HM-53 I Married A Monster From Outer Space Classic Horror Movie Poster Framed Wall Art giclee printed on heavy paper that will never fade with beautiful vibrant colors. Vintage horror movie prints, framed wall art is available in various sizes unframed or framed in classic flat matte black wood frame, not resin frames. I Married A Monster From Outer Space Classic Horror Movie Posters, printed and framed in USA by Museum Outlets. Details Sizes small 20x28 medium 26x3 8 large 38x50 Glazing Acrylic Frame Black Matte Wood. I Married a Monster from Outer Space + The Atomic City Kritzerland is pleased to present a new world premiere limited edition soundtrack – two great scores on one great CD: I MARRIED A MONSTER FROM OUTER SPACE Music Composed by Victor Young, Franz Waxman, Hugo Friedhofer, Aaron Copland, Hans J. Salter, Roy Webb, Nathan Van Cleave, Daniel Amfitheatrof, Leith Stevens, and others and THE ATOMIC CITY Music Composed and Conducted by Leith Stevens Bill and Marge – happy as clams, in love and about to be married. He’s affectionate, a dog lover, thoughtful – the perfect man. Until he’s not. It’s a girl’s worst nightmare – the loving man she just married is suddenly not the man she thought he was. Why is he suddenly no longer affectionate? Why is he not affectionate to the dog? Why is he not affectionate to anything? Stranger still, why are some of the other men in their town behaving the same way? If only she’d seen the poster for this film, she’d have known exactly what was going on – because there’s no mistaking it with a title like I Married a Monster from Outer Space. Made in 1958, I Married a Monster from Outer Space is not as lurid as its title would suggest. It’s actually a very well made, thoughtful, low-budget sci-fi film with an excellent script, which has gathered a loyal following over the years. Starring Tom Tryon and Gloria Talbott, the film is a textbook example of how to make a terrific little film on a terrifically low budget. One of the most interesting aspects of the film is its wonderful score. The film carries no credit for music at all, despite having really effective music and quite a bit of it. The reason for the lack of a music credit is simple: In 1958 there was a musicians’ union strike. And so Hollywood studios had to go outside the United States and Canada to record music for their movies. In certain cases, especially in the case of the very low-budget I Married a Monster from Outer Space, they would re-record selections from existing scores that were owned by the studio’s publishing companies. Therefore, what we have is a score composed by Victor Young, Hugo Friedhofer, Aaron Copland, Franz Waxman, Leith Stevens, Daniel Amfitheatrof, Walter Scharf, Lyn Murray, Nathan Van Cleave, Roy Webb – well, you get the idea. The surprising thing is how well it all works and how seamlessly it all plays. Today, it would be called temp tracking, but back then it was born out of necessity and budget. It’s actually kind of a once-in-a-lifetime occurrence, where several of the greatest film composers of all time have music in the same film. The music, housed in the Paramount vaults, was in mostly excellent condition. A little wow and flutter on a couple of tracks was the only problem and we’ve left it as is because the music is so good and the problems only last for a few seconds. Find great deals on eBay for i married a monster from outer space and i was a teenage frankenstein. Shop with confidence. Amazon.com: I Married a Monster From Outer Space: Tom Tryon, Gloria Talbott, Peter Baldwin, Robert Ivers, Chuck Wassil, Valerie Allen, Ty Hardin, Ken Lynch, John. I Married a Monster from Outer Space (1958) ***. This is a kind of surprise I really like getting— a movie whose goofy title disguises an unexpectedly high level of achievement, both technical and artistic. Though the commonly applied epithet, “the feminist Invasion of the Body Snatchers” perhaps implies a bit too much praise. Horror Aliens arrive on Earth to possess the bodies of humans. One of their first victims is a young man, whose new wife soon realizes something is wrong with him. Our second feature is a tense little low-budget thriller from 1952 called The Atomic City, starring Gene Barry, Lydia Clarke and Nancy Gates. The basic plot is simple: Enemy agents kidnap the son of a nuclear physicist in Los Alamos, New Mexico; their ransom demand isn’t money, however – the bad guys want the physicist to turn over the formula for the H-bomb. Directed by Jerry Hopper, the screenplay was written by Sydney Boehm, a great writer who wrote several great films, including When Worlds Collide, The Big Heat, Union Station, Violent Saturday, The Tall Men, The Revolt of Mamie Stover, Shock Treatment and many others. His screenplay for The Atomic City was nominated for an Academy Award for Best Story and Screenplay – very unusual for a low budget programmer in 1952. The superb music was composed by Leith Stevens. Stevens made his mark in the early 1950s, beginning with two sci-fi scores that became instant classics – Destination Moon and When Worlds Collide. After The Atomic City, he would go on to write great scores to some iconic films, including War of the Worlds and The Wild One. He worked in almost every genre, turning out scores for such films as the noir classic The Hitch-Hiker, Scared Stiff, Private Hell 36, World Without End, Julie, But Not for Me, The Interns, A New Kind of Love and many others, as well as for such classic television fare as The Twilight Zone, Have Gun – Will Travel, Gunsmoke, The Untouchables, Burke’s Law, The Time Tunnel, Voyage to the Bottom of the Sea, Land of the Giants, and on and on. His music for The Atomic City is greatly responsible for the tense atmosphere and keeping the film an edge-of-the-seat thriller. The music was thankfully preserved on a set of acetates in excellent condition. These were transferred as carefully and lovingly as possible, and we hope you’ll be pleased with the result. I Married a Monster from Outer Space/The Atomic City is limited to 1000 copies only. The price is $19.98, plus shipping. CD will ship the first week of July – however, never fear, preorders placed directly through Kritzerland usually ship one to five weeks earlier (we’ve been averaging four weeks early).
0 Comments
Maine's oyster industry has grown market demand through initiatives like oyster farm tourism and a move away from strictly 'white tablecloth' consumption to mid-market shacks. 'Even traditional lobster shacks have oysters now,' says Dana Morse. 'I'm hearing of oyster pop-up dinners and dedicated oyster bars.' Maine Sea Grant — with the Maine Aquaculture Association, Maine Aquaculture Innovation Center and New York-based oyster blogger Julie Qiu — is developing a paper map to complement its evolving oyster trail website. 'Oyster trails' work well elsewhere, Qiu says. 'Virginia is the gold standard. Virginia's tourism board puts together media trips, visits to oyster farms and oyster events.' Some farms, like Nonesuch Oysters in Scarborough, provide their own tours. Damariscotta River Cruises co-owners Olga Oros and Chip Holmes offer farm cruises, equipment demonstrations, and tastings. Holmes got the idea as caretaker of a local marina. 'People were asking not only, 'How do I get out on the water?' But 'How do I learn about the oyster farms?' Oros markets the cruises through digital and print media, and cross-promotions with local inns. Passenger numbers have quadrupled in four years. Festivals help, too, says Mook. He's been part of the New York City Wine and Food Festival, where farms are paired with New York City chefs. Sep 30, 2011 - 2 min - Uploaded by LionsgateUKMoviesThis sweetly humoured and wonderfully warm-hearted Australian drama tells the story of. Amazon.com: Oyster Farmer: Alex O'Loughlin, Jim Norton, Diana Glenn, David Field, Kerry Armstrong, Claudia Harrison, Alan Cinis, Jack Thompson, Brady Kitchingham. 'That chef will take that farm's oysters and cook it a certain way,' he says. 'People get their Bloody Marys or draft beer and sample as many oysters as they want. We go through a couple of thousand.' Bill Mook started Mook Sea Farm on the Damariscotta River in 1985, and today has bootstrapped his way up to becoming one of the Maine oyster industry's top producers. A ceaseless entrepreneur, Mook has set the pace by investing in research, new equipment and a skilled workforce. As a result, in just the past decade he's been able to double annual hatchery production to 120 million seeds today, substantially increase feed production, expand his workforce from four to 24 and, in the past year, double weekly production of market-size oysters. At the same time, he's been tackling issues related to climate change, both managing current impacts and developing predictive monitoring techniques that could help inform future mitigation measures. Hannah Clark of Newcastle fills tubes with micro algae. The liquid is used as oyster food at Mook Sea Farm in Walpole, where she is a hatchery technician. His efforts come at a time when chefs and consumers are buying more Maine farmed oysters than ever. Sales of farmed oysters hit $4.9 million in 2015, five times what they were just a decade earlier. 'Right throughout the great recession, market demand for half-shell oysters has grown — and it's still growing right now,' Mook says. A growth strategy with multiple approaches. Amanda Clapp of Newcastle uses water and screens to sort tiny seed oysters by size at Mook Sea Farm in Walpole. She is a hatchery technician. Mook's approach includes deployment of a suspension-cage system, called OysterGro, that allows him to harvest all of his market-size oysters and allows year-round harvest. This compares with uncertain harvest levels and seasonality of more common bottom-culture methods. He invests in research leading to innovations such as methods for overwintering seed; a tidal-powered nursery system; a vessel and gear for mechanizing the use of OysterGro cages; and a unique, energy-efficient and highly productive system for growing microalgae that's used to feed juveniles. He's developed strategies to monitor and manage the chemistry of seawater pumped into the hatchery, for factors like increased acidity, temperature, salinity and oxygen concentration, in order to maintain healthy larval production and predict future impacts of climate change. This year's construction of a seawater-temperature-controlled holding facility is expected to enhance industry-wide bio-security measures, already in place, that mitigate risks of outbreaks of pathogens in oysters that can be fatal to human. Also this year, he launched a new brand name for his oysters that, in addition to long-time brands, will accommodate expanded production. Bill Mook of Mook Sea Farm brings up an oyster bag from one of his oyster cages on the Damariscotta River in Walpole. Mook started out growing various types of shellfish, but settled on oysters in the late 1990s, when the industry in general began taking off in Maine due to the availability of selectively bred disease-resistant oysters. 'It was the inception of what I call 'the new oyster renaissance,' Mook says. He and other early oyster growers, like Glidden Point Oyster Farms and Pemaquid Oyster Co., settled on the Damariscotta River, where pristine, cold Atlantic water mingles with warmer water upstream for a nutrient-rich environment. The industry today continues to grow, as newcomers enter the scene, the geographic scope of the industry expands, and oyster tourism initiatives take off. Small but growing industry Oysters are one of Maine's top three farmed species (along with Atlantic salmon and blue mussels), says the 2017 Maine Aquaculture Economic Impact Report, published by the University of Maine Aquaculture Research Institute. Maine has 65 to 80 oyster farms. Modern shellfish aquaculture in Maine started at Darling Marine Center in Walpole in the 1970s, when researcher Herb Hidu was hired by the University of Maine, according to the Darling Marine Center. Hidu established a program focusing on the cultivation of blue mussels and oysters. His efforts led to many of his graduate students founding farms on the Damariscotta. Maine Department of Marine Resources data illustrate harvest growth: from 2 million oysters in 2005, worth $848,338, to 7.6 million in 2015, worth $4.9 million. Production has long catered to the high-end market but new mid-market seafood shacks are popping up. Maine's oyster industry is growing but still relatively small, says Dana Morse, an extension associate with Maine Sea Grant and University of Maine Cooperative Extension. Morse is based at DMC. 'The number of distinct oyster farming operations in Maine is increasing. But the state of Massachusetts, for example, has about 350 distinct oyster farming companies,' says Morse. Virginia is the East Coast's largest farmed oyster producer, selling 35 million in 2015. 'From the point of view of area covered, Maine's shellfish farming industry, including mussels, is about 700 acres, which is a pretty small footprint,' Morse continues. 'Across the nation, Maine is on the smaller end of the spectrum. Although we obviously have the best oysters.' Most of Maine's production centers on the Damariscotta, Morse says. But the geographic scope is expanding. 'I've been on the job for 19 years and I've seen a couple of things happen,' he says. 'We've seen a change in the locations in which farmers are growing their oysters. This means outside of the Damariscotta, but also in areas that, 15 years ago, people might not have given a second thought, but are turning out to be fine oyster-producing sites, like Casco Bay, the Bagaduce River, Frenchman Bay. So the type of site has broadened. The other big change is the type of person who's growing oysters.' It used to be those DMC students. 'Now, you see more people from commercial fishing, and people with no connection to marine industries at all, because maybe they've tasted Maine oysters and became enamored of how oysters are grown and the oyster farming lifestyle.' Innovations Mook was one of those students from the Darling Marine Center. He got a job at a commercial shellfish hatchery in Muscongus Bay, then started his own business. He eventually focused on oysters because of their high per-unit value and burgeoning demand both for market-size oysters and for oyster seed. Today, he considers his a small but rapidly growing business. Employee numbers have grown from four in 2010 to 24 year-round and seasonal today. Finding staff isn't easy. 'We've been creating a lot of jobs. And they're good jobs' with a education level from high school to doctorate level, he says. Most hires come from out-of-state. 'We're actively involved in pushing for more aquaculture training programs for all skill levels,' he adds. His hatchery produces 120 million oyster seeds a year. More than 90% are sold to other growers throughout the mid-Atlantic and Northeast. He grows the rest on his approximately 40 acres of leases on the Damariscotta, grading and thinning them throughout their growing cycle. Mook declines to cite harvest numbers, but says he deploys 5,000 OysterGro cages, each holding 1,200 oysters at the final thinning before harvest. He began testing the system in 2010, perfected protocols and expects to reach full capacity this year. The system has already doubled weekly output. The innovative cages have floats that allow them to hang below the water's surface, which provides for optimal food levels and water flow. To control fouling, each cage must be periodically flipped above the surface to dry out. 'It's labor-intensive and you need a small army of strong, young people to do this,' says Mook. 'So there was a strong incentive for us to mechanize this process.' Mook came up with a tractor-like 'contraption' — two small vessels, linked by a rigid expanse that's fitted with a hydraulically operated device that flips the cages. The OysterGro system was developed by Bouctouche Bay Industries Ltd. In Bouctouche, New Brunswick. OysterGro allows Mook to expand operations from seasonal to year-round, because he can tow the cages to ice-free sites. His oysters are sold as four brands. There's Wiley Point and Pemaquid Point, which are distributed by J.P.' S Shellfish in Eliot; Mookie Blues, sold by Island Creek Oysters in Duxbury, Mass., and Fisherman's Catch of Damariscotta; and Moondancers, sold through a sales agent shared with Cape Cod Oyster Co. In Barnstable, Mass., and by Damariscotta River Distribution/Riverbottom Raw Bar in Newcastle. He's also ramped up production of microalgae, used as oyster feed. In recent years, Mook developed a fermentation technique, using sugar, to replace the typical photosynthesis method that requires more space to allow light to reach all cells in the culture. Fermentation provides energy needed throughout the culture, thus allowing for denser growth in smaller spaces. That's increased feed production 25-fold. Currently, his team is working to further optimize the nutrient medium, with financing from an MTI seed grant. Under construction now is a facility, expected to be operational this winter, for a recirculating holding system. The idea is to create optimal conditions (temperature, salinity, pH, and food levels) for reducing levels and ensuring control of a human pathogen called Vibrio parahaemolyticus in market oysters. He also plans to develop part of the existing hatchery building for a pilot hatchery for other species, as seed for customers and to diversify his main crop. Climate change Perhaps as significantly, Mook and his team are studying the impact of climate change on oysters. He first noticed ocean acidification impacts on larval production in 2009, when fertilized eggs periodically showed poor survival, deformities or stalled growth. 'If you're producing millions and millions of seed to deliver to customers and for your own business, that's disruptive,' he says. Mook solved the problem, and even got bigger yields, by monitoring and modifying the chemistry of seawater pumped into the hatchery. But the experience 'opened our eyes to changes that have occurred to seawater chemistry over the 32 years we've been in business,' he says. That led, in 2013, to teaming up with University of New Hampshire oceanographer Joe Salisbury on a long-term project to understand how seawater chemistry continues to change and how it impacts calcification, growth and survival of juveniles. The project deploys sophisticated sensors developed with funding from NOAA's Ocean Acidification Program and Integrated Ocean Observing Systems Sensors. So far, they haven't seen any changes in growth or survival rates, although he considers it likely that ocean acidification is causing reduced calcification rates. 'It's important to not be reacting to a crisis when it occurs, but to be able to understand when that crisis will occur and have strategies in place to cope,' he says. Meanwhile, Mook anticipates continued growth for his business and the industry in general. 'What I think about is whether per capita consumption has scope for continued growth,' he says. 'I believe it does, because people like to eat oysters and we're still a long way from per capita consumption levels in the U.S. Back in the late 1800s and early 1900s, or current per capita consumption rates in Europe.' Hand raised by us and Mother Nature. Our expertise and high standards ensure every oyster we serve is the best it can be. Few foods carry the flavor of 'place' quite like an oyster. Tomales Bay has the cool, clean water rich in plankton that oysters feed on to grow plump and sweet, and the flavor of the bay is evident in every delicious mouthful. Oyster lovers call this merroir; we call it delicious. Whether you're a seasoned connoisseur or a newcomer to the world of oysters, you'll find something on our menu that will draw you in and keep you coming back for more. One of these days Step Up will realize that it's better for the characters to just whimsically dance like in old musical movie without forcing an already stagnant plot. The movie boasts a dynamic choreography and stellar music to go with it, some are timed just right and they are admittedly One of these days Step Up will realize that it's better for the characters to just whimsically dance like in old musical movie without forcing an already stagnant plot. The movie boasts a dynamic choreography and stellar music to go with it, some are timed just right and they are admittedly entertaining. It commendably tries to bring a dancer's perspective on their life style and tribulation, but the plot often contradicts the effort by putting overly flamboyant characters or tired plot. In the end it's just another drawn out excuse for a dance battle, albeit a rather spectacular one. Story revolves around characters from previous installments, collaborating to make a crew to win the high stake dance competition. No Channing Tatum though. If this sounds familiar, it is. There are monetary issues, personal issues and dances in between. For what it's worth, the two leads try to bring more emotion to the mix, although only a few good moments come out of it. Adam Sevani (Moose) is a star, the uncrowned lead of the series. It's quiet amazing that his side story resonates more than the actual main plot. Problem arises when the movie attempts to exaggerate flamboyant lifestyle, especially those of celebrity's and their reality television. It's far from witty; in fact the humor tends to fall and becomes tiresome to watch. The main antagonists are mediocre unsavory characters; the male is copied directly from the typical random thug that messes with Chuck Norris or Steven Seagal at a bar, while the female is a botched version of Stanley Tucci's character from Hunger Games. When the characters don't banter they perform well. Using odd props and good dance moves, they manage to produce a spectacle. Most of the cast are primarily dancers, so they convince the audience better using motion than poorly written script. Wardrobe looks good, each dance is represented with unique costume, the steampunk one is particularly exceptional. With simple yet effective effect, these dance sequences are the heights of the movie. Like any other installments, the plot is almost a hindrance as audience waits for another dance scene to erupt. It does try to make audience relate, although it misses the mark more often than not, which is a shame since it invests plenty of time for it. The glossy choreograph and heart-thumping soundtracks present an enjoyable light flick, and to be fair it's what viewer would expect, but sadly nothing more. I was one of the first people to see the movie. In my coutry it released really early, I think it was 11th or 18th of July. People go to see Step Up movies not because of acting skills or special effects or story, but because of dancing skills and music. I've seen every single Step Up I was one of the first people to see the movie. In my coutry it released really early, I think it was 11th or 18th of July. People go to see Step Up movies not because of acting skills or special effects or story, but because of dancing skills and music. I've seen every single Step Up movie and all I can say, is that the 3rd installment of the franchise was the best one. Step Up 1 had great story and it kicked the sequels going Step Up 2 was nice, but the final dance was a diseaster in my opinion. Step Up 3- its story was nice, characters were great, music was amazing ( I can still hear some tracks in my head! ) DANCE WAS AMAZING. And the final dance was great. The best movie Step up 4 worse than the previous one but still enjoyable. Its story wasnt great, it was pretty generic, but the dancing was cool, as well as music. It felt original in some way. Step up 5 - Personally, I think it had a lot of potential that was wasted. A bunch of marvellous dancers and nothing spectacular that came out of it. Mainly because I think that we've seen al of this already in the previous movies. The only character that I'm gonna remember is Iza Miko's portrayal of Alexxa Brava, just because when i saw her on screen, I was in an actual shock. If I hadn't seen The Hunger Games prior to that, I am not sure if my body would be able to handle it. Dancing was ok, i liked it, but as I said previously, we've seen it before. What i hated tho, was the music. God it was awful. Character Film Television series; Step Up Step Up 2: The Streets Step Up 3D Step Up Revolution Step Up: All In Step Up: High Water; 2006 2008 2010 2012 2014 2018. Step Up All In (2014) SoundTracks on IMDb: Memorable quotes and exchanges from movies, TV series and more. Jul 16, 2014. The fifth entry in the dance film series sees Ryan Guzman, Briana Evigan and Adam Sevani return for more dance battles, again in 3D. All 55 songs from the STEP UP: ALL IN movie soundtrack, w/ scene descriptions. Listen to the music, ost, score, list of songs and trailers. It was a typical techno-dubstep mush-up. Nothing original, nothing that went outside of the box. Music in this types of movies is a very important aspect and here it didnt work out. Thus I think it was below average, below the level, that the prevous movies established. Step Up: All In is a boring dance movie. If you've seen the trailer, don't bother to watch this spoiled opportunity. STAI follows Sean played by Ryan Guzman who teams up with the previous actors from the previous instalments battle to see who is the best dancer of all. Sounds good, Step Up: All In is a boring dance movie. If you've seen the trailer, don't bother to watch this spoiled opportunity. STAI follows Sean played by Ryan Guzman who teams up with the previous actors from the previous instalments battle to see who is the best dancer of all. Sounds good, right? Well, director Trish Sie has done a poor, horrible and bad job on this film. The story is loose, the characters don't tie together, and the dance is also CGI made. It's just Battle Of The Year 2! Step Up 2 and Revelution were both good movies, but All In is an example of the series going downhill. Watch The Man Who Lives with Bears (2008) online free - The Man Who Lives with Bears: Featuring some of the most intimate footage of wild bears ever seen, this. Directed by Jon Alwen. With Bill Paterson, Charlie Vandergaw. Featuring some of the most intimate footage of wild bears ever seen, this remarkable film follows one. This article needs additional citations for. Unsourced material may be challenged and removed. (October 2014) () Timothy Treadwell Born Timothy William Dexter ( 1957-04-29)April 29, 1957,, Died October 5, 2003 ( 2003-10-05) (aged 46),, U.S. Cause of death Fatal Occupation Environmentalist Naturalist Documentary filmmaker Years active 1990–2003 Timothy Treadwell (born Timothy William Dexter; April 29, 1957 – October 5, 2003) was an American,,, and founder of the bear-protection organization Grizzly People. He lived among of in for 13 summers. At the end of his 13th summer in the park, in 2003, he and his girlfriend Amie Huguenard were killed and almost fully eaten by a 28-year-old, whose stomach was later found to contain human remains and clothing. Treadwell's life, work, and death were the subject of 's critically acclaimed documentary film (2005). Contents • • • • • • • • • • Early life [ ] Treadwell was born on,, one of five children of Val and Carol Dexter. He attended, where he achieved B average grades and was the swimming team's star diver. He was very fond of animals and kept a squirrel named Willie as a pet. In an interview in the film (2005), his parents say he was an ordinary young man until he went away to college. There, he claimed that he was a British orphan who was born in. According to this account, his father said Timothy 'spiraled down' and became an alcoholic after he lost the role of to in the sitcom. Interest in bears [ ] Treadwell studied during summer seasons for 13 years, before being killed by one of them. According to his book, Among Grizzlies: Living with Wild Bears in Alaska, his mission to protect bears began in the late 1980s after surviving a near fatal. He claims in his book that his grew from his. A lover of animals since he was a child, he traveled to to watch bears after a close friend convinced him to do so. He wrote that after his first encounter with a wild bear, he knew he had found his calling in life, and that now his destiny was entwined with that of the bears. He attributed his recovery from drug and alcohol addictions entirely to his relationship with bears. [ ] Alaskan expeditions [ ]. From Grizzly Sanctuary to Grizzly Maze Treadwell spent the early part of each season camping on the 'Big Green', an open area of bear grass in on the Katmai Coast. He called the area 'The Grizzly Sanctuary'. Treadwell was known for getting extremely close to the bears he observed, sometimes even touching them and playing with bear cubs. However, in his book, he claimed that he was always careful with the bears and actually developed a sense of mutual trust and respect with the animals. He habitually named the bears he encountered and consistently saw many of the same bears each summer, and thus claimed to build a standing relationship with them. [ ] In contrast, Rangers said he was harassing wildlife. [ ] During the later part of each summer he would move to Kaflia Bay and camp in an area of especially thick brush he called the 'Grizzly Maze'. Here the chances of crossing paths with grizzlies were much higher, since the location intersected bear trails. Treadwell recorded almost 100 hours of video footage (some of which was later used to create the documentary Grizzly Man) and produced a large collection of still photographs. [ ] Treadwell claimed to be alone with the wildlife on several occasions in his videos. However, his girlfriend Amie was with him during parts of the last three summers (the documentary says two summers) and at the time of his death. It is further noted that several women, who wish to remain anonymous, accompanied Treadwell during various summers over 13 years. [ ] By 2001, Treadwell became sufficiently notable to receive extensive media attention both on television and in environmental circles, and he made frequent public appearances as an environmental activist. He traveled throughout the United States to educate school children about bears and appeared on the, the, and to discuss his experiences. He also co-authored Among Grizzlies: Living with Wild Bears in Alaska with Jewel Palovak (his co-worker with whom he lived for 20 years), which describes Treadwell's adventures on the. Treadwell and Palovak founded Grizzly People, an organization devoted to protecting bears and preserving their wilderness habitat., who studied bears, raised them, lived with them in, Russia, for a decade, and worked with Treadwell, wrote a lengthy critique of Treadwell's lack of basic safety precautions, such as and. He also commented on what he considered the standard reaction of Alaskans to hearing of Treadwell's death, writing, 'If Timothy had spent those thirteen years killing bears and guiding others to do the same, eventually being killed by one, he would have been remembered in Alaska with great admiration.' Russell was also critical of the film Grizzly Man, saying it was inaccurate, and if Palovak 'really was a protector of bears, she should have looked for a filmmaker who would have been sympathetic towards them.' According to the organization Treadwell founded, Grizzly People, five bears were poached in the year following his death, while none had been poached while he was present in Katmai. However, according to court records as reported by the Anchorage Daily News, the guilty parties were charged with poaching wildlife along Funnel Creek in the Preserve, an area open to hunting that borders the National Park. According to several sources, including Nick Jans' book, The Grizzly Maze, Treadwell only camped near the Katmai Coast, mainly in areas around Hallo Bay and Kaflia Bay, and never in or near the Preserve. The only effective way to patrol all 6,000 square miles (16,000 km 2) of Katmai National Park is by airplane, the method used by authorities. Conflicts with the National Park Service [ ] Treadwell's years with the grizzlies were not without disruption. Almost from the start, the expressed their worries about his behavior. The Park's restrictions made him increasingly irate. According to the file kept on Treadwell by the Park Service, rangers reported he had at least six violations from 1994 to 2003. Included among these violations are: guiding tourists without a license, camping in the same area longer than the Parks Service's seven-day limit, improper food storage, wildlife harassment, and conflicts with visitors and their guides. Treadwell also frustrated authorities by refusing to install an electric fence around his camp and refusing to carry to use as a deterrent. In fact, Treadwell had carried pepper spray with him and had resorted to using it at least one time, but wrote that he had felt terrible grief over the pain he perceived it had caused the bear and refused to use it on subsequent occasions. In 1998, Park Rangers issued Treadwell a citation for storing an ice chest filled with food in his tent. A separate incident involved rangers ordering him to remove a prohibited portable. When the imposed a new rule—often referred to as the 'Treadwell Rule'—requiring all campers to move their camps at least one mile (1.6 km) every seven days, Treadwell initially obeyed the order by using a small motorboat to move his camp up and down the coast. Finding this method impractical, he later hid his camp from the Park Service in stands of trees with heavy brush. He was cited at least once for this violation. [ ] Death [ ] In October 2003, Treadwell and his girlfriend, Amie Huguenard (born October 23, 1965, in ), visited 's. In Grizzly Man, states that according to Treadwell's diaries, Huguenard feared bears and felt deeply uncomfortable in their presence. Her final journal entries indicated that she wanted to be away from Katmai. Treadwell chose to set his campsite near a salmon stream where grizzlies commonly feed in autumn. Treadwell was in the park later in the year than usual, at a time when bears struggle to gain as much fat as possible before winter, and limited food supplies cause them to be more aggressive than in other months. Food was scarce that fall, causing the grizzly bears to be even more aggressive than usual. Treadwell was to leave the park at his usual time of year but extended his stay a week in an effort to locate a favorite female brown bear. He said he hated modern civilization and felt better in nature with the bears than he did in big cities around humans. He repeatedly said he hated humans, too. The bears he had been used to during the summer had already gone into, and bears that Treadwell did not know from other parts of the park were moving into the area. Some of the last footage taken by Treadwell, hours before his death, includes video of a bear diving into the river repeatedly for a piece of dead salmon. Treadwell mentioned in the footage that he did not feel entirely comfortable around that particular bear. In Grizzly Man, Herzog posits that Treadwell may have filmed the very bear that killed him. Diagram of attack site showing positions of bodies. Longitude incorrectly marked as East rather than West. Around noon on Sunday, October 5, 2003, Treadwell spoke with an associate in, by; Treadwell mentioned no problems with any bears. The next day, October 6, Willy Fulton, the Kodiak pilot, arrived at Treadwell and Huguenard's campsite to pick them up but found the area abandoned, except for a bear, and contacted the local park rangers. The couple's mangled remains were discovered quickly upon investigation. Treadwell's disfigured head, partial spine, and right forearm and hand, with his wristwatch still on, were recovered a short distance from the camp. Huguenard's partial remains were found next to the torn and collapsed tents, partially buried in a mound of twigs and dirt. A large male grizzly (tagged Bear 141) protecting the campsite was killed by park rangers during their attempt to retrieve the bodies. A second adolescent bear was also killed a short time later, when it charged the park rangers. An on-site of Bear 141 revealed human body parts such as fingers and limbs. The younger bear was consumed by other animals before it could be necropsied. [ ] In the 85-year history of Katmai National Park, this was the first known incident of a person being killed by a bear. A was recovered at the site that proved to have been operating during the attack, but police said that the six-minute tape was blank; only the sound of their agonized cries as a brown bear mauled the couple to death was recorded. That the tape contained only sound led troopers to believe the attack might have happened while the camera was stuffed in a duffel bag or during the dark of night. In Grizzly Man, filmmaker Herzog claims that the lens cap of the camera was left on, suggesting that Treadwell and Huguenard were in the process of setting up for another video sequence when the attack happened. The camera had been turned on just before the attack, presumably by Huguenard, but the camera recorded only six minutes of audio before running out of tape. This, however, was enough time to record the bear's initial attack on Treadwell and his agonized screams, its retreat when Huguenard attacked it, its return to carry Treadwell off into the forest, and Huguenard's screams of horror as she is left alone. Media attention [ ] • (2005), directed by, is a documentary about Treadwell's work with wildlife in Alaska. Released theatrically by Lions Gate Films, it later was telecast on the. Treadwell's own footage is featured, along with interviews with people who knew him. Although Herzog praises Treadwell's video footage and photographs, he states his belief that Treadwell was a disturbed individual with a. Treadwell's treatment of wild animals is apparent in the documentary. • The Grizzly Man Diaries is an eight-episode that premiered on August 22, 2008, on and is a of Grizzly Man. Produced by Creative Differences, the series chronicles the last 10 years of Treadwell's life with diary entries, and footage and photographs taken by Treadwell during his expeditions. • Medred, Craig (28 August 2005).. Anchorage Daily News. Retrieved 2 August 2017. • ^ Grizzly Man (DVD). Lions Gate, 2005. • Blank, Ed (September 1, 2005)... [Pittsburgh, PA]. Retrieved April 2012. Check date values in:|access-date= () • ^ Davis, Robert (2007-04-11)... Retrieved November 5, 2014. • • (February 21, 2006).. • Jans, Nick (2005). The Grizzly Maze: Timothy Treadwell's Fatal Obsession with Alaskan Bears. New York, N.Y.: Penguin Group.. • Treadwell, Timothy (1997). Among Grizzlies: Living With Wild Bears In Alaska. New York, New York: Harper Collins Publishing. • Medred, Craig (2005-02-18).. Anchorage Daily News. Retrieved November 5, 2014. • Jans, Nick (2005). The Grizzly Obsession. City: Dutton Adult.. • ^ Sanders, Kevin (2006).. Yellowstone Outdoor Adventures. Retrieved February 3, 2011. Retrieved 5 November 2014. Further reading [ ] • Conesa-Sevilla, J. Walking With Bears: An Ecopsychological Study of Timothy (Dexter) Treadwell. The Trumpeter, 24, 1, 136-150. • Dewberry, Eric; Conceiving Grizzly Man through the 'Powers of the False'; 2008 •: 2003 • Lapinski, Mike. Death in the Grizzly Maze: The Timothy Treadwell Story. Falcon, 2005. • Treadwell, Timothy and Palovak, Jewel. Among Grizzlies: Living With Wild Bears in Alaska. HarperCollins, 1997. External links [ ] •, founded by Treadwell to preserve bears and their habitat • on • • • • at Anchorage Daily News, October 8, 2003 • at Anchorage Daily News, October 9, 2003 • at Anchorage Daily News, October 10, 2003 • at Coastal Bears of Katmai National Park: First-hand account of encounters with Timothy Treadwell in Katmai, by John Rogers •. Clark Gable is still sufficiently frisky in this late career western to attract four well-chosen frontier women — who in this case happen to be a quartet of robbers’ wives, sitting on a rumored mountain of ill-gotten gains. Raoul Walsh abets the comedy-drama, as Gable’s fox-in-a-henhouse tries to determine which hen can lead him to the promised golden eggs. The King and Four Queens Smooth cowboy Dan Kehoe arrives at a ranch run by an old widow and her four daughtersinlaw Hes been tipped off that the proceeds of a gold. The King and Four Queens Blu-ray Olive Films 1956 / Color / 2:35 widescreen / 86 min. / Street Date May 24, 2016 / available through / 29.95 Starring Clark Gable, Eleanor Parker, Jo Van Fleet, Jean Willes, Barbara Nichols, Sara Shane, Roy Roberts, Arthur Shields, Jay C. Cinematography Lucien Ballard Production Design Wiard Ihnen Film Editor Howard Bretherton Original Music Alex North Written by Richard Alan Simmons, Margaret Fitts from her story Produced by David Hempstead Directed by Raoul Walsh Reviewed by Glenn Erickson Olive’s latest dip into MGM’s United Artists holdings brings up the cheerful, not particularly distinguished western The King and Four Queens from 1956. Partly produced by its star Clark Gable, the show matches “The King of Hollywood” with five leading ladies. Gable’s second outing with veteran director Raoul Walsh has a clever concept but only a so-so script finish. It relies on its fetching cast to keep our attention. We’re greeted by the bright exterior cinematography of ace cameraman Lucien Ballard, as a lone rider is pursued across the desert scrubland. Gambler-drifter Dan Kehoe (Clark Gable) learns of five women living by themselves at a lonely ranch called Wagon Mound. Ma McDade (Jo Van Fleet) shoots trespassers; it’s well known that her absent sons were bank robbers. The sons’ four young brides have been awaiting the return of one of the surviving husband for two years, even though they don’t know which one. Sabina (Eleanor Parker) is quiet and smart, Ruby from El Paso (Jean Willes) is a ‘hot-blooded’ Mexican, Birdie (Barbara Nichols) a showgirl from Chicago and Oralie (Sara Shane) a devout blonde who married too young. The girls are convinced that none of the husbands are coming home, but Ma’s not having any of that defeatist talk. The part of the story that interests Dan Kehoe is the McDade treasure — Ma McDade is said to be guarding $100,000 dollars in stolen money. Pretending to be on the run from the law, Dan enters the ranch. Ma hits him with a rifle shot, and the girls insist that he become a visitor while his wound heals. The sultry Ruby appeals directly to the handsome stranger, while the ex- dance hall entertainer Birdie tries to attract his attention with revealing costumes. Oralie is shy but interested, and Sabina is the most patient. Ma insists that the girls remain faithful to their missing husbands, but each is more interested in getting the stubborn matriarch to reveal where the treasure is buried. Let’s call The King and Four Queens a far lighter, more glamorous version of Clint Eastwood’s The Beguiled, with less desperation and no poisoned mushrooms. Being the wives of desperate outlaws, more than one of the women has a sneaky plan to steal away with both the loot and the man. The self-confident Dan has little choice but to play along with his hostesses’ catty, sneaky games. Thankfully, somebody used superb taste when signing the four Queens — Clark Gable may have been at the far end of his appeal as a leading man, but with women of this caliber attracted to him, he still seems the most desirable male in Hollywood. Stealing the show outright is Jo Van Fleet, the great stage actress whose late ’50s film career saw her playing other crusty older dames for Elia Kazan in and. Ma McDade has some things in common with Margaret Wycherly’s Ma Jarrott in Raoul Walsh’s from nine years previous – she’s just as loyal to her outlaw sons, riding herd over the love-itchy women they left behind. But Ma McDade is basically sane, not a madwoman. The remarkable Ms. Van Fleet is only 41 in this film, fifteen years younger than Clark Gable and not that much older than the other actresses. In this same year she showed up in not playing ‘over 55’, and we almost didn’t recognize her. Barbara Nichols () plays her standard bird-brained floozy, and is even given the name Birdie. Most viewers of my age discovered Nichols in the musical, where she’s still the innocent sweetheart; after Sweet Smell she’d continue playing various kinds of ‘experienced’ women, sometimes disillusioned but almost always typed as ‘easy.’ Nichols is hilarious in, as a hotel concessionaire seemingly open to any reasonable offer of sex companionship. Sara Shane is the most obscure actress in the bunch. As Oralie she possesses an utterly beguiling smile but the character has difficulty asserting herself. Oralie gets the least attention of the four women, which is a shame because Ms. Shane is such a strong personality elsewhere. The film in which to see her at her best is in the excellent Gordon Scott movie. Sara plays an adventuresome woman with spirit, who doesn’t need to be rescued. She matches Tarzan for bravado and joins in the action as an equal. I was sorry to see so few credits for the actress; the movies blew it by not promoting her. Shane epitomizes a ’50s ideal of blonde beauty, but her photos don’t reveal her bright personality. Neither does her role in this picture, not really. Busy actress Jean Willes () pours herself into a red dress and smokes a cheroot to seduce Gable’s rogue male. Willes excels in supporting parts ranging from severe to sexy, but I don’t know of her being given any leading roles in movies. She sometimes seems to be chosen because she is not likely to upstage a female star — she has a harder look than, say, Jane Russell, and she often plays sensible women. A good example is her bit as the tough ticket seller at the Honolulu men’s club in. Willes makes Kim Novak look ‘softer’ in, and Jane Russell look softer in Raoul Walsh’s The Revolt of Mamie Stover. In 1956, the remarkably prolific Ms. Willes appeared in five movies and ten TV shows. The film’s billing order eliminates most of the film’s suspense. Dan Kehoe, of course, chooses the one McDade woman that doesn’t throw herself at him. Established star Eleanor Parker (, ) is the one Queen in the deck big enough to share equal billing with Clark Gable. Her calculating Sabina is the bride most willing to level with Dan about the mysterious treasure. As the most mature of the four, Sabina is sort of a crooked Jo March figure at the forefront of a score of a different kind of Little Women. The King and Four Queens wants to be a full-on farce, but the script instead takes its-fox in-the-henhouse situation at face value. As this is 1956 and the Production Code is in full force, Clark Gable’s handsome Dan Kehoe allows each of the four babes to dally with him according to their personal styles, while the sour-faced Ma sits with her rifle and an itchy trigger finger. Dan engages in little more than kissing with each of the four wives, depending on how we interpret a couple of scene fade-outs. What could have been a sexy romp is simply too restrained. The show is amusing, but doesn’t fully exploit its potential. The script does make use of a few telling role reversal situations. Dan Kehoe is caught bathing naked in a pond, a ritual usually reserved for the leading lady. Birdie arrives, and instead of hiding Dan’s clothing, she hurries to undress and join him! Naturally, one of the other McDade brides intervenes. Good taste and the Production Code prevail, along with an unwillingness to make The King and Four Queens an outright comedy. Director Raoul Walsh is no longer the dynamic director he was just a few years before, and doesn’t shape the material as well as he did his classics for movie stars like Humphrey Bogart and James Cagney. It’s likely that Walsh’s main effort on The King and Four Queens was to get the film in the can as efficiently as he could — it’s clearly not a high budget production. Adopting a relaxed approach, he often leaves the CinemaScope frame loose and wide. The problem is surely the changes in the business more than Walsh’s doing; his next movie also stars Clark Gable, and is a taste-challenged disaster. The director’s ’50s work is always more than competent. He seems more into the spirit of the later, much broader comedy western, Jayne Mansfield’s last studio picture. We wonder what Billy Wilder might have done with the situation of four sex-starved beauties confronted with the desirable Clark Gable; it sounds like a setup for one of Wilder’s dirty joke movies: ‘Kiss Me, Outlaw?’ Four Queens instead settles for conventional character twists and a subdued, non-violent conclusion. It’s sweet and stress-free, but it could have used a more compelling dramatic finale, or bigger laughs. Olive Films’ Blu-ray of The King and Four Queens is a good encoding of this relaxing, amusing western. The old MGM DVD was on the blah side but this transfer snaps, with excellent color. The video colorists match the optical dissolve sections well, even though we can see them going a little soft. The attractive sets are by the interesting designer Wiard Ihnen – once we go inside, Ma McDade’s desert ‘shack’ is spacious and accommodating. It looks as though one or more of Ballard’s CinemaScope lenses weren’t properly adjusted, as many shots feature vertical lines that lean to the left or the right — doorways, support posts, etc. Since Raoul Walsh frames much of the film fairly widely, the added resolution of HD is a big boost — we can read more expression in the actresses’ faces, even in the wide shots. A movie that seemed a bit remote on old TV broadcasts is now more engaging. The audio is full and rich but I noticed on my machine that parts of two reels were slightly out of synch. I don’t stress that because not all players may play the tracks the same way. Alex North’s bold soundtrack music opens the film well, and provides a hearty square dance for the central scene in which Kehoe doe-see-do’s with all four women at once. The original trailer is included. The design of the cover art is weak, but perhaps a large image of Clark Gable is the right way to go, now that all of his costars will be known only to film and theater buffs. The movie also suffers from a lack of good production stills. Good going, Olive — thanks for the English subtitles. On a scale of Excellent, Good, Fair, and Poor, The King and Four Queens Blu-ray rates: Movie: Good Video: Very Good Sound: Very Good Supplements: Trailer Deaf and Hearing Impaired Friendly? YES; Subtitles: English Packaging: Keep case Reviewed: May 21, 2016 (5122king) Visit DVD Savant’s Glenn Erickson answers most reader mail: Text © Copyright 2016 Glenn Erickson. About Glenn Erickson Glenn Erickson left a small town for UCLA film school, where his spooky student movie about a haunted window landed him a job on the CLOSE ENCOUNTERS effects crew. He’s a writer and a film editor experienced in features, TV commercials, Cannon movie trailers, special montages and disc docus. But he’s most proud of finding the lost ending for a famous film noir, that few people knew was missing. Glenn is grateful for Trailers From Hell’s generous offer of a guest reviewing haven for CineSavant. Description: Clark Gable ( ) stars as Dan Kehoe, a smooth-talking con man in hot pursuit of a gold fortune in the Raoul Walsh ( ) directed The King and Four Queens. Seeking the spoils of a heist gone bad by the McDade brothers, Dan sets about romancing each of their wives (Eleanor Parker,; Jean Willes,; Barbara Nichols,; and Sara Shane, ) in hopes that one of them knows where the gold is hidden. Jealousy among the women soon turns them against one another as they pursue the less-than-scrupulous Dan, all under the watchful eye of their quick-on-the-trigger mother-in-law Ma McDade (Jo Van Fleet, ). Written for the screen by Richard Alan Simmons and Margaret Fitts (based on a story by Fitts), The King and Four Queens, filmed in CinemaScope by the renowned Lucien Ballard ( ) features a rousing score by Alex North ( ). The Film: The King and Four Queens was the first (and last) project from Clark Gable's own production company, GABCO. Gable stars as Western fugitive Dan Kehoe, who hides out in a small ghost town. Here he whiles away his time with the town's only inhabitants: Ma MacDade (Jo Van Fleet), matriarch of the outlaw McDade family, and the four wives (Eleanor Parker, Jean Willes, Barbara Nichols, and Sara Shane) of Mrs. McDade's gunslinging sons. Three of the four McDade boys are dead; the fourth is expected to return at any minute with the loot from a recent stagecoach robbery. Since no one knows which of the McDades is dead, all four wives make a play for the bemused Kehoe; he in turn responds to their advances, hoping to get a share of the gold. The fur really begins to fly when it turns out that one of the wives is a phony who intends to double-cross the other three and ride off into the sunset with Kehoe. When The King and Four Queens proved a box-office disappointment, Clark Gable gave up the notion of producing his own films and returned to freelancing at the major studios. By the mid-1950s, Eleanor Parker had costarred with many of Hollywood's most famous leading men, including Errol Flynn, Humphrey Bogart, Kirk Douglas, Robert Taylor, William Holden and Frank Sinatra. She would recall, however, being especially excited at the prospect of acting in The King and Four Queens (1956) opposite Clark Gable: ' I was a real fan.' In this lighthearted United Artists Western directed by Raoul Walsh, Gable plays a dashing desperado who wanders into a ghost town called Wagon Mound, where a crusty, rifle-toting matriarch (Jo Van Fleet) watches over her four man-hungry daughters-in-law. It seems that, two years earlier, three of the old woman's sons had died in a fire (although no one knows which three) after stealing and hiding a fortune in gold. Sizing up the situation, Gable uses his manly charms to wheedle information from the ladies about the whereabouts of the treasure. Parker plays the most cynical and shrewd of the daughters-in-law, a fiery redhead described by Gable as ' tougher than Wang leather, smarter than spit and colder than January.' Jean Willes is a sultry Mexican, Barbara Nichols a dumb-blonde dancer, and Sara Shane a prim young thing. The chemistry Parker shares with Gable makes it easy enough to predict that she's the one who will share his final ride into the sunset. Image: NOTE: The below Blu-ray captures were taken directly from the Blu-ray disc. The King and Four Queensarrives on Blu-ray from Olive Films. This is only single-layered abut has a max'ed out bitrate and looks very impressive - kudos to Lucien Ballard's cinematography (,, etc.) and California, Snow Canyon, Utah, and Window Rock, Arizona vistas. It looks reasonably crisp, rich colors and the visuals are pleasing in-motion. The overall quality, in the 2.35:1 aspect ratio, is also reasonably clean and consistent without detrimental flaws. More power, again, to the film, but the 1080P Blu-ray looks quite strong and supplies a better-than-average HD presentation. CLICK EACH BLU-RAY CAPTURE TO SEE ALL IMAGES IN FULL 1920X1080 RESOLUTION. Audio: The DTS-HD Master 2.0 channel at 1790 (24-bit) kbps does a competent job of exporting the film's effects in the form of gunfire and horses. The score is by the great Alex North (,,,,,, and more) sounding crisp and clean. The lossless audio sounds strong. There are English subtitles offered (see sample above) and my has identified it as being a region 'A'-locked. Extras: Only a trailer which is the bare-bones route that Olive are going with the majority of their releases. BOTTOM LINE: The King and Four Queens is interesting from the standpoint that it reminded me of Clint Eastwood's The Beguiled. Great performances (Fleet a standout as she always is) and it's quite a beautiful film. The bare-bones Blu-ray is fine, but remains bare-bones and I wouldn't say it was a top flight western although I quasi-enjoyed it. It's probably most suitable to fans of the era and Gable. To each his own. Gary Tooze May 19th, 2016. About the Reviewer: Hello, fellow Beavers! I have been interested in film since I viewed a Chaplin festival on PBS when I was around 9 years old. I credit DVD with expanding my horizons to fill an almost ravenous desire to seek out new film experiences. I currently own approximately 9500 DVDs and have reviewed over 5000 myself. I appreciate my for furthering my film education and inspiring me to continue running DVDBeaver. Plus a healthy thanks to those who donate and use our Amazon links. Although I never wanted to become one of those guys who focused ' too much' on image and sound quality - I find HD is swiftly pushing me in that direction. Gary's Home Theatre: (fronts) + Energy (centre, rear, subwoofer) speakers (5.1) Gary W. TV Show Trivia, Episode Lists, Descriptions, & Cast Photos! NOTE: Lists compiled by date 1st episode aired: Sgt. Bilko Series Description Sgt. Bilko was a 30 minute series on CBS about a con man Army Sergeant who used his position as leader of a motor pool to earn money via various underhanded schemes. He regularly ran illegal poker games, would sell Army tires and other supplies to local mechanics, etc. Bilko's commander, Colonel Hall is constantly trying to catch Bilko and comes close but is never successful. Bilko Cast Phil Silvers. Master Sergeant Ernest G. Bilko Harvey Lembeck. Corporal Rocco Barbella Herbie Faye.. Corporal Sam Fender Fred Gwynne.. Private Honergan George Kennedy. Military Policeman Paul Ford.. Colonel John Hall Tige Andrews. Private Gander Maurice Gosfield. Private Duane Doberman Joe E. Amazon.com: Sgt. Bilko: Steve Martin, Dan Aykroyd, Phil Hartman, Chris Rock, Glenne Headly, Daryl 'Chill' Mitchell, Austin Pendleton, Jonathan Lynn, Travis Tritt, Brian Grazer, Andy Breckman: Movies & TV. Bilko is a 1996 military comedy starring Steve Martin as Master Sergeant Ernest G. Bilko, head of the Motor Pool at the Fort Baxter US Army base and the leader of a band of misfit soldiers. The movie is based on The Phil Silvers Show, from which it takes its setting, back plot and characters. The following weapons were. Sergeant Rupert Ritzik Allan Melvin. Corporal Henshaw Billy Sands.. Private Dino Paparelli Hope Sansberry. Nell Hall Jimmy Little. Sergeant Francis Grover Billie Allen. WAC Billie Maurice Brenner. Private Fleischman Terry Carter. Private Sugarman Bernard Fein. Private Gomez Walter Cartier. Private Claude Dillingham Harry Clark.. Sergeant Stanly Sowicki Mickey Freeman. Private Fielding Zimmerman Beatrice Pons. Emma Ritzik Jack Healy.. Private Mullen P. Private Palmer Karl Lukas.. Private Stash Kadowski Nick Saunders. Captain Barker Elisabeth Fraser. Sergeant Joan Hogan Sgt. Bilko Trivia. The original title of this series was, 'You'll Never Get Rich'. It was changed to 'The Phil Silvers Show' less than two months after the beginning of the series but the original title remained as a subtitle. Later, in syndication, the title was changed again to 'Sgt. The Clutter family, parents Herb and Bonnie and teens Kenyon and Nancy, are a happy, prosperous, civic-minded, church-going family living on their farm in Holcomb, Kansas. The narrator follows the Clutters through the ordinary events of their last day on earth. Perry Smith and Dick Hickock, a.k.a. The killers, slaughter them late that night. Perry and Dick flee after the murders and make it to Mexico. Kansas lawman Alvin Dewey and his four special agents lead the manhunt for the killer or killers. They're eventually led to Perry and Dick by Floyd Wells, an inmate serving time for theft. Floyd used to be Dick's cellmate and employee of Herb Clutter, and Floyd told Dick all about working for the rich farmer. (Floyd didn't bother to correct Dick when Dick assumed that there was a big safe full of money in Herb Clutter's office; and he didn't correct him when Dick started to make plans to steal from the Clutters and leave no witnesses.) After carrying out their plans, in what can arguably be called the dumbest criminal move ever, Perry and Dick return to Kansas from a brief flight to Mexico and other venues, to pass some bad checks for travel money. Dick uses his own name to sign the checks. The police finally arrest our villains in Las Vegas, after Floyd Wells sings like a canary. In Cold Blood is a non-fiction novel by American author Truman Capote, first published in 1966; it details the 1959 murders of four members of the Herbert Clutter family in the small farming community of Holcomb, Kansas. When Capote learned of the quadruple murder, before the killers were captured, he decided to travel. An eventual confession by Perry and Dick gives us a blow-by-blow account of the brutal murder of the Clutter family. And we mean brutal. They're tried, convicted of murder after 40 minutes of jury deliberation, and sent to Death Row. Along the way, we're treated to retellings, through letters and flashbacks, of Perry's dreadful, awful childhood—including parental abuse, alcoholism, sibling suicide, and not being permitted to go to school (gasp!). We learn about Dick's childhood—not a bad one, actually, although he never seemed to be really attached to the idea of settling down. Never seemed to be attached to anything, really. We get an in-depth view of both killers' psychological and sexual problems as the author tries to figure out what made them into the cold-blooded killers of the title. Five years after their conviction, both men are executed by hanging and the community tries to recover from the trauma. ½ A stark, realistic portrayal of cold-blooded violence taking over a couple of young mens' senses, and how they go on the run from the police trying to track them down after brutally murdering the family of four they originally planned to rob and leave. Based on true events, director Richard Brooks patiently and disturbingly paints a picture of two characters who act stupidly and carelessly, concentrating on fulfilling their own shortsighted, selfish desires while senselessly taking away four lives. At times, Brooks seems to be over-sympathizing and romanticizing these two killers, but based on this film as well as the equally phenomenal 'Capote', it seems like the Perry Smith character (in this case played by Robert Blake) had a heart and was truly sorry for his heinous act of violence. Definitely a little dated, but still a shocking study that remains gritty and arresting throughout. Blake and Scott Wilson (now of 'The Walking Dead' fame) are utterly fantastic in their respected roles. A movie that definitely should be seen. The only thing that keeps it from being an all-time great is an unnecessary, unfair take on the death penalty, marring an otherwise outstanding second half of the film especially. In the last second of that film, I actually out loud exclaimed 'Jesus' in my reaction to it. A little history now. When I was very small I saw the murder part of 'Cold Blooded' on TV. A modern edition of the same story. And it scarred me horrifically. When I was older and understood the whole thing better, and watched Capote, I became more intrigued in the murders, me being all morbid and what not (I secretly blame that movie scene.). But this was FANTASTIC! The acting was spot on. The cinematography was stupendous! I mean I think I had forgotten what great cinematography looked like in black and white films, this gave me such a refresher. The deep, looming, heavy shadows, the use of the flashlights, even the daytime scenery. The last 45 minutes had my complete attention. So compelling and sinister. I could not look away. And the very end had my heart pounding. To anyone who snubs a film made before 2000, I challenge you to this. Truman Capote was sent to Kansas to write an article about the senseless murder of a family in their farm house in the middle of the night. What he brought back was the timeless novel In Cold Blood, telling that story and the stories of the two young men that were going to the gallows for that crime. I've never read the source material, but I've seen both adaptations of Capote actually researching the novel (Capote with Philip Seymour Hoffman and Infamous with Toby Jones). Both docudramas are powerful pieces in their own right, but it's this film that is a masterpiece. It stars Robert Blake as Perry and Scott Wilson as Dick. These guys have both been to prison, each of them with dreams to follow. The thing about dreams is they need working capital, like a business. So in the dead of the night they follow a prison tale of a farmer and his safe, driving to the rural Kansas home. The next morning the family is dead. We continue to follow the pair as the haphazardly make their way to Mexico for a little bit, but they come back because those dreams are so damn good. The inevitable happens. They make the mistake and Lady Justice takes over. Before this film there were movies that followed the antagonists point of view, but In Cold Blood makes you sympathize with these two young murderers or in the very least Perry. Here's two men that slaughtered an entire family in their own home and we feel pity for them. They're lifetime losers and this was where the road they shared was heading for a long, long time. They were ticking time bombs. They were two chemicals that mixed together and tragedy followed. The movie is filmed as bleakly as the characters it shows us. Black and white in 1967 was very rare, but for this film it works for an added effect that would later be used by Scorsese in raging Bull and Spielberg in Schindler's List.There is no color because this life is colorless. There are no bright spots. Darkness is at the end of that tunnel, not that great light that everyone is talking about. This is a very beautiful film from director Richard Brooks. This is one of those wonderful gems from the late 1960's that teetered between the old Hollywood and the new. This was before the ratings system, so hearing the word 'bullshit' was an awe inspiring experience (this is the first Hollywood production that used it). In Cold Blood is a groundbreaking film that broke new ground and even though it didn't quite open the door for those great films of the 1970's we can say that it turned the latched and cracked it open a bit. This is one of the great films of the '60's. This is one of the best movies I have ever seen and thank God I got to watch it in all it's glory. Conrad Hall's absolutely stunning cinematography is the real star of the film with every shot photographed perfectly. Robert Blake is great, but the guy I could not take my eyes off of was Scott Wilson who is amazing. I also loved the way that the film was put together and how Richard Brooks built the story up. Even though I know what happened (considering the two films about Capote that came out a couple years ago), I was still at the edge of my seat. I could watch the film over and over again and it has quickly jettisoned itself into one of my favorite movies of all time. Ernest Hemingway: Writing's like mass. God gets mad if you don't show up. Ernest Hemingway: In this world, when you find a good place, you don't leave it. Ernest Hemingway: That woman loves humanity, but can't stand people. The Complete Short Stories of Ernest Hemingway: The Finca Vigia Edition [Ernest Hemingway] on Amazon.com. *FREE* shipping on. Martha Gellhorn: We were good in war. And when there was no war, we made our own. Martha Gellhorn: The battlefield neither of us could survive was domestic life. Martha Gellhorn: I do not see myself as a footnote to someone else's life. Ernest Hemingway: Love is more infinitely durable than hate. Hemingway is a town in Williamsburg County, South Carolina, United States. The population was 573 at the 2000 census. Hemingway was created from a crossroads community named Lamberts in 1911 by Dr. Hemingway, in an effort to secure a depot for the proposed Seaboard Air Line Railroad, which was to run from Mullins to Andrews. Land owned by Dr. Hemingway was surveyed and the lots auctioned off. Subsequently the railroad established a Hemingway depot, and the post office name was changed to Hemingway. With rail access, Hemingway grew into a market town for local agricultural products. Cotton declined after 1921, when the boll weevil arrived, but was already being replaced by flue cured tobacco as the primary money crop for farmers. Other local products were naval stores from the pine forests (later replaced by timbering), corn, soybeans, wheat, and vegetables. This was just posted on the C.O.D The Facebook page. Hey friends, Lets just get right to the point. We know you’re anxious to see the movie and we are really anxious to show it to you. But please keep this in mind that we are two guys with day jobs who made a film about The Melvins. A big studio didn’t make it and we don't have a team of people on hand doing publicity and lining up a worldwide screening in every town and city across the globe. We know you want to have the movie shown in your town and we are slowly trying to get as many screenings out there as possible. We are extremely proud of this movie and we want it to be seen in a real cinematic environment, because ultimately that is the best way a film should be experienced. We want to have Q+A’s afterwards and meet the fans where possible. It’s been very fulfiling for us to show the movie and see the reaction to it first hand at the handful of screenings we have done so far. It’s as exciting for us as it is for you. We are in correspondence with people everyday about showing the film in theaters and at film festivals, and we will hopefully be able to announce a bunch more screenings starting in October. We know the people who contributed to the kickstarter want their dvd’s and we promise we are working on it. There is so much extra footage that we want to include on the discs but please realize that this is going to take a little more time than planned. But we will work out a way in early 2017 where the contributors can get an online version of the film to watch. If you look around at other films that are made, they do not just get put out as soon as the final cut is mixed. If we send it out to everyone right away then it will lose it's value due to online pirating and sharing. This is our prized project that we worked for years to achieve and we don't want to just watch it fall from under our control. We are certainly not cheating anyone out of anything, and everyone will get what they are entitled to, but please be patient and respect what we have achieved upto now. Thanks so much for your understanding Bob + Ryan. This was just posted on the C.O.D The Facebook page. Hey friends, Lets just get right to the point. Apr 21, 2016 - 2 min - Uploaded by The Colossus Of Destiny - A Melvins Tale15:28 The Colossus Of Destiny: A Melvins Tale. Kickstarter Shorts - FORE! - Duration: 1:30. Watch The Colossus of Destiny: A Melvins Tale (2016) full movie online free|-The film is dedicated to the 33rd anniversary of the famous group - the new fact. Movie info: 'How comes no one has ever made a film about The Melvins?' Well, no one has ever tried or thought it even possible.until now that is. The Colossus Of. We know you’re anxious to see the movie and we are really anxious to show it to you. But please keep this in mind that we are two guys with day jobs who made a film about The Melvins. A big studio didn’t make it and we don't have a team of people on hand doing publicity and lining up a worldwide screening in every town and city across the globe. We know you want to have the movie shown in your town and we are slowly trying to get as many screenings out there as possible. We are extremely proud of this movie and we want it to be seen in a real cinematic environment, because ultimately that is the best way a film should be experienced. We want to have Q+A’s afterwards and meet the fans where possible. It’s been very fulfiling for us to show the movie and see the reaction to it first hand at the handful of screenings we have done so far. It’s as exciting for us as it is for you. We are in correspondence with people everyday about showing the film in theaters and at film festivals, and we will hopefully be able to announce a bunch more screenings starting in October. We know the people who contributed to the kickstarter want their dvd’s and we promise we are working on it. There is so much extra footage that we want to include on the discs but please realize that this is going to take a little more time than planned. But we will work out a way in early 2017 where the contributors can get an online version of the film to watch. If you look around at other films that are made, they do not just get put out as soon as the final cut is mixed. If we send it out to everyone right away then it will lose it's value due to online pirating and sharing. This is our prized project that we worked for years to achieve and we don't want to just watch it fall from under our control. We are certainly not cheating anyone out of anything, and everyone will get what they are entitled to, but please be patient and respect what we have achieved upto now. Thanks so much for your understanding Bob + Ryan. This was just posted on the C.O.D The Facebook page. Hey friends, Lets just get right to the point. We know you’re anxious to see the movie and we are really anxious to show it to you. But please keep this in mind that we are two guys with day jobs who made a film about The Melvins. A big studio didn’t make it and we don't have a team of people on hand doing publicity and lining up a worldwide screening in every town and city across the globe. We know you want to have the movie shown in your town and we are slowly trying to get as many screenings out there as possible. We are extremely proud of this movie and we want it to be seen in a real cinematic environment, because ultimately that is the best way a film should be experienced. We want to have Q+A’s afterwards and meet the fans where possible. It’s been very fulfiling for us to show the movie and see the reaction to it first hand at the handful of screenings we have done so far. It’s as exciting for us as it is for you. We are in correspondence with people everyday about showing the film in theaters and at film festivals, and we will hopefully be able to announce a bunch more screenings starting in October. We know the people who contributed to the kickstarter want their dvd’s and we promise we are working on it. There is so much extra footage that we want to include on the discs but please realize that this is going to take a little more time than planned. But we will work out a way in early 2017 where the contributors can get an online version of the film to watch. If you look around at other films that are made, they do not just get put out as soon as the final cut is mixed. If we send it out to everyone right away then it will lose it's value due to online pirating and sharing. This is our prized project that we worked for years to achieve and we don't want to just watch it fall from under our control. We are certainly not cheating anyone out of anything, and everyone will get what they are entitled to, but please be patient and respect what we have achieved upto now. Thanks so much for your understanding Bob + Ryan. Parents need to know that the plot includes references to Hell and the Devil, who is portrayed in the character Red. This may frighten the youngest children. Christian families may object to the characterization of death and the afterlife. The plot has tense moments and some frightening themes, but carries with it an uplifting message of working together and warns against selfishness. While the film is aimed at children 5 to 7, some older children (12 and up) may also enjoy the film for its animation. Charlie is bored in dog Heaven and wants to return to Earth. Nov 10, 2014 All Dogs Go To Heaven 2 Trailer 1995 Director: Paul Sabella Starring: Bebe Neuwirth, Charlie Sheen, Dom Deluise, Ernest Borgnine, Sheena Easton, Adam Wylie. Find product information, ratings and reviews for All Dogs Go to Heaven/All Dogs Go to Heaven 2 (2 Discs) (dvd_video) online on Target.com. More All Dogs Go To Heaven 2 videos. So when his old nemesis Carface escapes with Gabriel's horn, which has the power to open all locks and doors, Charlie and pal Itchy are sent to retrieve it. Charlie soon wants to enjoy his old hangouts, but he is only a ghost. So he accepts from Carface's friend Red the loan of a magical collar that makes him physical. But Red is really the Devil and wants to use the horn for his own evil ends. Charlie learns the error of his selfish ways when he befriends David, a young runaway boy. Charlie and his friends must muster the courage to foil Red's plan to imprison all heavenly dogs in his fiery domain. 's everydog, Charlie B. Barkin, is back in a sequel that's even more off-kilter than the popular original. In this bizarre coming-of-age story, Charlie leaves dog Heaven, confronts the Devil, and learns to be less selfish. ALL DOGS GO TO HEAVEN 2 is a fast-moving tale that will compel most viewers simply because it is so unusual. The characters have flaws that give them room to grow in the film. The film may remind parents of former Disney animator Don Bluth, who animated the 1989 original. The film retains much of what made its predecessor a success. The songs are unfortunately lackluster, but the voice actors (including Charlie Sheen, Dom DeLuise, George Hearn and Ernest Borgnine) bring their characters to life. All Dogs Go To Heaven 2 Trailer 1995 Director: Paul Sabella Starring: Bebe Neuwirth, Charlie Sheen, Dom Deluise, Ernest Borgnine, Sheena Easton, Adam Wylie Official Content From MGM Home Entertainment Charlie gets the chance to leave doggy heaven to go back to Earth and retrieve Angel Gabriel's stolen horn. Along the way he meets a nice girl dog and helps a little boy find a home. Movie, All Dogs Go To Heaven 2 Movie,All Dogs Go To Heaven 2 Trailer,All Dogs Go To Heaven 2 1995, Paul Sabella,Bebe Neuwirth, Charlie Sheen, Dom Deluise, Ernest Borgnine, Sheena Easton, Adam Wylie. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |