political career would be entwined for the next 25 years. Peel made his at the start of the 1810 session, when he was chosen by Prime Minister to second the reply to the. His speech was a sensation, famously described by the,, as 'the best first speech since that of.' As chief secretary in in 1813, he proposed the setting up of a specialist police force, later called 'peelers'. In 1814 the was founded under Peel. For the next decade he occupied a series of relatively minor positions in the governments: Undersecretary for War, Chief Secretary for Ireland, and chairman of the (charged with stabilising British finances after the end of the ). He also changed constituency twice: first picking up another constituency,, then becoming MP for in 1817. He later became an MP for from 1830 until his death. His home of has since been demolished. Home Secretary [ ]. This satirical 1829 cartoon by depicted and Peel in the roles of the body-snatchers suffocating Mrs Docherty for sale to Dr. Knox; representing the extinguishing by Wellington and Peel of the 141-year-old Constitution of 1688. Peel was considered one of the rising stars of the Tory party, first entering the cabinet in 1822 as. As Home Secretary, he introduced a number of important reforms of British criminal law: most memorably establishing the () for London. It was the enabling legislation for the first English police force, the 'bobbies' (in England) or 'peelers' (in Ireland), which served as the model for modern urban police departments throughout England. He also reformed the criminal law, reducing the number of crimes punishable by death, and simplified it by repealing a large number of criminal statutes and consolidating their provisions into what are known as. He reformed the gaol system, introducing payment for gaolers and education for the inmates. He resigned as home secretary after the Prime Minister became incapacitated and was replaced. He helped in the repeal of the in May 1828. They required many officials to be communicants in the Anglican Church and penalised both nonconformists and Catholics. They were no longer enforced but were a matter of humiliation. Peel at first opposed the repeal but reversed himself and led the repeal, after consultation with Anglican Church leaders. In future religious issues he made it a point to consult with church leaders from the major denominations. Canning favoured, while Peel had been one of its most outspoken opponents (earning the nickname 'Orange Peel', with Orange the colour of the anti-Catholic Irish Unionists). George Canning himself died less than four months later and, after the brief premiership of, Peel returned to the post of Home Secretary under the premiership of his long-time ally the. During this time he was widely perceived as the number-two in the Tory Party, after Wellington himself. However, the pressure on the new ministry from advocates of Catholic Emancipation was too great and an Emancipation was passed the next year. The government threatened to resign if the king opposed the bill; he finally relented. Peel reversed himself and took charge of passing Catholic Emancipation. However his action caused many Tories to have doubts about his sincerity; they never fully trusted him again. Peel felt compelled to stand for re-election of his seat in Oxford, as he was representing the graduates of Oxford University (many of whom were Anglican clergymen), and had previously stood on a platform of opposition to Catholic Emancipation. Peel lost his seat, and was found another seat, moving to a,, retaining his Cabinet position. Police reform [ ]. Sir Robert Peel It was in 1829 that Peel established the for London based. The 1,000 constables employed were affectionately nicknamed 'bobbies' or, somewhat less affectionately, 'peelers'. Although unpopular at first, they proved very successful in cutting crime in London, and by 1857 all cities in the UK were obliged to form their own police forces. Known as the father of modern policing, Peel developed the which defined the ethical requirements police officers must follow to be effective. In 1829, when setting forth the principles of policing a democracy, Sir Robert Peel declared: 'The police are the public and the public are the police.' Whigs in power (1830–1834) [ ]. Lord Grey, Prime Minister 1830–34 The middle and working classes in England at that time, however, were clamouring for reform, and Catholic Emancipation was only one of the ideas in the air. The Tory ministry refused to bend on other issues and were swept out of office in 1830 in favour of the. The following few years were extremely turbulent, but eventually were passed that felt confident enough to invite the Tories to form a ministry again in succession to those of and in 1834. Peel was selected as prime minister but was in Italy at the time, so Wellington acted as a caretaker for three weeks until Peel's return. First term as prime minister (1834–1835) [ ]. Further information: The Tory Ministry was a minority government and depended on Whig goodwill for its continued existence. Parliament was dissolved in December 1834 and a general election called. Voting took place in January and February 1835 and Peel's supporters gained around 100 seats, but this was not enough to give them a majority. As his statement of policy at the general election of January 1835, Peel issued the. This document was the basis on which the modern was founded. In it Peel pledged that the Conservatives would endorse modest reform. The Whigs formed a compact with 's Irish Radical members to repeatedly defeat the government on various bills. Eventually after only about 100 days in government Peel's ministry resigned out of frustration and the Whigs under Lord Melbourne returned to power. The only real achievement of Peel's first administration was a commission to review the governance of the. This ecclesiastical commission was the forerunner of the. Leader of the Opposition (1835–1841) [ ] In May 1839, he was offered another chance to form a government, this time by the new monarch,. However, this too would have been a minority government, and Peel felt he needed a further sign of confidence from his Queen. Lord Melbourne had been Victoria's confidant since her accession in 1837, and many of the higher posts in Victoria's household were held by the wives and female relatives of Whigs; there was some feeling that Victoria had allowed herself to be too closely associated with the Whig party. Peel therefore asked that some of this entourage be dismissed and replaced with their Conservative counterparts, provoking the so-called. Victoria refused to change her household, and despite pleadings from the Duke of Wellington, relied on assurances of support from Whig leaders. Peel refused to form a government, and the Whigs returned to power. Second term as prime minister (1841–1846) [ ]. Further information: Economic and financial reforms [ ] Peel came to office during an economic recession which had seen a slump in world trade and a budget deficit of £7.5 million run up by the. Confidence in banks and businesses was low, and a trade deficit existed. To raise revenue Peel's 1842 budget saw the re-introduction of the, removed previously at the end of the. The rate was 7d in the pound, or just under 3 per cent. The money raised was more than expected and allowed for the removal and reduction of over 1,200 tariffs on imports including the controversial. It was also in the 1842 budget that the repeal of the was first proposed. It was defeated in a Commons vote by a margin of 4:1. Factory Act [ ] Peel finally had a chance to head a majority government following the election of July 1841. His promise of modest reform was held to, and the second most famous bill of this ministry, while 'reforming' in 21st-century eyes, was in fact aimed at the reformers themselves, with their constituency among the new industrial rich. The acted more against these industrialists than it did against the traditional stronghold of the Conservatives, the, by restricting the number of hours that children and women could work in a factory and setting rudimentary safety standards for machinery. Interestingly, this was a continuation of his own father's work as an MP, as the elder Robert Peel was most noted for reform of working conditions during the first part of the 19th century. Helping him was, a British MP who also established the. Assassination attempt [ ] In 1843 Peel was the target of a failed assassination attempt; a criminally-insane Scottish wood turner named stalked him for several days before killing Peel's personal secretary thinking he was Peel. Corn Laws and after [ ]. Lord John Russell, Prime Minister 1846–1852, 1865–1866 The most notable act of Peel's second ministry, however, was the one that would bring it down. Peel moved against the landholders by repealing the, which supported agricultural revenues by restricting grain imports. This radical break with Conservative protectionism was triggered by the. Tory agriculturalists were sceptical of the extent of the problem, and Peel reacted slowly to the famine, famously stating in October 1846 (already in opposition): 'There is such a tendency to exaggeration and inaccuracy in Irish reports that delay in acting on them is always desirable'. His own party failed to support the bill, but it passed with Whig and Radical support. On the of Peel's Bill of Repeal (Importation Act 1846) on 15 May, voted 327 votes to 229 (a majority of 98) to repeal the Corn Laws. On 25 June the Duke of Wellington persuaded the to pass it. On that same night Peel's was defeated in the Commons by 292 to 219 by 'a combination of Whigs,, and Tory protectionists'. Following this, on 29 June 1846, Peel resigned as prime minister. Though he knew repealing the laws would mean the end of his ministry, Peel decided to do so. It is possible that Peel merely used the Irish Famine as an excuse to repeal the Corn Laws as he had been an intellectual convert to free trade since the 1820s. Blake points out that if Peel were convinced that total repeal was necessary to stave off the famine, he would have enacted a bill that brought about immediate temporary repeal, not permanent repeal over a three-year period of gradual tapering-off of duties. The historian argues Peel knew from 1844 he was going to be deposed as the Conservative leader. Many of his MPs had taken to voting against him, and the rupture within the party between liberals and paternalists which had been so damaging in the 1820s, but masked by the issue of parliamentary reform in the 1830s, was brought to the surface over the Corn Laws. Hilton's hypothesis is that Peel wished to actually be deposed on a liberal issue so that he might later lead a Peelite/Whig/Liberal alliance. As an aside in reference to the repeal of the Corn Laws, Peel did make some moves to subsidise the purchase of food for the Irish, but this attempt was small and had little tangible effect. In the age of, government taxes were small, and subsidies or direct economic interference were almost nonexistent. That subsidies were actually given was very much out of character for the political times; Peel's successor,, received more criticism than Peel on Irish policy. The repeal of the Corn Laws was more political than humanitarian. Peel's support for free trade could already be seen in his 1842 and 1845 budgets; in late 1842 wrote to Peel that 'the next change in the Corn Laws must be to an open trade' while arguing that the government should not tackle the issue. Speaking to the cabinet in 1844, Peel argued that the choice was maintenance of the 1842 Corn Law or total repeal. Despite all of Peel's efforts, his reform programs had little effect on the situation in Ireland. Peel was the first serving British Prime Minister to have his photograph taken. Later career and death [ ] Peel did retain a hard core of supporters however, known as, and at one point in 1849 was actively courted by the Whig/Radical coalition. He continued to stand on his conservative principles, however, and refused. Nevertheless, he was influential on several important issues, including the furtherance of British free trade with the repeal of the. Peel was a member of the committee which controlled the, and on 16 April 1850 was responsible for passing the motion that controlled its scope and collection policy for the rest of the century. Peel was thrown from his horse while riding on in London on 29 June 1850. The horse stumbled on top of him, and he died three days later on 2 July at the age of 62 due to a rupturing his subclavian vessels. His Peelite followers, led by and, went on to fuse with the Whigs as the. 's portrait of his patron Julia, Lady Peel (1827). Peel married Julia, youngest daughter of General, in 1820. They had five sons and two daughters. Four of his sons gained distinction in their own right. His eldest son, served as from 1861 to 1865. His second son was a politician and railway commissioner. His third son was a naval commander and recipient of the. His fifth son was and created in 1895. His daughter Julia married the. Julia, Lady Peel, died in 1859. Some of his direct descendants now reside in South Africa, the Australian states of,, Victoria and, and in various parts of the United States and Canada. Memory and legacy [ ] The consensus view of scholars for much of the 20th century idealized Peel in heroic terms. Boyd Hilton says it portrayed Peel as: The great Conservative patriot: a pragmatic gradualist, as superb in his grasp of fundamental issues as he was adroit in handling administrative detail, intelligent enough to see through abstract theories, a conciliator who put nation before party and established consensus politics. Biographer said, Peel 'looked first, not to party, but to the state; not to programmes, but to national expediency.' Gash added that among his personal qualities were, 'administrative skill, capacity for work, personal integrity, high standards, a sense of duty [and] an outstanding intellect.' Gash has emphasized the role of personality on Peel's political career: Peel was endowed with great intelligence and integrity, and an immense capacity for hard work. A proud, stubborn, and quick-tempered man he had a passion for creative achievement; and the latter part of his life was dominated by his deep concern for the social condition of the country. Though his great debating and administrative talents secured him an outstanding position in Parliament, his abnormal sensitivity and coldness of manner debarred him from popularity among his political followers, except for the small circle of his intimate friends. As an administrator he was one of the greatest public servants in British history; in politics he was a principal architect of the modern conservative tradition. By insisting on changes unpalatable to many of his party, he helped to preserve the flexibility of the parliamentary system and the survival of aristocratic influence. The repeal of the Corn Laws in 1846 won him immense prestige in the country, and his death in 1850 caused a national demonstration of sorrow unprecedented since the death of William Pitt in 1806. Memorials [ ] Statues [ ] Statues of Sir Robert Peel are found in the following British and Australian locations. James Stewart plays Johnny Mason, lawyer. Carole Lombard is Jane Mason, wife. Lucile Watson the mother-in-law Harriet Mason. Johnny sees Jane and quickly marries her. Mother is disappointed. Mother lives with them. Many troubles are ahead. Jane can't cook. Can't set the table. Can't do many things according to mother. The interaction between daughter-in-law and mother are the highlights of this film. Nothing turns a baby's head more quickly from nursing or playing than the sight of a dog or any animal. Made for Each Other lays out both sides of this deep mutual. Overview of Made for Each Other, 1939, directed by John Cromwell, with Carole Lombard, James Stewart, Charles Coburn, at Turner Classic Movies. They are not, of course, made for each other. Just the opposite. The only thing they have in common is that they have nothing in common. He's a thinker, she's scatterbrained. She's Jewish, he's Italian. She has been waiting all her life for the right man. He has been the wrong man for every girl in his life. Stewart and Lombard are married but just don't have any real magic on screen. Stewart is Stewart. He is good as a timid husband and son but this doesn't carry the film. Can baby Mason build bridges between Jane and Harriet? A believable film for those that are married. Running time 107 minutes Country United States Language English Box office $1.5 million (US/ Canada) Made for Each Other is a 1971 feature film directed by Robert B. Both starring and written by the husband and wife team of and, the film traces the relationship of Pandora and Giggy, a seemingly incompatible couple who meet in a session and fall in love. The film was the second screenplay written by the couple ( being their first), and is also Bologna's film debut. In addition, there are early screen appearances from, and. Contents • • • • • Plot [ ] Giggy Panimba meets Pandora Gold at a group therapy session on Christmas Eve. We learn that Pandora is there on her 4th emergency session, trying to give up her 'symptom' as a failure at everything. We also learn Pandora lived in the Bronx with her Jewish eccentric mother and her philandering father. Pandora's mother was very involved in Pandora's life because her husband was always out with other women and barely paid attention to Pandora. Pandora's mother believes in astrology and often comments to Pandora throughout the whole movie 'I made you a Pisces and don't you ever forget it'. From a young age Pandora wanted to be a famous movie actress often imitating Rita Hayworth. She grew up and became an interpretive modern dancer and a Jackpot Quiz Clue Girl but gave up both professions to go live in England with her latest boyfriend. When she arrived home early to surprise him, she found him in bed with two other women. She now is making her comeback as a performer at a night club and invites everyone in the session to come and see her. It's Giggy's turn and we learn that he lived in Brooklyn with his Italian mother and father. His father was a barber and often got into fights claiming he 'had a little score to settle' and his mother had unrealistic religious beliefs about love. From that, Giggy became a womanizer even getting kicked out of the seminary for having sex in a utility closet. As an adult he had various philanderings with women and we learn the reason he is at the session is because after breaking up with a girl, she tried to kill herself. Many people (especially the women in the group) think Giggy is a jerk and yell at him but Pandora defends him and is understanding. Giggy asks her out after the session and they end up having sex in his car. While having sex, Pandora accidentally blurts out that she loves him. After that they begin seeing each other and Giggy begins to stay at her house. Giggy really opens up to Pandora and they really fall in love (though Giggy never says so). Giggy meets Pandora's mother the night Pandora makes her night club comeback. Pandora's mother doesn't like Giggy because he is a Capricorn. Giggy and Pandora get into a fight because her act is terrible and she doesn't believe him. Pandora goes home and realizes her act does stink and Giggy tries to sleep with another woman only to find himself unable to get an erection. They make up the next day and Giggy and Pandora go to Giggy's parent's house. Both of Giggy's parents don't like Pandora because she's not Italian and her views are different from their own. This causes Pandora and Giggy to get in a huge fight and break up but Giggy follows Pandora. After a lot of yelling and arguing, Giggy finally admits he loves Pandora and the two decide to get married. Principal cast [ ] •. Pandora Gold •. Giggy Panimba •. Panimba • Helen Verbit. Gold • Norman Shelly. Group member See also [ ] • References [ ]. |
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