![]() ![]() I record on average perhaps four films a month from various TV channels and tend to watch them in irregular bursts - none for weeks at a time and then perhaps three in as many days. To contextualise that remark a little: whatever the definition of a film buff is, it doesn’t describe me. And secondly, they all end if not happily then at least on an upbeat or uplifting note.Īnother connection is that I can watch these films again and again and again. Well, for one thing, the ‘heroes’ strike me as genuinely heroic: noble, honourable, sincere, generous and kind-hearted - all qualities I greatly admire. ![]() What do the following films all have in common? Firefox, starring Clint Eastwood (and his later Absolute Power, come to think of it) The Colditz Story, the 1950s POW film with John Mills Sidney Poitier’s To Sir with Love Shane - and The Return of Shane, otherwise known as Pale Rider The Untouchables, the ‘80s version with Kevin Costner and Sean Connery the big-screen version of Porridge and all those old Basil Rathbone and Nigel Bruce Sherlock Holmes films? ![]()
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![]() This is like going to Spain to learn Spanish to live in Italy to translate Italian. Great! What language will he be teaching them? ASL? BSL? SASL? According to Wikipedia there are at least 25 sign languages in Africa. Well, I'm pretty familiar with the ASL alphabet, but I wouldn't know the BSL letter 'F' if it hit me on the forehead.Īnd he wants to go to Africa and work with the deaf kids there. ![]() ![]() The first time Alec sees Eli, he's signing, and Alec thinks he recognizes the letter 'F'. It's right there in the name - American Sign Language. Unless he was planning on staying in America, the sign language that he would have learned there would have been completely irrelevant when he came back to England. He'd learn the wrong sign language in New York. Eli went to New York to study sign language. ![]() about a quarter of the way through, so perhaps my score will go up when I'm finished with this, but I cannot get over this one detail.Īnd, at least so far, this has been somewhat central to the storyline. ![]() ![]() ![]() ![]() The success of this deception relied on the trust of every involved member of the FUSAG. The fictional FUSAG, or First United States Army Group, was created by the Allies it used props to direct the Germans’ attention to Calais and away from Normandy, the intended point of attack. A foreword provides a historical background, describing Operation Fortitude, a counterintelligence measure taken by the Allied Powers during World War II to misinform the Germans about the location of D-Day’s attack site. It also characterizes the British MI5’s struggle to capture the antagonist Henry Faber, who is aptly nicknamed “The Needle.” The novel uses real World War II-era events, places, and names, creating a blend of fact and fiction that passes as plausible in this era of unprecedented deception and international turmoil. Its title references the difficulty of the precise task of threading a needle. Prolific Welsh novelist Ken Follett’s psychological thriller novel Eye of the Needle (1978), seminal in the spy genre, which heavily utilizes suspense, became highly popular in the decade it was published. ![]() ![]() ![]() We will be appealing the judgment and encourage everyone to come together as a community to support libraries against this attack by corporate publishers. And it holds back access to information in the digital age, harming all readers, everywhere.īut it’s not over-we will keep fighting for the traditional right of libraries to own, lend, and preserve books. It hurts authors by saying that unfair licensing models are the only way their books can be read online. This decision impacts libraries across the US who rely on controlled digital lending to connect their patrons with books online. Internet Archive is a blow to all libraries and the communities we serve. ![]() ![]() Today’s lower court decision in Hachette v. ![]() ![]() The trick has been to activate the narrative - so often the narrative can be a veil between the audience and the story.” ![]() It’s exhilarating, an epic maritime adventure, and it established many of the tropes of pirates, from parrots to peglegs, all of that comes from here. “I knew as soon as I started reading ‘Treasure Island’ that it belonged on the stage. “It’s so very beautifully written,” says the 55-year-old Zimmerman, in her customary part chatty, part scholarly manner during a break in rehearsals at Berkeley Rep. This is the West Coast premiere of the latest theatrical spectacle from the always visually ingenious director. A coproduction with Chicago’s Lookingglass Theatre, this high seas adventure runs through June 5 at Berkeley Repertory Theatre, adapted and directed by Zimmerman. ![]() “Treasure” charts the topsy-turvy course of Jim Hawkins, a young lad who is swept up with the infamous pirate Long John Silver and his band of scalawags seeking buried treasure on a faraway island. “I love the challenge of staging the impossible,” says the Tony-winning director, “That’s what excites me.” The Chicago-based theatrical alchemist has journeyed through a canon of eye-popping legends such as the tragic and hypnotic “The White Snake” and her mesmerizing Tony-winning twist on Ovid’s “Metamorphoses.” Now she is setting sail once again for a voyage through the Robert Louis Stevenson classic “Treasure Island.” ![]() ![]() Mary Zimmerman is an old salt when it comes to sailing the high seas of myth and fable. ![]() |