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Oprah Winfrey từng gọi iPad Apple là “phát minh tuyệt vời nhất thế kỷ”

2020.10.27 07:11 HieuApple Oprah Winfrey từng gọi iPad Apple là “phát minh tuyệt vời nhất thế kỷ”

Oprah Winfrey từng gọi iPad Apple là “phát minh tuyệt vời nhất thế kỷ”
10 năm trước; iPad Apple đã ra mắt chiếc máy tính bảng đầu tiên của mình; khởi đầu một kỷ nguyên mới cho dòng iPad mà chúng ta đang sử dụng hiện nay.
Những người rành về lịch sử Apple thường tranh cãi; về ngày ra đời của một trong những sản phẩm tốt nhất; mà Apple từng tạo ra – máy tính bảng iPad . Nhiều người còn nhớ ngày chiếc máy tính bảng huyền thoại; được bán ra (ngày 3/4/2010); nhưng dù thế nào thì iPad cũng đã ra đời cách đây 10 năm. Hồi ấy; Steve Jobs đã bước lên sân khấu; và dường như khiến cả thế giới đóng băng. Từ đó; máy tính bảng đã bắt đầu được sử dụng trong dịch vụ chăm sóc sức khỏe; hội họa; nghệ thuật công chúng. Ngày 9/12/2010; iPad đã trở thành thiết bị của năm do TIME bình chọn.

Steve Jobs cùng chiếc iPad đầu tiên
Nếu iPhone được nhiều người chào đón một cách nhiệt tình; thì sự phấn khích ở đây hóa ra không thể diễn tả được. Trong ngày đầu tiên bán ra; công ty đã bán được hơn 300 nghìn chiếc iPad; – chưa một thiết bị nào được bán ra như vậy trong năm 2010. Không phải ngẫu nhiên trong mùa thu năm ấy; Oprah Winfrey (Nữ hoàng truyền hình) đã gọi iPad là “phát minh tuyệt vời nhất của thế kỷ”. Từ đó đến nay; những điều gì đã đến với iPad?

10 năm của iPad. Ảnh: statista

iPad năm 2011


iPad 2
Năm 2011 là năm “ăn nên làm ra” đối với máy tính bảng của Apple; – thời điểm công chúng được “thưởng thức” iPad đúng nghĩa. Vào đầu năm; ngày 2/3; Apple trình làng iPad 2 với thời lượng viên pin lên đến 10 giờ; và 2 camera (trong lúc rapper P. Diddy đang cưỡi du thuyền; được điều khiển từ iPad). Ngay sau đó; ban nhạc Gorillaz phát hành The Fall; được thu hoàn toàn trên iPad. Đến mức vào ngày 9/5; Nữ hoàng Elizabeth II đã đặt mua cho mình chiếc iPad; sau khi nhìn thấy thiết bị này từ Hoàng tử Harry và Hoàng tử William.

Đây là chiếc du thuyền được lái từ iPad
Cũng trong năm này; iPad bắt đầu thâm nhập sâu rộng vào ngành hàng không. Giữa năm 2011; Alaska Airlines là hãng hàng không đầu tiên cho phép các phi công trên máy bay sử dụng iPad; thay thế giấy tờ và vào cuối năm đó. Cục Hàng không Liên bang Mỹ đã phê duyệt việc sử dụng iPad trong buồng lá;i trong tất cả các giai đoạn của chuyến bay. Thậm chí sau đó; iPad bắt đầu được sử dụng trong các nhà hàng; – chẳng hạn như tiệm bít tết Bone’s ở Mỹ; đã đặt danh sách rượu của mình trên máy tính bảng.

Phi công bắt đầu sử dụng iPad

The new iPad (iPad 3) năm 201


The new iPad
Apple bắt đầu phát hành thư viện sách iBooks 2 vào tháng 1; và ứng dụng mới cho phép máy tính bảng của Apple; được sử dụng như công cụ học tập hoàn chỉnh – iTunes U cho iPad ra đời. Vào tháng 3; buổi giới thiệu lại được tổ chức tại Cupertino; – lần này The new iPad với màn hình Retina (thế hệ thứ 3); đã được trình làng. Thế nhưng; hoàn toàn bất ngờ khi vào ngày 23/10 cùng năm; Apple lại đưa iPad thế hệ thứ 3 vào dạng “đồ cổ”; khi tung ra iPad 4 và iPad mini. Có lẽ; những người sở hữu iPad thế hệ thứ 3 tại thời điểm đó; đã cảm thấy hơi bị xúc phạm.

iPad 4 và iPad mini 1 (cũng vào năm 2012 luôn)


https://preview.redd.it/dczaaeb4vkv51.png?width=620&format=png&auto=webp&s=d395dccd15ad3877e9047c126fc9902a50b721a6
Sự phổ biến của máy tính bảng Apple ngày càng tăng. Ngày 12/12; Giáo hoàng Benedict XVI đã ban phước cho người dùng qua Twitter bằng iPad.

Giáo hoàng cũng thành thạo iPad

iPad năm 2013

Năm 2013 là một năm không kém phần quan trọng đối với iPad; – cụ thể là máy tính bảng của Apple bắt đầu thâm nhập; vào nhiều ngành công nghiệp khác nhau. Vì vậy; vào tháng 1; Jorge Colombo (họa sĩ vẽ tranh minh họa); đã vẽ trang bìa đầu tiên trên thế giới cho The New Yorker; trên iPad của mình. 6 tháng sau; phi hành gia Christopher Hadfield đã mang iPad của mình lên ISS; và hát bài hát “Space Oddity” của David Bowie. Cũng trong năm ấy. Square – công ty chuyên sản xuất thiết bị thu ngân; đã giới thiệu Square Stand. Đây là chiếc máy tính tiền tích hợp iPad; và cho đến nay; hãng này liên tục cập nhật các thiết bị iPad mới nhất cho dòng sản phẩm máy tính tiền.

Máy tính tiền tích hợp iPad có chân đế vuông
Bắt đầu từ năm đó; Apple cũng quyết định tổ chức các buổi giới thiệu máy tính bảng mới thường niên vào mùa thu. Ngày 22/10/2013; iPad Air và iPad mini 2 có thiết kế mỏng hơn; và nhẹ hơn cùng màn hình Retina đã xuất hiện.

iPad Air và iPad mini 2

iPad năm 2014

Đến thời điểm này; số lượng ứng dụng trên App Store đã lên tới 500.000; và thậm chí Microsoft còn phải tung ra bộ Office cho iPad; dù không mấy thoải mái với Apple. Vào ngày 16/10; Tim Cook đã tiếp tục giới thiệu iPad Air 2 và iPad mini 3.

iPad Air 2 và iPad mini 3

iPad năm 2015

Thành quả đầu tiên của việc sử dụng iPad trong ngành hàng không đã xuất hiện; khi gia đình của một anh phi công thoát nạn nhờ dùng iPad; dẫn đường bay tại Rapid City; Nam Dakota; Mỹ. Chiếc máy tính bảng đã cung cấp thông tin độ cao; tốc độ bay để giúp phi công hạ cánh khẩn cấp; sau khi hệ thống điện trên máy bay không thể hoạt động vào ngày 6/2/2015. Từ đó; máy tính bảng của Apple đã ngày càng phổ biến; và vào ngày 9/9; iPad Pro với màn hình 12,9 inch và iPad mini 4 đã xuất hiện.

iPad Pro 12,9 inch và iPad mini 4

iPad năm 2016

Nửa đầu năm có rất nhiều sự kiện liên quan đến iPad. Vào ngày 21/1; Microsoft đã phát hành bản cập nhật cho ứng dụng Office cho iPad Pro; với hỗ trợ Apple Pencil và chỉ 1 tháng sau; máy tính bảng Apple có bút chì; đã tạo ra một cuộc cách mạng trong ngành phác thảo thời trang. Đồng thời; iPad bắt đầu được sử dụng bởi các huấn luyện viên; của Giải bóng chày Nhà nghề Mỹ.

Microsoft Office cho iPad Pro với hỗ trợ Apple Pencil
Đối với nhiều người sau đó; thật bất ngờ khi Apple lại tổ chức buổi giới thiệu iPad mới vào mùa xuân. Ngày 21/3; chiếc iPad “bình dân” tương tự đã được phát hành. Apple đã giới thiệu iPad Gen 5 giá rẻ; có thiết kế tương tự các phiên bản tiền nhiệm; với kích thước dày hơn một chút; nâng cấp một chút về cấu hình; và có giá bán rẻ hơn tại một sự kiện giáo dục.

iPad năm 2017

iPad Pro 10,5 inch có hiệu năng nhanh hơn 30%; và hiệu suất đồ họa tốt hơn 40% so với thế hệ tiền nhiệm; nhờ bộ đồng xử lý A10X và M10 mới. Trong khi đó; phiên bản 12,9 inch có các nâng cấp tương tự; nhưng nhìn chung không có nhiều thay đổi về thiết kế. Ngay sau đó; NHL (giải khúc côn cầu trên băng ở Bắc Mỹ) đã lắp đặt iPad Pro; để các huấn luyện viên có thể thay đổi chiến lược trong thời gian trận đấu diễn ra.
Điều gì đã xảy ra 1 tháng sau? Apple đã phát hành một iPad Pro mới! Có 2 model: 10,5 và 12,9 inch. Điều đó thực sự bất ngờ.
iPad Pro mới

iPad năm 2018

Tại sự kiện tháng 3; Apple đã trình làng iPad thế hệ thứ 6. Vào giữa năm; các kiến ​​trúc sư người Nga Vasily Krivoshein; và Elena Motorina đã thiết kế sân vận động ở Kaliningrad cho World Cup 2018; bằng cách sử dụng iPad Pro và Apple Pencil.

https://preview.redd.it/qpp5iiz1wkv51.jpg?width=620&format=pjpg&auto=webp&s=edb2129119dab58644bf3a4dc714b8d687da8973
Lần này; không có buổi giới thiệu iPad vào tháng 6; – iPad Pro mới với màn hình Liquid Retina 11 inch; và 12,9 inch đã được giới thiệu vào ngày 30/10.

iPad vào năm 2019

Vào ngày 18/3; Apple đã phát hành iPad mini 5 và iPad Air (2019).

Đây là cách Tim Cook “rò rỉ” iPad mini 5 mới
Tháng 9; Apple đã tiết lộ phiên bản mới của chiếc iPad phổ biến nhất của mình (thế hệ thứ 7). Đến cuối tháng; công ty đã bán được hơn 450 triệu máy tính bảng kể từ năm 2010. Hơn cả mong đợi; Adobe Photoshop đã được phát hành vào ngày 4/11 dành cho iPad.

iPad năm 2020

Trong năm 2020, iFan đã có thêm nhiều sự lựa chọn mới. iPad Pro 2020 được trình làng vào tháng 3 với phần cứng cực kỳ mạnh mẽ và thiết kế đẹp mắt bên cạnh phần mềm đang ngày càng được hoàn thiện tốt hơn. Có lẽ ấn tượng lớn nhất với iPad Pro 2020 chính là hệ thống camera sau, đặc biệt là cảm biến LiDAR

https://preview.redd.it/oerniqlgwkv51.jpg?width=620&format=pjpg&auto=webp&s=da52e064fb1514a40148334d2040805d764ebfd1
Sự kiện Apple Event trong tháng 9 vừa qua, Apple cho ra mắt thêm 2 chiếc iPad thế hệ thứ 8 và iPad Air. Về cơ bản, iPad 8 sẽ tiếp tục là một chiếc máy tính bảng “phổ cập” của Apple tới người dùng nhờ mức giá bán phải chăng. Trong khi đó, iPad Air 4 đắt tiền hơn một chút được hướng tới nhóm người dùng cần một sản phẩm mỏng nhẹ nhưng vẫn mạnh mẽ.

https://preview.redd.it/l03nw5eiwkv51.jpg?width=620&format=pjpg&auto=webp&s=35cc4f9c544d2ff9296dea8e9509b9c7da196cb1

iPad bây giờ thì sao?

Máy tính bảng của Apple tiếp tục được sử dụng bởi hàng triệu người dùng trên khắp thế giới, bao gồm cả ở Việt Nam – từ những người mua bình thường và doanh nhân đến những cá nhân sáng tạo. Vì vậy, Pokras Lampas, một nghệ sĩ và là nhà thư pháp, đã tạo ra nhiều kiệt tác của mình bằng iPad. Vasily Krivoshein, kiến ​​trúc sư của FOK # 1 đã vẽ lên sân vận động Torpedo bằng việc sử dụng iPad và Apple Pencil ở tất cả các giai đoạn thiết kế và xây dựng. Bên cạnh đó, iPad cũng được sử dụng rộng rãi trong các chuỗi bán lẻ và nhà hàng khách sạn.

Pokras Lampas tạo ra những kiệt tác mới trên iPad
Kết quả 10 năm bán ra của iPad vô cùng ấn tượng và mang đến hy vọng rằng, Táo khuyết sẽ dành nhiều tâm huyết để tạo ra và phát triển các tính năng mới của thiết bị độc đáo này. Nhờ có App Store, nhiều ứng dụng đa dạng đã được tạo ra dành riêng cho iOS, cho phép bạn sử dụng máy tính bảng không chỉ để giải trí, thư giãn mà còn trong công việc và học tập. Bạn có một câu chuyện thú vị về iPad?
Bức infographic dưới đây sẽ giúp các bạn hình dung chân thực hơn về gia đình iPad từ năm 2010 đến năm 2019:

Ảnh: ebookfriendly
iPad là trợ thủ đắc lực không thể thay thế đối với sinh viên, nhà thiết kế, nghệ sĩ cũng như bất kỳ ai thường xuyên phải đi công tác. Khi mới ra mắt, những fan yêu quý Apple đều tin rằng, năm 2020 sẽ là năm của tầm cao mới đối với iPad.
>> iPhone 12 sẽ tạo cú hích cho mạng 5G và viên thông Mỹ

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2020.10.26 16:53 twigsinpeanutsbutter I am beyond sick and tired of how every single time I post someone of color to beautiful females it gets removed because of some bullshit “rule break”

I browse a lot of subs dedicated towards SFW appreciation of female beauty. These subs have almost nothing other than aryan white women daily. Please believe me when I say I have no issue with this. I think white women are beautiful and I’ve dated a few. I understand that most of these subs posters like white women in particularly celebrities. As someone who is a minority I try to change things up every once in a while to help push the truth that other races are also beautiful. This has nothing to do with pushing white women down but instead help bf to open the minds the people their to also know that other gorgeous women exist. This is not a fetish.
However, without fault every single time I’ve posted to beautiful females my post gets removed. The first time I was accused of self promoting. This time it’s bc my model had too much cleavage. I can understand why this rule exists. To prevent it from turning into a NSFW raunchy sub. However if you scroll through the sub it is clear that this rule is not applied to any white women as plenty of them have heavily blatant cleavage dead center in the photo. I have no problem with this if it weren’t for my posts of non white women that this “cleavage rule” was applied to
My post : here
Blatant Rule breakers which the cleavage/mom looking over shouldeNSFW rule is not applied #1//// #2//// #3 ////#4 //// #5//// #6 //// #6 //// #7
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2020.10.21 12:53 Narostai Wertediskussionen und Transformation - Teil 4

10 Diskussion und Reflektion

Können also Umweltbewegungen wie „Fridays for Future“ als die vom WBGU geforderten „Pioniere des Wandels“ (WBGU 2011) bezeichnet werden? Wie wird aus geäußertem Protest ein transformativer Wertewandel?
Aus heutiger Perspektive ist es schwierig vorauszusagen, ob und in welcher Form eine sozial-ökologische Transformation vonstattengehen kann und wird. „Fridays for Future“ sprechen mit ihrem Protest ihre zunehmende Entfremdung von den verantwortlichen Entscheidungsträgern aus Politik und Gesellschaft an, die die „ökologische, wirtschaftliche und psychische Katastrophen versursacht hätten und keine tragfähigen Lösungen dafür in Aussicht stellen würden“ (Deflorian 2020, S. 207). Der Protest ist daher auch eine Forderung einer Transformation gegenwärtiger Normen und Wertevorstellungen, „nach deren Maßgaben die ökologische Frage in modernen Gesellschaften ausbuchstabiert und verhandelt werden“ (Blühdorn 2020a, S. 94).
Das öffentliche Infragestellen dominierender Wertevorstellungen ist jedoch kein alleiniges Phänomen der Gegenwart, sondern wurde bereits in Zeiten der Aufklärung intensiv von Philosophen wie Kant und Rousseau betrieben. In gleicher Weise veröffentlichten Philosophen, Soziologen und Naturbeobachter bereits im 18. Jahrhundert erste Überlegungen zu dem Umgang und den wechselseitigen Beziehungen des Menschen mit seiner Umwelt und insbesondere der Natur. Webers Ausführungen zu dem unverantwortlichen, „räuberischen“ Ressourcenabbau innerhalb seines Werkes „Die protestantische Ethik und der Geist des Kapitalismus“ zeugen von einem tiefgreifenden Bewusstsein über die negativen ökologischen Konsequenzen eines unbegrenzten Kapitalismus.
Für eine Überwindung der Diskrepanz zwischen Werten und Absichten könnte daher ein Rückblick auf umweltethische Theorien und Konzepte helfen, da jene nicht nur einen normativen Wertekodex entwickeln, sondern auch eine Brücke zwischen den naturwissenschaftlichen und sozialwissenschaftlichen Ansätzen schlagen könnten. Die normative Perspektive der Umweltethik, welche der Frage nachgeht, „weshalb eine Antwort auf ein bestimmtes Problem als gut und daher auch wirklich als Lösung betrachtet werden kann“ (Katholisch-Theologische Fakultät Augsburg 2020), könnte ebenfalls zu einem nachhaltigeren Verständnis der Notwendigkeit umfassender struktureller Veränderungen, beitragen.
Eine besondere Bedeutung erhält die umweltpsychologische Frage nach der Verantwortungszuordnung beziehungsweise nach einer gerechten Aufteilung der Kosten transformativer Prozesse. Eine gerechte Aufteilung der Verantwortung im Sinne einer sozial-ökologischen Transformation sollte benachteiligte und marginalisierte Gruppen der Gesellschaft schützen und gleichzeitig auf der Grundlage eindeutiger Normen und Richtlinien zu einer individuellen, politischen und gesamtgesellschaftlichen Verhaltensänderung führen.
Bei der Aufstellung ökologischer Normen ist es von großer Bedeutung, dass das kollektive Verantwortungsbewusstsein in den Vordergrund des Aushandlungsprozesses und damit vor den individuellen Bedürfnissen gestellt wird, da nur auf diese Weise nachhaltige Veränderungen erzielt werden können. Als ein treibender Faktor innerhalb dieses Kontextes könnte die Umweltbildung den Menschen bereits frühzeitig ein ökologisches Bewusstsein vermitteln und ihnen dabei helfen, ein eigenständiges und selbstbestimmtes nachhaltiges Leben zu führen.
Die Ergebnisse der Europawahlen und der Aufstieg grüner Parteien in mehreren europäischen Ländern, zeugen von einem wachsenden Umweltbewusstsein innerhalb der Gesellschaften. Ausgehend von dieser kritischen Perspektive konstituiert sich der rapide Aufstieg und Bedeutungszuwachs gegenwärtiger Umweltbewegungen. Da jedoch bis zum heutigen Zeitpunkt eine Diskrepanz zwischen ihren Wertevorstellungen und denen der Entscheidungsträger besteht, verläuft die sozial-ökologische Transformation nur schleppend. Solange die vom WBGU geforderten „Pioniere des Wandels“ lediglich aus den Reihen der Protestierenden kommen, wird sich dieser Prozess auch zukünftig nur schwerlich ändern oder beschleunigen. Das vielfach geforderte Ziel einer „Dekarbonisierung der Gesellschaft“ kann daher nur erreicht werden, wenn die ökologische Diskrepanz zwischen Werten, Absichten und Handlungen überwunden ist (WBGU 2011).



11 Literaturverzeichnis
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Albert, Mathias (2019): Shell Jugendstudie 2019. Shell. Online verfügbar unter https://www.shell.de/ueber-uns/shell-jugendstudie/\_jcr\_content/patoptasks.stream/1570708341213/4a002dff58a7a9540cb9e83ee0a37a0ed8a0fd55/shell-youth-study-summary-2019-de.pdf, zuletzt geprüft am 12.03.2020.
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[1] In Kapitel 6 wird Umweltpsychologie näher erläutert.
[2] Postmaterialismus wird in diesem Kontext auf Basis der Ausführungen Ronald Ingleharts verstanden ( Inglehart 1977.)
[3] Die aktuelle, 18. Shell Jugendstudie, ist Ende 2019 erschienen. Die Repräsentativität wird durch eine zusammengesetzte Stichprobe von 2572 Jugendlichen im Alter von 12-25 erreicht. Durch geschulte IntwerviewerInnen, auf Grundlage eines standardisierten Fragebogens, werden die Jugendlichen zu ihrer persönlichen Lebenssituation, ihren Einstellungen und Orientierungen befragt. Die Befragungen fanden von Anfang Januar bis Ende März 2019 statt (Albert 2019)
submitted by Narostai to u/Narostai [link] [comments]


2020.10.19 12:02 OldmanRevived I saw two movies (The Trial of the Chicago 7, Martin Eden)

First up was The Trial of the Chicago 7
In form, Aaron Sorkin's "The Trial of the Chicago 7" is a courtroom drama. In purpose, it's a crash course in those passages of the Constitution that promise defendants a fair trial and the presumption of innocence. It has a kind of stark simplicity: Apart from a brief setup and a briefer epilogue, the entire film takes place within the trial against eight (later seven) leaders of left-wing activist groups that never should have happened. The film shows us the trial itself as well as the judge's perfunctory, almost bored, charge to the jury. His tone of voice indicates the verdict is a foregone conclusion.
The movie starts with the anti-Vietnam War demonstrations at the 1968 Democratic convention in Chicago that led to riots, with mayor Richard J. Daley calling in the National Guard. A year later, eight of the leaders of the protest were indicted for conspiracy and incitement to riot. The seven white defendants were represented by the activist lawyer William Kuntsler (Mark Rylance) and Constitutional law expert Leonard Weinglass (Ben Shenkman). The sole Black defendant, Bobby Seale (Yahya Abdul-Mateen II), who was only in Chicago for four hours during the convention, had a civil rights attorney who was in the hospital. Seale asked for a delay until his lawyer could be there, and the autocratic judge, Julius Hoffman (Frank Langella) refused.
The leaders of each group talk about their hopes and plans for the convention. Lyndon Johnson, whose decision not to run for re-election was in part due to increasing national opposition led to the nomination of his Vice President, Hubert Humphrey, as the Democratic candidate. Many people thought there was no real difference between Humphrey and Johnson and between Humphrey and the Republican candidate, Richard Nixon.
The major defendants in the trial, following the uprising during the Democratic National Convention in Chicago, include other activist leaders against the war in Vietnam: Tom Hayden (Eddie Redmayne), Abbie Hoffman (Sacha Baron Cohen), Rennie Davis (Alex Sharp), David Dellinger (John Carroll Lynch), and the co-founders of the Black Panthers, who had no connection to any of the other defendants. Along with two others, the Chicago Eight, as they were initially called, were charged with federal crimes of conspiracy and crossing state lines in order to incite a riot.
After a thorough introduction to the major players and the enlistment of Richard Schultz (Joseph Gordon-Levitt) to prosecute an overtly political case for the government, Sorkin begins the story proper with the trial and keeps that proceeding in the narrative's present tense. That decision is simply and subtly ingenious. We watch the trial, alternately amused and stunned by its various and respective outbursts and abuses, with only limited information of what actually happened during the protests and the riots that eventually erupted.
In a recent press junket with members of the Critics Choice Association, Sorkin said he relied on court transcripts and published books for his screenplay. There was, however, one angle he could never cover that way – the personal one. For that, he interviewed Tom Hayden, who provided a sense of what it was like. This is as much a human drama as a courtroom drama. With differing ideas about how they should defend themselves, the participants are constantly pulling in opposite directions, with Kunstler trying to draw them together. This was one of the most disgraceful episodes in American history, and as it emerges from the judge's personal neurotic power game, it has a calamitous force.
There are villains to hiss, and hippie rebellion to cheer, and while Sorkin is making a mainstream picture with the material, he makes his points with care, never getting too precious and wisely preserving a reminder. Our justice system presumes defendants are innocent until proven guilty. It also places extreme pressure on the police to make arrests leading to convictions — to "solve" the crimes. If a heinous crime ends with a popular conviction, the system is satisfied. Nobody wants to hear contradictory evidence.
The movie clearly and convincingly presents all of its arguments, its political debates, and, above all else, its outrage. It is exactly what it needs to be: an assertive and impassioned piece of political theater. It's about Abbie doing stand-up riffs to college audiences, about the sneaky prevalence of FBI undercover agents, about how Kunstler combines the mind of a litigator with the heart of a grizzled rabbi, and about how Abbie and Tom circle each other with resentment, until they're forced to confront each other in a great scene that seems to sketch in the next half century of American politics.
The large gallery of characters makes "The Trial of the Chicago 7" into a convincing canvas; there are enough believable people here to give Sorkin a convincing world to occupy. And he is patient with his material. He'll let a scene play until the point is made a little more deeply. The movie lacks overall clarity, and in the last half-hour audiences are likely to be confused over what's happening, and why. But that didn't bother me over much, once I realized the movie would work even if I didn't always follow it. With a screenplay that developed the story more clearly, this might have been a superior movie, instead of just a good one with some fine performances.

Next up was Martin Eden
Martin Eden's life is meant to directly mirror the lives of the working class Italians who make up half its populace. The other half are rich and judgmental, lives free from toil. "Martin Eden" is an adaptation of a lesser known Jack London novels. London's socialism is not something that literary populists or schools felt the need to keep with his legacy of survival in the woods. This is one of his more overt reckonings with his politics. The movie transplants the story from early 20th century California to an unspecified time in Naples, Italy, as liberals and socialists and connected magistrates battle for the direction of the country.
Martin (Luca Marinelli) doesn't so much get caught up in the middle as he tries to set himself apart from every crowd surrounding him. He appears as an admirable figure at first; inspired by love to improve his standing in society and achieve a newly discovered dream, he embarks on a quest to educate himself past the grade school levels he achieved before he was sent to sea at age 11. Then, he reads a single volume of Herbert Spencer, who saw evolution as the universal law of everything in the world from animals to humans. As far as we can tell, this is Martin's first encounter with philosophy, and we can definitely tell that he never bothers to read anything else on the subject.
Having been labored as ship worker, Martin drinks, parties, and gets into fights (his face and neck have a few scars). He lives with his sister (Autilia Ranieri) and tyrannical brother-in-law (Marco Leonardi), and goes from one job to the next. One morning, he saves a rich kid (Giustiniano Alpi) from a beating and is rewarded with a glimpse into his family's life. He meets the boy's sister Elena (Jessica Cressy), who becomes the figure of his absolute affection. She convinces him to restart his education, but pride and fear keep Martin from going back to school. Instead, he becomes an autodidact, devouring every book he can find. That's when Martin decides he wants to become a writer.
He gives himself two years, living in a rent-free situation with a woman and her two children, to hone his craft. Stories are mailed to assorted magazines, and the rejected mail keeps being returned. Martin becomes poorer. He becomes a joke within Elena's circle of friends and family. He forms a friendship with socialist Russ Brissenden (Carlo Cecchi), whose politics Marti rejects but whose support he greatly appreciates, while asserting his position as an individualist, as unprofitable as it is for him.
Martin stands not so much for license as for freedom of artistic expression, and he goes beyond ideology to madness. Still, he stands as an extreme illustration of the idea that society is best served if everybody behaves according to his own self-interests. He gets around the trappings of the upper classes while disdaining their entitlement. Aggressive and prone to indulgent outbursts in front of his girlfriend Margherita (Denise Sardisco), he's become the model of a distinctly European macho intellectual, loudly spouting his libertarian theories on social evolution and the individual.
"Martin Eden" was directed by Pietro Marcello, whose fortunes have been confined to Europe until now. In a sense, I rather liked the film, but sitting through it wasn't always so rewarding. Marcello never quite figures out which parts of London's novel need to stay and go. An abrupt time jump at the start of the third act teleports Martin into high society, and that disorienting leap clearly articulates his struggle to reconcile who he was with who he is now. They're ostensibly meant to be the same man - it’s society’s view of him that's changed - but our view of him has changed as well. We’ve lost sight of Martin for too long to fully appreciate the particular metamorphosis that’s taken place.
"Martin Eden" is not tedious, at least. It errs in the opposite direction. It is a great-looking film, with a fantastical visual style that could be called Felliniesque. Some scenes take place in a colorfully romanticized version of the Petite Italie neighborhood in Montreal, where the neighbors line up beside their garden allotments like the chorus members in an opera, and anyone is likely to break into song.
The plot is a serviceable device to introduce characters who need have no relationship to one another, and to guarantee conflict and drama. We are all indoctrinated in the wisdom of psychobabble, and know that by the end of the film some of the characters will have learned to deal with the anger, others will have stopped playing old games, and with any luck at all there will even be a romance. The final act gives Martin what he wants, as the country outgrows the political arguments of this time and suddenly mistake Martin's increasingly bitter, angry, and nihilistic views as genius. The potential for ruin becomes broader in scope.
You may be feeling some impatience at the complexity of this plot. It is too much, too heavily layered, too needlessly difficult, too opaque. Individual scenes leap out and have a life of their own; Marinelli makes the difficulties of his own character very affecting; some of the episodes are like small, perfect character studies, and the film may be adding the layer of style just for fun. All of these scenes are wonderful in their different ways, and yet I left the movie uncertain and unsatisfied. Perhaps this is so clearly the film I did not want to see about Martin Eden that I cannot see the film others might want to see.
submitted by OldmanRevived to MLPLounge [link] [comments]


2020.10.19 09:26 Budget-Dragonfruit-7 omnicide 2022-new book

hello everyone...I want to post every week - 2 chapters from my book "omnicide 2022". (25 chapters)

If you have any questions, comments, recommendations, and requests please send them to my site and I will be happy to review and respond

book description(omnicide 2022)

Bizarre politicians are dragging the world into a hallucinatory war!

In the Arabian"Fata Morgana" desert with its white mouse bedlam…, Monro-the president of Democrats and Aswad the President of Islamists wishing and dreaming of ruling our world by themselves-totally alone. Meantime, Monro's deputy, Barney the comedian is sent to the front against his will to entertain the troops, but his neck is on the line to keep them amused. Additionally, a group of old and famous Hollywood actors is forced to portray deadly commando soldiers and go beyond enemy lines. Aswad and Monro are Accused of war crimes. When found guilty. Monro and Aswad pull out their "atomic Judgment Day" phone …and both leaders hurry and push the phone buttons to destroy our world…but something went very wrong

the motto of "Omnicide 2022" is a unique opportunity for something new and surprising. To make OUR planet a BETTER world with humanity .. understanding ..and hope for an optimistic and worthy future for all of us regardless of- race, religion, sex, skin color, education, and social and party affiliation.

"OMNICIDE 2022" is a book that every politician, elected public, filmmaker, TV CREATOR, KIDS educator and anyone who cares about his future, the future of his family and descendants and the future of humanity will want the book for him And for his acquaintances!!


1 chapter on Monday - 1 chapter on Thursday
chapter 1 - plot
The story opens in 1.1.2022! President Monro, the democrats' leader, president Aswad, the Islamists leader, and their government ministers are visiting in the Islamic Desert at Fata Morgana, in the White Mouse insane asylum and the most famous prison. They meet Blaffof, the jail chief and his deputy, who runs the White Mouse. Monro and Aswad kiss cheeks and fake friendship for the cameras. They enter the prison for a tour. They meet Mike Satanic, a friend of Aswad, to whom Aswad gives a briefcase. They see many celebrities while they walk to Satanic rooms, which are lavishly appointed and staffed. Aswad and Satanic are chummy. A few minutes later, Aswad's helicopter fades away on its way to Muslimania, the capital of the Free Islamic Forces. Monro, Barney, and all government members got in their helicopter and flew to Demos, the Selected Democratic Organization's capital.

Chapter 1: The White Mouse
1.1.2022
The yawning sun began awakening, rising to highlight the natural
the beauty of the Arabian desert area, Fata Morgana, near the territory
held by the Democratic Organization. Close to the scattered Bedouin
tents, the desert kings were roaming peacefully; camels, sheep and
donkeys greeted each other with, “Ahlan wa sahlan” which is Arabic
for “Welcome", with their moaning, bleating, and braying.
Barney opened his eyes slowly, rubbing them sleepily. At the same
time, the blows he was receiving from the side of the helicopter struck
his head from every angle and helped his brain to regain its regular
activity that, at times, was normal and predictable, but was usually
unpredictable and insane.
Everyone in the helicopter watched curiously, their eyes softened with
smiles of sympathy, when the White Mouse,– the notorious facility
that served as a prison and mental hospital for the craziest and most
dangerous prisoners – appeared in front of them. The building was
dirty and ugly, and the stench was unbearable. In Fata Morgana, the
stained white colors were in extreme contrast to the vast brown desert
that spread out like a wall in every direction, preventing anyone from
escaping the facility. From the corner of his eye, Barney noticed that,
as usual, Monro was dressed in a military combat suit, decorated with
camouflage patches of bright ochre, with row upon row of false
honors and medals for bravery, which, according to him, he had
received for his participation in obscure, unknown, and unfamiliar
battles. He wore a stylish striped combat hat on his head.
Suddenly, the underbelly of the helicopter opened, and from within,
Monro's heavies stepped out and scrutinized everyone: the members
of the government, the guests, and the worldwide press. The
ceremonial band waited anxiously on the concrete surface, near the
entrance to the facility. Several microphones had been set up nearby,
on a little podium decorated with awful colors. It stood on a long red
carpet that extended to the helicopter landing pad. The heavies
finished inspecting all the people and checked what was going on
around them. Again they asked each other:
“Is everything okay, Grisha and Boris?”
“Yes, all fine. Is everything okay, Alex and Nicolai?”
“Yes, Grisha and Boris here. All okay.”
“Yes, Alex and Nicolai here. Everything is fine.
Is everything okay, Ivan and Oleg?”
“Yes, Ivan and Oleg here. All okay. Is everything okay, Grisha and
Boris?”
Grisha and Boris answered angrily, “Idiots, you already asked us
that.” Grisha turned to Monro and stupidly, he saluted him.
“President Monro, everything is okay. We can leave the helicopter
now.”
Monro tried to leave the helicopter, but the heavies stopped him,
checking his appearance. Then, everyone exited the aircraft behind
Monro and the heavies, who checked everything constantly,
continuously bothering each other with their hysterical worries and
dumb questions, as if any minute, aliens would appear from outer
space to assassinate Monro.
Barney stared curiously at the two characters approaching them from
the prison gate. They seemed familiar to Barney. They both saluted
Monro and the higher-ranking one turned to him politely.
“Hello, Honorable President. I am Chief Warden Blaffof,” he said,
then indicating his companion, “and this is my deputy, the greatest
thief of all, the rabbi Joves from New York. Welcome to the White
Mouse facility. Usually, those who enter these gates never leave them
again.”
Monro flinched at this last remark and looked at both of them with
contempt. “I am Monro the Great, the chosen Monro, I'm not scared
of anybody, not even in this place.”
Prof. Cheers whispered in Monro's ear, “That was a joke, Mr.
President. Take it as a joke!”
Monro started laughing crazily and slapped Blaffof's shoulder
forcefully with a karate chop that almost made the chief warden lose
his balance.
“Don't worry, President Monro. He meant the criminals and the mad
people who come here, not the politicians.”
Blaffof and his deputy slapped one another on the back, giggling like
schoolgirls. Only then did Barney remember that those two clowns
had once been among the leading kings of fraud and corruption
worldwide. Therefore, he turned to Yeats, whispering,
“Tell me, I remember that Blaffof was sentenced to 150 years and the
rabbi – I do not remember how many years he got. So what are they
doing here, holding the important positions of prison warden and
deputy?”
Yeats smiled arrogantly and said to him proudly.
“Their lawyers suggested a plea bargain. Instead of letting them rot in
prison, they suggested these two be allowed to serve as warden and
deputy, on the condition that they return as much of the stolen money
as they can. I suggested to Monro that he accept without hesitation.
I'm a genius; don't you agree?”
Barney's shock was complete. “Of course, everyone knows you are a
genius, Yeats. But how do you know they will not escape at the very
first opportunity?”
“Are you mad? They will never do that. Each one of them, like all of
the prisoners have an electronic ankle monitor. One more thing, if they
try to escape, they will be caught and returned to the facility to face
life sentences as prisoners, rather than living a life of luxury as
warden and deputy.”
“And where are the keys to their electronic anklets?”
“What kind of an idiotic question is that! Of course, like at every
another prison worldwide, they are held by the prison warden and his
deputy, here at the prison office.”
Suddenly, everyone raised their eyes towards the sky at the loud and
the annoying sound of Aswad's helicopter approaching.
Yeats screamed at the orchestra, “Ready everyone!"
Monro signaled to the journalists that they should come over and
listen to him. He said, “The new President of the Free Islamic Forces
seized power in a bloody military revolution. They eliminated their
enemies, both internal and external, with anthrax poisoning, bird flu,
swine flu, camel flu, donkey flu, and a range of other diseases. Finally,
he took Mike Satanic under his wing. Satanic was a former Israeli
who converted to Islam and became the notorious and elusive Caesar
of Terror. Aswad sent him to burn and eliminate his competitor's
largest oil wells, and thanks to his successful completion of the task,
the powers of the Free Islamic Forces became the largest, in fact, the
sole suppliers of oil throughout the world. Aswad became their
exporter and the richest billionaire among the oil powers.”
The humongous helicopter, adorned with symbols of the Free Islamic
Forces landed near them. Monro, the bodyguards, the members of the
government, and the interpreter waited near the aircraft. When the
door opened, President Aswad stepped out, wearing a black military
hat, an army uniform, similar to Monro's, with camouflage print and
medals of honor and bravery, all of which were the fruits of his
productive imagination. He was accompanied by several members of
his government, the Islamic media, and his interpreter. Photographers
from all over the world began shooting with their cameras. To their
disgust, Monro and Aswad were forced to shake hands in front of the
press and kiss one another on the cheek, with expressions of distaste
on their faces. The two interpreters introduced the two much-lauded
presidents and the members of their governments, who refrained from
looking at each other, preferring just to exchange a quick symbolic
handshake. The two leaders walked toward the podium, greeting one
another with obvious revulsion, exchanging false pleasantries, whilst
on the inside, each was praying for the other's death. Their mutual
questions about each other’s health were empty, quite devoid of
sincerity.
“How are things, your Honor?” ….
“Are things going as you wish, your Honor?”
“How are you doing?” …
“How are you?” …
They both sighed with relief and satisfaction when they were finally
standing on the podium, each holding a nicely wrapped package.
Monro held a small model of a camel, with Aswad's face on it. He
handed it to him saying:
“Take this small gift from the people of the Selected Democratic
Organization and me.” He thought with a smile, "I would have
preferred to give you poison…, you asshole.”
Aswad smiled an empty smile, with no connection to the moment, and
seemed pleased and happy for no apparent reason.
“Thank you, my dear brother, Honorable President Monro." …But
meanwhile, he was thinking smugly: "It's a pity that Hitler did not
exterminate you and the rest of the democrats along with the Jews."
He handed Monro a miniature statue of a pig, whose face resembled
Monro's. “Take this humble gift from me and the people of the Free
Islamic Forces, who admire and love you.”
They shook hands once again, with mutual smiles of contempt for the
applause. Monro whispered to Aswad, “I hope you will continue
supplying oil to the Selected Democratic Organization and stop
raising its price as Mr. Aziz, your predecessor, did.”
“I hope you will keep sending us your agriculture and grain exports
and stop manipulating and fucking with us,” said Aswad.
“Of course, President Aswad, you will not be disappointed,” he said.
“I wish the oil drilling tower would fall on you and crush you, you
thief, extortionist, and liar.”
“Of course, Mr. Monro, all will be fine,” said Aswad, “I hope you are
swallowed up and chopped into pieces by a combine harvester, you
thief and liar.”
Barney stared at them curiously, wondering what they were hiding as
they continued smiling at one another. They reminded him of two
poisonous snakes. Aswad laid a fatherly hand on Monro's shoulder,
while the latter instinctively prepared to do a karate move. "Maybe we
should go inside."
Monro's response scared Aswad for a second, but the latter calmed
down when he sensed Monro's embarrassment.
“I want to see the condition of the Arab prisoners. I hope that your
the prison warden is treating them well,” said Aswad.
“Okay, Mr. Aswad. Let us go inside. You will see there is nothing to
worry about.” He chuckled. “You will see that the Arabs receive better
treatment than the prisoners from the Selected Democratic
Organization.”
Suddenly Aswad turned to Monro and pleaded: “Dear Mr. Monro,
Honorable President, would you be gracious enough to make a small
gesture, in honor of the good relations between us and our countries.
Please release Mr. Mike Satanic and hand him over to us… He
deserves to be in the prison of the Free Islamic Forces”. He smiled
sarcastically at the cameras. “Give peace between the Free Islamic
Forces and the Democrats a chance.”
Monro answered through clenched teeth: "Chosen, brave, and smart
President Aswad, your sweet Mike Satanic, was responsible for
blowing up magnificent buildings and massacring innocent people
without discretion. I will never release such a despicable terrorist.”
They glared at one another, pure hatred in their eyes. Then, as if by
magic, they suddenly smiled sweetly at one another, putting on a
show for the cameras, and continued with their diplomatic and
political routine. Monro turned to the journalists with a sweet smile.
“Ladies and gentlemen of the press, if you have any questions, now is
the time.”
The journalist of the Democratic Organization asked Monro: “How do
you see the relationship between these two countries?”
Monro replied all smiles. He said, “I'm the new leader of the
Democrats and I seek peace and understanding with President Aswad
and the Free Islamic Forces.”
Aswad responded, “And I'm the leader and general of the Arabs and
Muslims who are looking for truth and happiness in their world, and
especially within the Selected Democratic Organization.”
A democratic journalist who was standing close to Monro asked: “Mr.
Aswad, the world would like to know why you don't allow the
Nuclear Weapons Control Committee or any other control committee
to check your reactors?”
Aswad grabbed the microphone and said, “Bullshit, the Atomic,
Chemical, Bacterial, Cosmic and Galactic Control Committees can
check whatever they desire. The reactors you mentioned are the
elaborate installations of the Islamic Forces which we are using to try
to produce gold artificially, synthetically, and microbiologically. We
would like to be the first ones in the world to succeed in the
production of artificial gold.”
Another democratic reporter screamed, scarcely able to contain his
rage, “How is that relevant? What is this nonsense about producing
gold?”
Aswad chuckled. “Producing gold is considered nonsense? What
about the Democratic Organization that already has nuclear weapons
for use against the Islamic Forces? Is that nonsense? We will produce
gold missiles, gold airplanes, and gold submarines. We will become
the world's largest gold empire.”
Monro responded, “Mr. Aswad if the Nuclear Weapons Control
The committee does not check your new reactors, we will acquire reactors
similar to yours. We will also produce gold as you do, but free gold
that is better than your gold.”
Aswad was furious. "I don't want to hear about the reactors and gold
anymore. Enough with the questions. God elected me to lead the
Islamic Forces forever.” He stated assertively:, “We must continue;
let's go inside.”
The prison warden took out his cell phone and spoke with the guards
in a loud voice. The guards opened the gates with a dreadful creaking
sound while one of the Islamic president's entourage handed him the
leather briefcase he had been carrying until then. President Aswad
took the briefcase and put it under his arm, then he continued walking
with his entourage, towards the open prison gate. One of the guards at
the gate pointed at the briefcase and mumbled: “Mr. Aswad, you are
not allowed to bring a briefcase inside the prison.” The Islamic
interpreter explained to the president what the guard had just said.
Barney eyed the briefcase with suspicion and fear. Aswad looked
stunned and a feeling of contempt rose up within him. He looked at
the guard suspiciously, then at the prison warden and Monro, and
said: “What do you think? That I have an atomic, chemical, or
bacteriological bomb in the briefcase? Are you Democrats so paranoid
and quick to accuse me? You have decided that I am the devil, right?”
Everyone was stunned at his exaggerated reaction. Yeats jumped
forward toward President Aswad. “You are wrong, Mr. Aswad.
Everything is fine, Mr. President; you can bring your briefcase inside.
“This guard is stoned; he has just smoked a little pot and was
probably bribed.”
The democrats were afraid that this rough and awkward incident
would cause some serious diplomatic incident, but the Islamic
president raised his hand and replied, pale-faced: “It's not okay; I'm
furious! I feel like canceling everything and going back to the Free
Islamic Forces.” His assistant whispered something in his ear, and
finally, he said jokingly:: “But there is nothing for me to do; you are a
country of suspicious, nervous instigators and agitators. You are a
Democratic Organization of nutcases and paranoids.”
Aswad opened the suitcase with a blank face that, for a brief moment,
appeared to mean, and showed everyone the laptop that was inside.
“This is a laptop, a gift to my friend, Mike Satanic, see? There are no
explosives, no atomic, chemical, or bacteriological missiles. You can
calm down now.”
Everyone sighed with relief and they all entered the prison. Barney,
Yeats and Prof. Cheers stared at each other uncomfortably. Monro
and Aswad, each still suspicious of the another, smiled awkwardly,
like hungry cannibals. Aswad was in a good mood; he laughed with
incomprehensible enjoyment and patted Monro on the shoulder.
“Everything is fine, Mr. President. You don't know how much I
appreciate you and the Selected Democratic Organization. I'm glad I
came to visit you.”
“Of course, Mr. President,” Monro said and patted Aswad's shoulder.
“Everything is fine.” Laughing, he added, “As they say in Arabic,
ahlan wa sahalan. I'm also happy to have you here.”
Monro mumbled under his breath: “May you burn in hell forever.”
The final iron door at the entrance to the facility opened, and
everyone entered. Then the door closed behind the last man.
“Mr. Monro,” Aswad said jokingly, “I hope that at the end of the visit,
you will let us out of here. I hope we are not your prisoners forever?”
Monro laughed. “Just behave nicely, and we will let you go. If you
create problems, we will forcefully detain you, or perhaps even hang
you.”
Everyone laughed. Monro whispered into Yeats' ear:
“Listen, and do exactly as I say, immediately. Build two new nuclear
facilities that are identical to Aswad's nuclear facilities; build them
near the existing reactors. Take some people, as many as you need,
from the unemployment office, and place them in the new facilities.
Dress them in white lab coats and goggles, so they look like scientists.
Cover and disguise the existing reactors. The new buildings should be
made of plaster; also, use plaster to cover and disguise the existing
ones. Complete the job within two weeks. Take as many people as
you need: unemployed, sick, and handicapped people, soldiers before
enlistment, and even enlisted men.” He chuckled. “Use however
many people you need.”
The minister of defense looked shocked. “But—”
Monro looked at him with the eyes of a threatening lion.
“Okay, Mr. Monro. We will take care of that ASAP.”
Monro continued frightening the minister of defense. “If needed, in
the meantime, create a fake picture of how everything should look
after it has been built and hide the old one. Then publicize it in the
media all over the world. Why do we have computers, graphic artists,
special software, Photoshop, Facebook, Google, and YouTube? Please
recruit the entire media for that. This is an emergency.”
The minister of defense nodded his head. Aswad handed the briefcase
to one of his assistants. A shout of astonishment burst from
everybody's mouths at the excessively shiny and polished appearance
of the interior of the facility. The deputy warden opened the door to
the warden's office, and everyone walked in and crowded together
uncomfortably. Within the spacious room, the guards sat watching the
big TV monitors in front of them, that showed different areas of the
prison: the prison yard, kitchen, showers, clinic, gym, prisoners’ cells,
the closed ballroom, corridors, and library. It also showed the
positions of the guards on the towers all around the prison. Barney felt
sick at the sight of the people inside who would never come out.
Monro stood there, smiling at everyone in an arrogant pose. He said,
“Be aware that this is the most sophisticated facility in the world, and
all thanks to me. Everything in here is modern and new, and it was
purchased with my money.”
Yeats whispered arrogantly, “But your Honor, we built this facility
from with government funds. Did you forget?”
Monro got angry and screamed at him. “I don't want anyone to
interrupt me while I'm speaking! Shut up! Everybody knows that this
place exists thanks to my money, the money of Monro, the chosen
one. And if anyone dares to interrupt me one more time, he will stay
in this prison for good – he will enjoy a free holiday here for the rest
of his life.”
They were all taken aback and lowered their faces to the ground.
Monro smiled at the look of shock on Aswad’s face.
“I'm sorry, Mr. President. I have the most professional prison guards,
the most sophisticated systems, and, of course, during the five years
that this prison has existed, no one has escaped, and no one will
succeed in escaping. Nobody who ends up here will ever get out,
except in a coffin on his way to a better world.”
The main screen revealed one significant, closed room that looked
different from the rest. Aswad pointed at it curiously.:
He asked, “To whom does this wonderful room belong? How many
prisoners stay in it? How many Arabs, Americans, or ones from other
countries? How many guards? Show us the yard.”
“Here, we have male and female prisoners and also mental patients,
including thirty Arabs from all countries, ninety Democrats from all
countries, twenty foreigners, and thirteen on-duty staff. The room you
asked about belongs to the most famous prisoner in the world, Mike
Satanic.”
The chief warden answered with pride, while Barney noticed that
Aswad's face became rigid and bitter. Everyone's attention turned to
the screen that showed the prison yard. They all moved closer to the
screen and stared at it with their mouths wide open, astonished, and
confused. The sight of the characters who appeared on the screen
illustrated reality, but they all saw the most prominent individuals in a
surprisingly different light: Every pair of eyes watching the scene was
captivated, astounded and unable to respond.
President Aswad asked with astonishment, “Some of the people in this
yard are famous, but there are some who are no longer with us. They
are not alive, so what's going on here?”
“You are right, Mr. President,” Prof. Cheers said.
“But they are not who they appear to be. All were regular people who
wanted to become famous and did everything to impress the world,
but when they understood that nobody was paying attention to them,
they went crazy.”
“That's enough!” Monro shouted, and turned to Barney, “Tell
President Aswad some jokes to allow him to forget the patients and
this place.”
“This is a joke for the honored president.” Barney suddenly recalled a
the joke he had told his beloved Elena a week ago, and immediately he
began to tell it to Aswad, without thinking about the nature of his joke
and its punchline.
“A Christian, a Muslim, and a Jew go for a walk and find a trunk full
of dollar notes in an alley. Each claims it as his. Finally, they decide to
turn to the mayor, so he can determine who it belongs to. They tell the
mayor what happened. He takes a piece of chalk, draws a circle on the
floor, and says that anyone who can prove that he should be allowed
to keep more money than the other two will get it all. The Christian
announces that he would throw the money in the air. Whatever falls
within the circle he takes it. Whatever falls outside the circle belongs
to God. The Muslim says that he would throw the money in the air,
and whatever falls outside the circle is his, and the rest belongs to
God. They were certain that the Jew would not be able to come up
with a new idea for the money, but the Jew surprised them by
announcing that he would throw all the money in the air. “Whatever
God wants, he will take, and whatever falls on the floor is mine.”
President Monro's entourage cracked up laughing; Barney laughed at
his joke and was incredibly pleased with himself. He surely looked
like a mental patient who was waiting for applause. Aswad looked at
him and screamed at him in disgust: “You are not ashamed to
humiliate Islam in my presence? You, like always, think that the dumb
Islamic people should be made a laughing-stock?”
Monro's entourage became quiet, their faces filled with
embarrassment.
“I promise you that one day, we, the Arabs, will humiliate you without
consideration or mercy, to the point when you would choose death
over suffering at the hands of the Muslims.”
“My apologies, your honorable President, my foolish friend didn't tell
the joke well.” Prof. Cheers panicked, glaring angrily at Barney's
pale, shaking body.
“He is just a dumb fool. He got confused because he is so stupid. He
meant to say that the Jew spoke second, and the Muslim was the one
who said he would throw the money in the air and take whatever God
didn’t take. The Muslim triumphed over the Christian and the Jew.”
Barney wanted to bury himself under the dark mountains. He cursed
the moment he was born and was sure that only he could cause a new
the war between the Selected Democratic Organization and the Free
Islamic Forces – one that would turn into the Third World War. He
was not sure that President Aswad bought what Prof. Cheers said,
even though she had probably saved the situation.
President Aswad studied Barney with suspicion, wishing he could kill
him, and mumbled with disgust: “Okay, I got you. Let's continue; let's
go to my dear friend Mike Satanic’s room.”
They continued walking in silence, down the long corridor, until they
reached the end, then they turned right, and then left until finally, they
were standing in front of a gnarled door, on which the words “No
Entry” was written, in English, Arabic, and Russian. Barney didn’t
know where they were standing, innocently believing that it was a
regular room for VIP prisoners. The prison warden buzzed the
intercom and asked for permission to enter. The camera that was
placed on the ceiling above the door focused on everyone, and the
door opened wide. Had he not seen this room with his own eyes, he
would not have believed that such a room could exist in a place like
this. The guests stared at it with astonishment, enthusiasm. Shouts of
“Wow!” burst out of their mouths at the sight of an amazingly
organized and furnished room that was nicer than Monro's office at
the Democratic Presidential House.
Blaffof explained with puffed-up pride, “Welcome to the room of the
Caesar of Terror, Mike Satanic, who was caught by the CIA and
Mossad in Germany, with a false identity. He was secretly transported
to Demos, the capital of the Selected Democratic Organization, and
was sentenced to ten life sentences without parole. The adjacent
rooms are reserved for his security people who also served as his
secretaries, wives, and mistresses, who sleep with him every night,
one girl or two, or three, or four at a time, as many as he pleases.
“Mike Satanic is a man whose assets are currently estimated at
USD1.5 billion. The Selected Democratic Organization also regularly
places the helicopter at his disposal. Mike Satanic occasionally takes
the helicopter for a ride, accompanied by his guards, the prison
warden, his deputy, and some prison guards. He already knows the
entire surrounding area. The putz enjoys looking at us from above.”
Everyone burst out laughing. The room, which was sixty-five feet
long and thirty-three feet wide was furnished with Persian and
Chinese carpets, that were later discovered to be fake. The walls were
painted with the latest colors; there were new, sophisticated air
conditioners that cooled or warmed the room, according to his wishes.
The room was divided into two equal parts. In the back corner was a
luxurious, electric canopy bed, and on the opposite side was a 150-
inch 3-D TV, with a fantastic bathtub beside it, an amazing Jacuzzi, a
closet, and washbasins. The front corner was a copy of a hi-tech
CEO's office. Satanic was sitting behind an impressively large, solid
executive desk, on an executive chair of high-quality leather. He was
flanked by six Arabs in suits, his tough, fearsome bodyguards. In front
of him, beside the desk, were three empty chairs of high-quality
leather for his guests. On the table were desktop computers, portable
computers, tablets, land-line phones, and a smartphone, along with
various accessories. There were large TV screens on the wall opposite
him, broadcasting from all the world capitals. His six
secretaries/mistresses sat at desks along the walls, dressed elegantly in
the latest styles, wearing veils over their faces, and typing on their
portable computers. The Islamic-Democratic group stood looking at
the scene in front of them, astonished. The Caesar of Terror, Satanic,
in a gallabiyah and a keffiyeh, stood up and walked toward President
Aswad with his hands extended for a hug. The latter reciprocated his
gesture and asked, “How are you, my dear friend, my beloved brother,
the new prophet of the Islamic Kingdom?”
They hugged warmly and kissed each other on the cheek.
Mike Satanic asked: “And how are you, my dear friend, my beloved
brother Suleiman Aswad, the new prophet of the Islamic kingdom, the
leader of the Islamic army? Did you remember to bring me a gift?”
The president opened the briefcase and presented the laptop to him
“My good friend, my dear brother, please accept this humble gift.
This is Mickmack's latest laptop.”
“Thank you, my dear brother. I accept your gift with love and
affection and humility, and I thank you from the bottom of my heart.”
The Caesar of Terror bowed slightly and laid the briefcase on his
desk.
President Aswad approached Monro. “Mr. President, I would also like
to introduce to you a truly outstanding person, precious and tireless. I
am talking about Mike Satanic. He is your most important prisoner
here.”
Monro approached the Caesar of Terror with his six bodyguards,
while the Caesar of Terror approached him with his six heavies.
Monro shook the Caesar of Terror's hand, smiling condescendingly.
President Aswad stood in front of them with a suspicious and devious
smile on his lips. The 12 bodyguards eyed each other like hawks. It
seemed they couldn’t wait to knock one another’s heads off.
“Mr. Warden,” whispered Aswad, “my dear brother Satanic, told me
on the phone, several days ago, that you promised to organize a
masquerade ball for the prisoners instead of the Halloween party.
Why has that not yet taken place? Because you didn't manage to
prepare masks for the prisoners? I am not interested in reporting this
to the United Nations. But this is a rude and blatant negation of
prisoner's rights. I demand that the ball be organized immediately, and
I have even brought masks for all the prisoners. They are in my
helicopter.”
The prison warden and his deputy whispered to each other, clearly
embarrassed. Monro feared the media reaction regarding the
masquerade ball fiasco.
“It's a pity I didn't know about that. Take the masks that the
honorable President Aswad brought and prepare the ball immediately,
for tomorrow at noon. If you need any help, I will make sure it’s taken
care of. Please come to me with any requests you might have,” said,
Monro, somewhat impatiently. “I think that we've been here long
enough. Let's go.”
Everyone left the facility with a sigh of relief. When they got outside,
some of the prison guards were pushing wheelbarrows laden with
large boxes of masks for the ball, which they had fetched from the
helicopter. President Aswad took his leave of Monro with artificial
friendliness and the obligatory kisses. His physical aversion was clear
to see, and his smile was ostentatious, plastered, frozen on his face.
Monro smiled back at him arrogantly.
“Mr. President, if you would come to visit us at the Selected
Democratic Organization for a few days, I would love to have you at
my estate and to show you some beautiful places.” I will take you to a
slaughterhouse, so you know what your fate is.
“I would have gladly accepted your invitation,” Aswad patted him on
the shoulder, the smile disappearing from his face immediately, “but I
must go back. I would love to visit you next time. I'm sure it will be
soon,” he murmured. Monro replied under his breath: … "I’ll make
sure that the gates of hell are waiting for you."
A few minutes later, Aswad's helicopter disappeared into the distance,
on its way to Muslimania, the capital of the Free Islamic Forces.
Monro, Barney, and all the members of the government got into their
helicopter and flew to Demos, the capital of the Selected Democratic
Organization.
The cabinet secretary reminded them: “Don't forget that we have a
government meeting at 10 a.m. tomorrow, where will discuss the
country budget.”
Monro remembered something and stopped him, saying: “The
government meeting has been postponed, canceled. Tomorrow
morning, we are going to meet some of my special friends at the most
secret facility; you can bring along your wives.” Smiling his devious
smile, he said, “It will be an unforgettable day.”
Yeats said, “Maybe we can do it another day. There is an important
meeting tomorrow. It's best not to postpone it because—”
“It’s all set for tomorrow, and I'm not canceling it now! The country
issues are less important than my good friends and me.”
Everyone nodded apathetically, like a troop of puppets on invisible
strings. Barney did not care about the rest of the people and what was
going to happen the next day. Since they had left the White Mouse,
his brain had been humming like a beehive.
Barney felt chills crawling up his aching spine, which hurt constantly. A
a frightening black cloud of the unknown that was about to happen
undermined the thoughts that pounded furiously at his temples, until
he finally gave in to the sweet, long-awaited oblivion of sleep.
submitted by Budget-Dragonfruit-7 to u/Budget-Dragonfruit-7 [link] [comments]


2020.10.18 01:31 machiavellisleftnut *Sen. Feinstein hugs Lindsey Graham* Progressives - "WE'VE BEEN BETRAYED"

https://amp-theguardian-com.cdn.ampproject.org/v/s/amp.theguardian.com/us-news/2020/oct/17/dianne-feinstein-lindsey-graham-hug?amp_gsa=1&_js_v=a6&usqp=mq331AQFKAGwASA%3D#amp_tf=From%20%251%24s&aoh=16029737022763&referrer=https%3A%2F%2Fwww.google.com&share=https%3A%2F%2Fwww.theguardian.com%2Fus-news%2F2020%2Foct%2F17%2Fdianne-feinstein-lindsey-graham-hug
The guardian doesn't have a paywall, but this is highly concerning honestly
Their one point is that "The act and her remarks about the hearings for Judge Amy Coney Barrett – “This has been one of the best set of hearings that I’ve participated in” – sparked calls among progressives for her retirement, and outcry that she had been in office for too long. Many of the California senator’s constituents and her more progressive Democratic party colleagues have been arguing that for years."
So yeah I don't agree the ACB hearings are good but compared to the Bush nominations, it's not the worst I've ever seen
“When people ask, ‘Why are you surprised? She’s basically a Republican.’ Well, I had never, in all the times I’ve seen her represent our state, expected her to betray us to this degree,” Ronen said. “I don’t know she fully realizes what that statement says to us as her constituents, who are about to see decades of civil rights gains go down the drain because of the sham proceeding orchestrated by the Republican party and Mitch McConnell.”
The Democratic California congresswoman Katie Porter also criticized Feinstein, telling HuffPost: “I disagree strongly with Senator Feinstein that that set of hearings was one of the best or was even acceptable. I think Amy Coney Barrett did not answer basic questions about her beliefs and stonewalled repeatedly. We got many fewer direct answers than we have out of most supreme court hearings.”
Never mind the fact that
Canon 5 of the Model Code of Judicial Conduct bars judicial candidates from commenting on potential cases, controversies or issues likely to come before them.
Canon 5 also forbids potential judges from making any “pledges, promises or commitments” that would be inconsistent with judicial impartiality. Canon 5 applies to “candidates” for judicial office—thus, a judge’s prior record is different from making a pledge during confirmation proceedings.
In his opening statement at Justice Ruth Bader Ginsburg’s confirmation hearing, then-Senate Judiciary Chairman Joe Biden laid down a marker, noting that a nominee must not comment about “any specific case that may come before her.” In her own opening statement, Ginsburg further explained that it would be injudicious of her “to say or preview … how I would cast my vote on questions the Supreme Court may be called upon to decide.” A nominee, Ginsburg noted, can offer “no hints, no forecasts, no previews” as to how she might rule in a particular case
So even Ginsburg pulled this crap.
In response to a question concerning sexual orientation, a topic on which she had an extensive record, she explained that she could not answer without “violating what [she] had said to be [her] rule about no hints, no forecasts, no previews.”
Similarly, since “aid to schools is a question that comes up again and again to the Supreme Court,” Ginsburg declined to comment on the constitutionality of school vouchers.
And she refused to comment on the Second Amendment because of “much debate about” the issue.
Overall, Ginsburg declined to answer approximately 30 such questions.
Justice Elena Kagan refused to answer a question about how Roe v. Wade might apply to future cases.
And she refused to “grade” past Supreme Court rulings because a nominee must not “give any indication of how she would rule in a case that would come before the Court.”
It's insanity to me that Succs say it's good in our case but terrible in the other case when applying the same procession rules. The sham is the force through, not the lack of an answer.
submitted by machiavellisleftnut to neoliberal [link] [comments]


2020.10.16 18:13 Mamasitam2 Team Skeet

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submitted by Mamasitam2 to u/Mamasitam2 [link] [comments]


2020.10.16 04:22 igotanootnoot The Order of Kython

Drell was released from Veers Memorial Hospital after being held there for a few more days. His first task was to reunite with his fellow Dark Jedi and inform then of his discoveries on Dathomir and then to inform them of his vision while in the hospital. Still getting used to his bionic arm, he was determined to become a proficient duellist once more. Especially if his future plans were to come to fruition.
He had spent his stay in the hospital formulating a plan to both combat Tonveth’s Sith Order and to take Maskar’s lightsaber from Elena. He was going to pitch it to whoever remained on Denon and then return to Dathomir to live in the Sith academy there and explore the forbidden knowledge it held. The Core and Cerulean Guards had served their purpose but now it was time to become something greater than that. He had contacted all of the remaining Dark Jedi there and asked them to meet him in the canteen in their quarters at midday.
He first returned to his quarters and packed his bags. No matter what happened here he would be returning to Dathomir, with people or without. He took the Sith holocron he took with him from the temple and tucked it under his robe for safekeeping, putting the rest in a small case.
The Dark Jedi were partitioned from the rest of the troops in the Cerulean Guard due to their existence outside of the rank structure. He went into their living quarters and sat down in the canteen, watching as more familiar faces came in and gave their condolences for his arm. Once the ten or so Dark Jedi remaining on Denon shuffled into the room he began his speech and proposition.
“Brothers. Sister. As you may have heard I have just returned from Dathomir. While there I discovered something important.” He said calmly, reaching into his robe and removing the Sith holocron. “I have so far been unable to make it yield to my power. In the interest of our collective pursuit of knowledge, I will allow each of you to study the holocron. But…” he smirked, pulling the holocron back into his robe, “there is a catch. While recovering from my wounds I had a vision… I know where Master Kython’s lightsaber is. Or rather I know the holder of it. Elena Drasteia, one of our disposition thankfully. I do not have much experience with her but she shouldn’t be too hard to find with the proper… encouragement.” He chuckled, looking around the table at everyone.
“But I ran into something else on Dathomir. Something much worse than an unyielding holocron. I ran into Tonveth Jaadis. He likens himself a Sith and is a threat to our way of life!” He began to roar, the room filling with dark energy. “The fool follows the dogmatics to the Sith and will not see beyond them! If it were not for the Jedi traitors I could have put an end to him on Dathomir!” He continued, enraged by the thought of both Tonveth and Kian. He stood up abruptly and pushed the seat away, turning his back to the group as he brooded.
He calmed himself down and returned to his seat to the table, resting both of his elbows on the table. “We must combat the dogmatics of the Sith at every step. They are an even larger threat to us than the Jedi, as unlike the Jedi, Tonveth with not sit idly by. I imagine even as we speak he is recruiting for his Order, planning to stamp out the followers of Kython. I propose we found our own order, the Order of Kython. On Dathomir there is an ancient dark sider academy, we can occupy it for our own needs and collect our power there. Dathomir has long been the home of dark siders and we shall use that to our advantage. There is undoubtedly a trove of untapped knowledge hidden on the planet that the Jedi was too afraid to use and with any hope more holocrons. What do you say, brothers and sisters?” He asked looking around at them. Many of them nodded in agreement drawing their sabers and lifting them in the air. Drell finally removed his own, the only crimson one, and held it aloft. “For Kython!” He shouted, hearing them all callback and the pride and satisfaction rising in his chest.
The group retracted their lightsabers and left the room together. They gathered what belongings they had, which was admittedly not much, and left for their ships. Being fallen Jedi they all had their own ships, though Drell was going to have to fly gunner on Krev Tor’s ship, the Twi’lek he fought with when they invaded Chardaan. Though they did not have much in common when they first went to Chardaan they had become closer the further Drell went down the path of the dark side.
He hopped in the gunner’s seat of the old R-45 Starchaser, the same model as his, and flexed his bionic fingers around the stick. “Good to see you again, Drell.” Krev said quietly, doing his preflight check. “Indeed. I have the coordinates of the temple on my communicator. I’ll send them to everyone now so we go to the same place.” Drell replied, looking down and pinging the rest of the newly founded Order.
The fighters took off shortly afterwards, exiting the atmosphere of Denon and entering the hyperspace lane towards Dathomir.
submitted by igotanootnoot to Starwarsrp [link] [comments]


2020.10.03 18:51 Britneyfan456 Which Director had the best run in the 50s?

It could be best run in terms of anything
Alfred Hitchcock: Vertigo, Rear Window, North by Northwest, Strangers on a Train, To Catch a Thief, Dial M for Murder, I Confess, Stage Fright, The Trouble with Harry, The Man Who Knew Too Much, and The Wrong Man.
Nicholas Ray: In a Lonely Place, Rebel Without a Cause, Bigger Than Life, Johnny Guitar, Bitter Victory, Macao, On Dangerous Ground, Party Girl, The Lusty Men,Run for Cover, The True Story of Jesse James, The Racket, Flying Leathernecks, Born to Be Bad, Androcles and the Lion, Hot Blood, and Wind Across the Everglades.
Ingmar Bergman: The Seventh Seal, Smiles of a Summer Night, Wild Strawberries, Dreams, Summer Interlude, A Lesson in Love, The Magician, Secrets of Women, Summer with Monika, Sawdust and Tinsel, Brink of Life, To Joy, and This Can't Happen Here.
Billy Wilder: Sunset Boulevard, Sabrina, Some Like It, Stalag 17, Witness for the Prosecution, The Seven Year Itch, Ace in the Hole, Love in the Afternoon, and The Spirit of St. Louis.
Fred Zinnemann: From Here to Eternity, High Noon, The Men, Oklahoma!, The Nun's Story, A Hatful of Rain, The Old Man and the Sea, Teresa, and The Member of the Wedding.
George Stevens: Shane, Giant, A Place in the Sun, The Diary of Anne Frank, and Something to Live For.
John Huston: The Asphalt Jungle, The African Queen, The Red Badge of Courage, Moby Dick, Beat the Devil, The Barbarian and the Geisha, Heaven Knows, Mr. Allison, The Roots of Heaven, and Moulin Rouge.
Elia Kazan: On the Waterfront, A Streetcar Named Desire, East of Eden, Panic in the Streets, Baby Doll, A Face in the Crowd, Viva Zapata!, and Man on a Tightrope.
William Wyler: Ben Hur, Roman Holiday, The Big Country, Friendly Persuasion, Carrie, Detective Story, and The Desperate Hours.
Otto Preminger: The Man with the Golden Arm, Anatomy of a Murder, Where the Sidewalk Ends, The 13th Letter, Angel Face, The Moon Is Blue, Carmen Jones, Bonjour Tristesse, Porgy and Bess, Saint Joan, The Court-Martial of Billy Mitchell, and Die Jungfrau auf dem Dach.
Federico Fellini: La Strada, Nights of Cabiria, I Vitelloni, Il bidone, The White Sheik, and Variety Lights.
Robert Wise: The Day the Earth Stood Still, Destination Gobi, This Could Be the Night, Run Silent, Run Deep, I Want to Live!, Odds Against Tomorrow, Executive Suite, Two Flags West, Somebody Up There Likes Me, The Desert Rats, So Big, and House on Telegraph Hill.
Fritz Lang: The Big Heat, Clash by Night, House by the River, American Guerrilla in the Philippines, While the City Sleeps, Human Desire, Rancho Notorious, and Moonfleet.
Akira Kurosawa: Rashomon, Seven Samurai, Ikiru, The Hidden Fortress, The Idiot, Throne of Blood,Scandal, I Live in Fear, and The Lower Depths.
Orson Welles: Othello, Touch of evil, and Mr. Arkadin.
Stanley Kubrick: The Killing, Paths of Glory, Fear and Desire, and Killer's Kiss.
Luis Buñuel: Los Olvidados, El, Mexican Bus Ride, Robinson Crusoe, The Criminal Life of Archibaldo de la Cruz, and Nazarín.
Michael Curtiz: The Breaking Point, White Christmas, We're No Angels, King Creole, The Jazz Singer, The Egyptian, I'll See You in My Dreams, The Vagabond King, and The Proud Rebel.
John Ford: The Searchers, The Quiet Man, Mister Roberts, Wagon Master, Rio Grande, The Sun Shines Bright, Mogambo, The Long Gray Line, The Horse Soldiers, The Last Hurrah, The Wings of Eagles, What Price Glory, When Willie Comes Marching Home, and This is Korea.
Joseph L. Mankiewicz: All About Eve, No Way Out, People Will Talk, 5 Fingers, Julius Caesar, Guys and Dolls, The Barefoot Contessa, The Quiet American, and Suddenly, Last Summer.
Vincente Minnelli: The Bad and the Beautiful, Gigi, The Band Wagon, An American in Paris, Some Came Running, Designing Woman, Tea and Sympathy, The Cobweb, The Long, Long Trailer, Father of the Bride, Father's Little Dividend, Brigadoon, The Story of Three Loves, Lust for Life, and Kismet.
Robert Bresson: The Diary of a Country Girl, Pick Pocket, and A Man Escaped.
Yasujirō Ozu: Tokyo Story, Floating Weeds, The Munekata Sisters, Early Summer, Early Spring, Tokyo Twilight, Good Morning, Equinox Flower, and The Flavor of Green Tea over Rice.
Alexander Mackendrick: The Lady Killers, Sweet Smell of Success, The Man in the White Suit, Mandy, and The Maggie.
Douglas Sirk: Written on the Wind, Imitation of Life, All That Heaven Allows, Magnificent Obsession, A Time to Love and a Time to Die, There's Always Tomorrow, The Tarnished Angels, Battle Hymn, The First Legion, All I Desire, Take Me to Town, Meet Me at the Fair, Interlude, Taza, Son of Cochise, Sign of the Pagan, Captain Lightfoot, Meet Me at the Fair, The Lady Pays Off, No Room for the Groom, Has Anybody Seen My Gal?, Mystery Submarine, Week-End with Father, and Thunder on the Hill.
Satyajit Ray: The Apu Trilogy, The Music Room, and Parash Pathar.
Robert Aldrich: Kiss Me Deadly, Vera Cruz, The Big Knife, Autumn Leaves, The Angry Hills, Ten Seconds to Hell, Apache, and Big Leaguer.
Richard Brooks: Blackboard Jungle, Cat on a Hot Tin Roof, Deadline – U.S.A., Crisis, Battle Circus, The Last Time I Saw Paris, Take the High Ground!, The Last Hunt, and The Brothers Karamazov.
George Cukor: A Star Is Born, Born Yesterday, Bhowani Junction, It Should Happen to You, Les Girls, Wild is the Wind, The Actress, Pat and Mike, Hot Spell, A Life of Her Own, and The Marrying Kind.
Byron Haskin: The War of the Worlds, The First Texan, Conquest of Space, From the Earth to the Moon, The Little Savage, The Boss, Tarzan's Peril, His Majesty O'Keefe, Warpath, Silver City, And Treasure Island.
Howard Hawks: Gentlemen Prefer Blondes, Rio Bravo, The Big Sky, Monkey Business, Land of the Pharaohs, and O. Henry's Full House.
Roberto Rossellini: Where Is Freedom?, Journey to Italy, General Della Rovere, Europe '51, The Machine to Kill Bad People, We, the Women, The Ways of Love, Francesco, giullare di Dio, Stromboli, Fear, India: Matri Bhumi, and Joan of Arc at the Stake.
Jean Renoir: The Ways of Love, French Cancan, The River, Elena and Her Men, Elena and Her Men, The Doctor's Horrible Experiment, and Picnic on the Grass.
Jules Dassin: Night and The City, Rififi, He Who Must Die, and The Law.
Vittorio De Sica: Terminal Station, Umberto D., Miracle in Milan, The Roof, and Anna of Brooklyn.
Kenji Mizoguchi: Ugetsu, The Life of Oharu, The Crucified Lovers, Sansho the Bailiff, The Woman in the Rumor, A Geisha, Princess Yang Kwei Fei, Shin Heike Monogatari, and Street of Shame.
Roy Ward Baker: A Night to Remember, Don't Bother to Knock, I'll Never Forget You, Morning Departure, Highly Dangerous, Inferno, Night Without Sleep, The One That Got Away, Passage Home, Jacqueline, and Tiger in the Smoke.
Henri-Georges Clouzot: The Wages of Fear, Les Diaboliques, Les Espions, The Mystery of Picasso, and Miquette.
Anthony Mann: The Man from Laramie, The Naked Spur, Winchester '73, The Glenn Miller Story, Side Street, The Tall Target, Devil's Doorway, The Furies, Bend of the River, Man of the West, God's Little Acre, Men in War, Strategic Air Command, The Tin Star, Serenade, The Far Country, and The Last Frontier.
Don Siegel: Crime in the Streets, Invasion of the Body Snatchers, Edge of Eternity, Baby Face Nelson, Spanish Affair, The Duel at Silver Creek, An Annapolis Story, Riot in Cell Block 11, China Venture, Private Hell 36, The Lineup, Hound-Dog Man, and Count the Hours.
John Sturges: Bad Day at Black Rock, Gunfight at the O.K. Corral, The People Against O'Hara, Escape from Fort Bravo, The Old Man and the Sea, Backlash, The Scarlet Coat, Jeopardy, Fast Company, Mystery Street, Right Cross, Last Train from Gun Hill, The Law and Jake Wade, Big Country, and Underwater!.
Samuel Fuller: Pickup on South Street, Hell and High Water, The Crimson Kimono, Forty Guns, Dog Face, Run of the Arrow, China Gate, House of Bamboo, Verboten!, The Steel Helmet, The Baron of Arizona, Park Row, and Fixed Bayonets!.
Joseph H. Lewis: The Big Combo, Retreat, Hell!, A Lady Without Passport, Desperate Search, Man on a Bus, Cry of the Hunted, A Lawless Street, The Halliday Brand, Terror in a Texas Town, and 7th Cavalry.
Jean-Pierre Melville: Les Enfants Terribles,Quatre sans millions!, When You Read This Letter, Bob le flambeur, and Two Men in Manhattan.
Phil Carlson: The Phenix City Story, Kansas City Confidential, 99 River Street, Hell's Island, The Iroquois Trail, The Brigand, Scandal Sheet, Gunman's Walk, Mask of the Avenger, Lorna Doone, The Texas Rangers, Tight Spot, They Rode West, The Brothers Rico, and 5 Against the House.
Martin Ritt: The Long, Hot Summer, Edge of the City, The Black Orchid, No Down Payment, and The Sound and the Fury.
Louis Malle: Les Amants, Elevator to the Gallows, Crazeologie, and Station 307.
Carol Reed: Our Man in Havana, The Key, Trapeze, The Man Between, A Kid for Two Farthings, and Outcast of the Islands.
Masaki Kobayashi: The Human Condition Trilogy, Youth of the Son, Three Loves, Somewhere Under The Broad Sky, The Spring, Beautiful Days, I Will Buy You, Black River, Sincere Heart, and The Thick-Walled Room.
Stanley Donen: Singin' in the Rain, Seven Brides for Seven Brothers, Royal Wedding, Funny Face, Indiscreet, Damn Yankees, The Pajama Game, Kiss Them for Me, and It's Always Fair Weather.
Gene Kelly: It's Always Fair Weather, Singin' in the Rain, Invitation to the Dance, and The Tunnel of Love.
Ida Lupino: The Hitch-Hiker, Outrage, The Bigamist, and Hard, Fast and Beautiful.
Budd Boetticher: The Tall T, Bullfighter and the Lady, City Beneath the Sea, East of Sumatra, Red Ball Express, Seven Men from Now, The Killer Is Loose, Ride Lonesome, Buchanan Rides Alone, Decision at Sundown, Westbound, The Magnificent Matador, The Man from the Alamo, Seminole, The Cimarron Kid, Killer Shark, Bronco Buster, Wings of the Hawk, and Horizons West.
Andre DeToth: Day of the Outlaw, House of Wax, Man in the Saddle, Riding Shotgun, Crime Wave, Last of the Comanches, Tanganyika, The Bounty Hunter, Hidden Fear, The Indian Fighter, Monkey on My Back, The Two-Headed Spy, Thunder Over the Plains, The Stranger Wore a Gun, Carson City, and Springfield Rifle.
Delmer Daves: 3:10 to Yuma, Broken Arrow, Demetrius and the Gladiators, White Feather, Drum Beat, Treasure of the Golden Condor, Jubal, The Last Wagon, Kings Go Forth, Cowboy, The Badlanders, The Hanging Tree, A Summer Place, Bird of Paradise, and Never Let Me Go.
William A. Wellman: Track of the Cat, The High and the Mighty, Blood Alley, Darby's Rangers, Lafayette Escadrille, Good-bye, My Lady, The Next Voice You Hear..., Westward the Women, Island in the Sky, My Man and I, Across the Wide Missouri, and The Happy Years.
Max Ophüls: La Ronde, The Earrings of Madame de…, Lola Montès, and Le Plaisir.
Delbert Mann: Marty, The Bachelor Party, Desire Under the Elms, Middle of the Night, and Separate Tables.
David Lean: The Bridge on the River Kwai, Madeleine, The Sound Barrier, Summertime, and Hobson's Choice.
Sidney Lumet: 12 Angry Men, That Kind of Woman, and Stage Struck.
Powell and Pressburger: The Tales of Hoffmann, The Elusive Pimpernel, Gone to Earth, Oh... Rosalinda!!, The Battle of the River Plate, and Ill Met by Moonlight.
Jean Cocteau: 8 × 8: A Chess Sonata in 8 Movements and Orpheus.
Frank Tashlin: Son of Paleface, The First Time, Susan Slept Here, The Lemon Drop Kid, Marry Me Again, Will Success, Artists and Models, The Lieutenant Wore Skirts, The Girl Can't Help It, Hollywood or Bust, Say One for Me, Rock-A-Bye Baby, and The Geisha Boy.
Mario Monicelli: Big Deal on Madonna Street, È arrivato il cavaliere!, A Dog's Life, Proibito, The Unfaithfuls, Totò and Carolina, A Hero of Our Times, Cops and Robbers, Toto and the King of Rome, Toto and the Women, Doctor and the Healer, The Great War, Donatella, and Fathers and Sons.
Youssef Chahine: Papa Amin, Son of the Nile, Women without Men, Lady of the Train, The Great Clown, Struggle in the Valley, The Desert Devil, Struggle in the Pier, Farewell to Your Love, You're My Love, Cairo Station, Forever Yours, and Jamila, the Algerian.
Rene Clement: The Glass Castle, Knave of Hearts, Forbidden Games, This Angry Age, and Gervaise.
submitted by Britneyfan456 to flicks [link] [comments]


2020.09.30 20:57 Britneyfan456 Which Actress had the best run in the 50s?

It could be best run in terms of anything
Ingrid Bergman: Fear, Europe '51, Stromboli, Anastasia, Journey to Italy, Joan of Arc at the Stake, Elena and Her Men, and The Inn of the Sixth Happiness.
Dorothy Dandridge: Bright Road, Carmen Jones, Island in the Sun, Tamango, The Decks Ran Red, Porgy and Bess, Remains to Be Seen, The Harlem Globetrotters, and Tarzan's Peril.
Doris Day: Young Man with a Horn, Tea for Two, The West Point Story, Storm Warning, Lullabye of Broadway, On Moonlight Bay, April in Paris, Calamity Jane, Young at Heart, Love Me or Leave Me, The Man Who Knew Too Much, Teacher’s Pet, and Pillow Talk.
Grace Kelly: High Noon, Dial M for Murder, Rear Window, The Bridges at Toko-Ri, The Country Girl, To Catch a Thief, and High Society.
Jayne Mansfield: Female Jungle, The Girl Can’t Help It, The Wayward Bus, The Burglar, Will Success Spoil Rock Hunter, Kiss Them for Me, The Sheriff of Fractured Jaw, Illegal, Hell on Frisco Bay, Pete Kelly's Blues, and Underwater!.
Marilyn Monroe: All About Eve, The Asphalt Jungle, Monkey Business, Niagara, Gentlemen Prefer Blondes, How to Marry a Millionaire, There’s No Business Like Show Business, The 7 Year Itch, Bus Stop, The Prince and the Showgirl, Some Like It Hot, We're Not Married!, Bus Stop, Don't Bother to Knock, Love Nest, O. Henry's Full House, Let's Make It Legal, River of No Return, A Ticket to Tomahawk, As Young as You Feel, The Fireball, Home Town Story, and Right Cross.
Kim Novak: Pushover, Picnic, The Man with the Golden Arm, The Eddy Duchin Story, Pal Joey, Vertigo, Bell Book and Candle, Middle of the Night, The French Line, 5 Against the House, Jeanne Eagels, Pushover , Phffft, and Son of Sinbad.
Thelma Ritter: All About Eve, Perfect Strangers, As Young as You Feel, The Model and the Marriage Broker, With a Song in My Heart, Titanic, Pickup on South Street, Rear Window, Daddy Long Legs, The Proud and Profane, A Hole in the Head, and Pillow Talk.
Jane Russell: His Kind of Woman, The Las Vegas Story, Macao, Gentlemen Prefer Blondes, Underwater!,Road to Bali,Foxfire, Double Dynamite, Macao, Son of Paleface, Hot Blood, Gentlemen Marry Brunettes, The French Line, The Revolt of Mamie Stover,Montana Belle,The Tall Men, The Fuzzy Pink Nightgown, and The Revolt of Mamie Stover.
Elizabeth Taylor: The Last Time I Saw Paris, Quo Vadis, Beau Brummell, Father of the Bride, A Place in the Sun, Ivanhoe, Giant, Raintree County, Cat on a Hot Tin Roof, Elephant Walk,Love Is Better Than Ever,The Big Hangover, and Suddenly Last Summer.
Deborah Kerr: Quo Vadis, From Here to Eternity, The King and I, An Affair to Remember, Tea and Sympathy, Separate Tables, Heaven Knows, Mr. Allison, Julius Caesar, Dream Wife, Young Bess, King Solomon's Mines, The Proud and Profane, and Bonjour Tristesse.
Anne Baxter: All About Eve, The Ten Commandments, I Confess, Chase a Crooked Shadow, The Blue Gardenia,Three Violent People, The Come On, One Desire, The Spoilers, Follow the Sun, A Ticket to Tomahawk, The Outcasts of Poker Flat, My Wife's Best Friend, O. Henry's Full House, Carnival Story, Bedevilled, and Summer of the Seventeenth Doll.
Audrey Hepburn: Sabrina, Funny Face, Roman Holiday, Love in the Afternoon,The Nun's Story,War and Peace, One Wild Oat, The Lavender Hill Mob, Monte Carlo Baby, Secret People, Laughter in Paradise, Green Mansions, and Young Wives' Tale.
Gloria Grahame: In a lonely Place, The Big Heat, Human Desire, Sudden Fear, The Bad and the Beautiful, Odds Against Tomorrow, The Man Who Never Was, Naked Alibi, Macao, Man on a Tightrope, The Glass Wall, and The Greatest Show on Earth.
Katharine Hepburn: The African Queen, Suddenly, Last Summer, The Rainmaker, Summertime, Pat and Mike, and Desk set.
Giulietta Masina: Nights of Cabiria, La Strada, Buonanotte... avvocato!, Fortunella, Europe '51, and Without Pity.
Shelley Winters: The Diary of Anne Frank, A Place in the Sun, The Night of the Hunter, Odds Against Tomorrow, The Big Knife, I Am a Camera, Playgirl, Mambo, Tennessee Champ, Executive Suite, To Dorothy a Son, Saskatchewan, Phone Call from a Stranger, Untamed Frontier, My Man and I, Meet Danny Wilson, Winchester '73, Frenchie, Behave Yourself!, South Sea Sinner, He Ran All the Way, and The Raging Tide.
Setsuko Hara: Tokyo Story, Early Summer, Shuu, Shirayuki-sensei to kodomo-tachi, Repast, The Idiot, Sound of the Mountain, oban, a holiday in Tokyo, Non-chan Kumo ni Noru, Oban, The Three Treasures, and Tokyo Twilight.
Natalie Wood: The Searchers, Rebel Without a Cause, Marjorie Morningstar, Kings Go Forth, The Girl He Left Behind, Bombers B-52, A Cry in the Night, The Burning Hills, Just for You, one desire, The Silver Chalice, No Sad Songs for Me, The Jackpot, Our Very Own, Never a Dull Moment, The Blue Veil, and The Rose Bowl Story.
Lee Remick: A Face in the Crowd, Anatomy of a Murder, The Long, Hot Summer, and These Thousand Hills.
Eva Marie Saint: On the Waterfront, North by Northwest, Raintree County, A Hatful of Rain, and That Certain Feeling.
Bette Davis: The Star, All About Eve, Another Man's Poison, Phone Call from a Stranger, The Catered Affair, Storm Center, The Scapegoat, The Virgin Queen, and John Paul Jones.
Kim Hunter: A Streetcar Named Desire, Storm Center, The Young Stranger, Deadline – U.S.A., Money, Women and Guns, Bermuda Affair, and Anything Can Happen.
Sophia Loren: Houseboat, That Kind of Woman, It Started in Naples, The Pride and the Passion, Anna, Attila, Aida, Era lui... sì! sì!, The Piano Tuner Has Arrived, Quo Vadis, Owner of the Vapor, Brief Rapture, Milano miliardaria, Hearts at Sea, Bluebeard's Six Wives, Io sono il capataz, Il voto, Totò Tarzan, La Favorita, The Dream of Zorro, We Find Ourselves in the Gallery, The Country of the Campanelli, Woman of the Red Sea, Good Folk's Sunday, Two Nights with Cleopatra, Girls Marked Danger, The Anatomy of Love, A Day in Court, A Slice of Life, The Key, The Black Orchid, That Kind of Woman, Lucky to Be a Woman, Boy on a Dolphin, Desire Under the Elms, Legend of the Lost, Too Bad She's Bad, The River Girl, The Miller's Beautiful Wife, Scandal in Sorrento, The Sign of Venus, Poverty and Nobility, Neapolitan Carousel, and The Gold of Naples.
Donna Reed: From Here to Eternity, The Whole Truth, Backlash, Beyond Mombasa, The Far Horizons, Rainbow 'Round My Shoulder, Scandal Sheet, Hangman's Knot, Saturday's Hero, Raiders of the Seven Seas, Gun Fury, Three Hours to Kill, The Last Time I Saw Paris, The Caddy, They Rode West, Ransom!, and The Benny Goodman Story,
Lana Turner: Diane, The Bad and the Beautiful, Betrayed, Peyton Place, Imitation of Life, The Sea Chase, Another Time, Another Place, The Lady Takes a Flyer, The Rains of Ranchipur, The Prodigal, Latin Lovers, Flame and the Flesh, The Merry Widow, A Life of Her Own, and Mr. Imperium.
Judy Garland: A Star Is Born and Summer Stock.
Patricia Neal: A Face in the Crowd, The Day the Earth Stood Still, Something for the Birds, Week-End with Father, Raton Pass, Bright Leaf, The Breaking Point, Operation Pacific, Three Secrets, Stranger from Venus, La tua donna, Diplomatic Courier, and Washington Story.
Joan Crawford: Johnny Guitar, The Damned Don't Cry, Sudden Fear, Torch Song, Goodbye, My Fancy, Sudden Fear, Female on the Beach, Autumn Leaves, This Woman Is Dangerous, Harriet Craig, The Story of Esther Costello, Queen Bee, and The Best of Everything.
Judy Holliday: Born Yesterday,The Marrying Kind, Phffft, It Should Happen to You, Full of Life, and The Solid Gold Cadillac .
Brigitte Bardot: Manina, the Girl in the Bikini, Crazy for Love, His Father's Portrait, Act of Love, The Long Teeth, Concert of Intrigue, Royal Affairs in Versailles, The Light Across the Street, Doctor at Sea, School for Love, The Grand Maneuver, Nero's Weekend, Caroline and the Rebels, La Parisienne, Babette Goes to War, The Night Heaven Fell, The Female, Come Dance with Me, The Bride Is Much Too Beautiful, In Case of Adversity, Helen of Troy, Naughty Girl, Plucking the Daisy, and And God Created Woman.
Lauren Bacall: How to Marry a Millionaire, Designing Woman, Blood Alley, Young Man with a Horn, Written on the Wind, Woman's World, The Cobweb, The Gift of Love, and North West Frontier.
Gene Tierney: Night and the City, The Mating Season, Where the Sidewalk Ends, Plymouth Adventure, Way of a Gaucho, Never Let Me Go, Personal Affair, The Secret of Convict Lake, On the Riviera, Close to My Heart, The Left Hand of God, The Egyptian, and Black Widow.
Gloria Swanson: Sunset Boulevard, Nero's Weekend, and 3 for Bedroom C.
Vivien Leigh: A Streetcar Named Desire and The Deep Blue Sea.
Shirley MacLaine: Some Came Running, The Trouble with Harry, Around the World in 80 Days, Artists and Models, Hot Spell, Career, The Matchmaker, The Sheepman, and Ask Any Girl.
Debbie Reynolds: Singin' in the Rain, Three Little Words, The Affairs of Dobie Gillis, Tammy and the Bachelor, The Catered Affair, Bundle of Joy, Susan Slept Here, Athena, Skirts Ahoy!, The Tender Trap, Hit the Deck, I Love Melvin, Give a Girl a Break, Meet Me in Las Vegas, The Daughter of Rosie O'Grady, Two Weeks with Love, The Gazebo, It Started with a Kiss, This Happy Feeling, The Mating Game, and Say One for Me.
Cyd Charisse: The Band Wagon, Meet Me in Las Vegas, Singin' in the Rain, Brigadoon, Silk Stockings, Party Girl, Twilight for the Gods, Easy to Love, Deep in My Heart, It's Always Fair Weather, Tension, The Mark of the Renegade, The Wild North, and Sombrero.
Isuzu Yamada: Epitome, Home Sweet Home, Gendai-jin, Hakone Fūunroku, Boshizō, Tōjin Okichi, Takekurabe, Christ in Bronze, Neko to Shōzō to Futari no Onna, Throne of Blood, Nagareru, The Lower Depths, Black River, and Tokyo Twilight.
Barbara Stanwyck: All I Desire, Jeopardy, The File on Thelma Jordon, The Furies, No Man of Her Own, Titanic, To Please a Lady, Clash by Night, The Man with a Cloak, The Moonlighter, Blowing Wild, Witness to Murder, Executive Suite, Cattle Queen of Montana, The Violent Men, Escape to Burma, There's Always Tomorrow, Forty Guns, The Maverick Queen, and Trooper Hook.
Ava Gardener: Pandora and the Flying Dutchman, Show Boat, Mogambo, Barefoot Contessa, Bowhani Junction, The Snows of Kilimanjaro, On the Beach, The Band Wagon, Lone Star, My Forbidden Past, Ride, Vaquero!, Knights of the Round Table, The Sun Also Rises, The Naked Maja, and The Little Hut.
Janet Leigh: Angels in the Outfield, Scaramouche, The Naked Spur, Safari, Living It Up, Touch of Evil, Two Tickets to Broadway, It's a Big Country, Strictly Dishonorable, Houdini, Just This Once, Fearless Fagan, Prince Valiant, Walking My Baby Back Home, Jet Pilot, Confidentially Connie, Pete Kelly's Blues, My Sister Eileen, The Black Shield of Falworth, The Vikings, Rogue Cop, and The Perfect Furlough.
Jane Wyman: So Big, Stage Fright, Magnificent Obsession, All That Heaven Allows, Here Comes the Groom, The Glass Menagerie, Three Guys Named Mike, Three Lives, The Blue Veil, Just for You, The Story of Will Rogers, The Story of Will Rogers, Lucy Gallant, and Holiday for Lovers.
Claire Trevor: Borderline, Lucy Gallant, Best of the Badmen, Hard, Fast and Beautiful, My Man and I, Stop, You're Killing Me, The Stranger Wore a Gun, Hoodlum Empire, Marjorie Morningstar, The High and the Mighty, The Mountain, and Man Without a Star.
Maureen O'Hara: The Quiet Man, Rio Grande, The Wings of Eagles, Comanche Territory, At Sword's Point, Kangaroo, Against All Flags, Malaga, War Arrow, The Long Gray Line, The Magnificent Matador, Lady Godiva of Coventry, Lisbon, Everything but the Truth, Our Man in Havana, and Flame of Araby.
Claudette Colbert: Texas Lady, Royal Affairs in Versailles, Three Came Home, Thunder on the Hill, The Secret Fury, Let's Make It Legal, The Planter's Wife, and Daughters of Destiny.
Simone Signoret: Room at the Top, Manèges, La Ronde, Gunman in the Streets, Swiss Tour, Casque d'Or, Without Leaving an Address, Thérèse Raquin, Shadow and Light, Les Diaboliques, Death in the Garden, Mother Courage and Her Children, and The Crucible.
Anna Magnani: The Rose Tattoo, Bellissima, Camicie rosse, Volcano, Le Carrosse d'or, Carosello del varietà, Wild Is the Wind, The Awakening, and Nella città l'inferno.
Susan Hayward: Woman Obsessed, Thunder in the Sun, I Want to Live! , Top Secret Affair, The Conqueror, I'll Cry Tomorrow, Untamed, Soldier of Fortune, Garden of Evil, Demetrius and the Gladiators, White Witch Doctor, The Lusty Men, The President's Lady, The Snows of Kilimanjaro, With a Song in My Heart, Rawhide, David and Bathsheba, and I Can Get It for You Wholesale.
Olivia de Havilland: The Proud Rebel, Libel, That Lady, Not as a Stranger, The Ambassador's Daughter, and My Cousin Rachel.
Ruby Dee: The Jackie Robinson Story, No Way Out, The Bitter Cup, The Tall Target, Go, Man, Go!, Edge of the City, The Great American Pastime, Virgin Island, St. Louis Blues, and Take a Giant Step.
Diana Dors: Passport to Shame, Tread Softly Stranger, La ragazza del palio, The Long Haul, I Married a Woman, The Unholy Wife, Yield to the Night, Value for Money, An Alligator Named Daisy, Miss Tulip Stays the Night, A Kid for Two Farthings, The Lovely Place, As Long as They're Happy, The Weak and the Wicked, It's a Grand Life, The Great Game, The Saint's Return, Dance Hall, Is Your Honeymoon Really Necessary?, Face to Face, The Last Page, My Wife's Lodger, Worm's Eye View, and Lady Godiva Rides Again.
Lucille Ball: I Love Lucy Christmas Show, Forever, Darling, The Long, Long Trailer, The Magic Carpet, Fancy Pants, and The Fuller Brush Girl.
Jeanne Crain: Cheaper by the Dozen, Take Care of My Little Girl, People Will Talk, The Model and the Marriage Broker, Belles on Their Toes, I Full House, Vicki, Dangerous Crossing, City of Bad Men, Duel in the Jungle, Man Without a Star, Gentlemen Marry Brunettes, The Second Greatest Sex, The Girl Who Wasn't Wanted, Airborne Honeymoon, The Fastest Gun Alive, The Joker is Wild, The Tattered Dress, Escape to Memphis, Wait till Spring, The Great Gatsby, and The Trouble with Ruth.
Joan Collins: Facts and Fancies, Lady Godiva Rides Again, The Woman's Angle, Judgment Deferred, I Believe in You, Cosh Boy, Decameron Nights, Turn the Key Softly, Rally 'Round the Flag, Boys!, Sea Wife, The Bravados, Island in the Sun, The Wayward Bus, The Opposite Sex, The Girl in the Red Velvet Swing, The Virgin Queen, Land of the Pharaohs, The Good Die Young, Our Girl Friday, and The Square Ring.
Gene Tierney: Where the Sidewalk Ends, Night and the City, The Mating Season, Plymouth Adventure, The Secret of Convict Lake, On the Riviera, Close to My Heart, Way of a Gaucho, The Left Hand of God, Black Widow, Never Let Me Go, The Egyptian, and Personal Affair.
Agnes Moorehead: Tempest, The Bat, Night of the Quarter Moon, Raintree County, The True Story of Jesse James, Jeanne Eagels, The Story of Mankind, Untamed, All That Heaven Allows, The Left Hand of God, Magnificent Obsession, Pardners, The Revolt of Mamie Stover, The Swan, The Conqueror, Meet Me in Las Vegas, The Opposite Sex, Scandal at Scourie, Main Street to Broadway, Those Redheads from Seattle, Caged, The Story of Three Loves, Show Boat, Black Jack, Adventures of Captain Fabian, Fourteen Hours, The Blue Veil, and The Blazing Forest.
Celia Johnson: The Astonished Heart, The Holly and the Ivy, The Captain's Paradise, I Believe in You, A Kid for Two Farthings, and The Good Companions.
submitted by Britneyfan456 to classicfilms [link] [comments]


2020.09.21 00:54 thegreatpenguintm Just finished my complete Ys series marathon, and here are my thoughts on the series!

Just finished my complete Ys series marathon, and here are my thoughts on the series!

Intro

So before anything, hi, I'm theultimategamer95/PenguinTM from Youtube (both names were taken here, sigh), and since around... somewhere between the end of July and start of August (I think) I've been playing through pretty much the entire Ys series, because well... I was bored out of my mind and I wanted to eventually anyway (I DID first start playing the series mid last year, though). Was fun though, I enjoyed pretty much every second of it (with some exceptions, we'll get to that later)! But yeah, I felt the urge to share my thoughts on here now that it's all over, so... here we are. As you can see my tier list is at the top of the page, and I'll be giving my general thoughts on the games, etc below (in the order of the tiering, too). Oh yeah, and I also threw in a pic to flex the achievements I got for the game, too.
I also have Ys 9's limited edition on pre-order for those who care. SO hyped for it!

https://preview.redd.it/a2ozi316ndo51.png?width=1009&format=png&auto=webp&s=4bae98521e62aa849f34924cb26bba9a2f3cf214

https://preview.redd.it/5zldzmk7ndo51.png?width=1280&format=png&auto=webp&s=ae402b4638274302c8bd18d2c6f3c11b28259ff2

Reasonings/Thoughts

Ys 8

Should be obvious why this is number one. I DID want to move this down a notch though, if I'm being honest (but won’t). Because:

  • The way the epilogue is executed STILL triggers me to this day (though that credits sequence is perfect and always makes me tear up).
  • After having played through this 3 times now... raids can definitely get repetitive. They're still bearable to play, but still.
  • Half the bosses aren't really that memorable compared to other Ys games imo (and actually fuck Gargantula, Kiergaard and Magamandra on Inferno). There for sure are actual good and fun ones in there (like, especially Io; my 2nd favourite fight in the series), but yeah (can't just be me, right?).
  • Actually who's fucking idea was that final hunt? It's literally just enemy spam galore and not fun at all. Fire that dude.
  • It's basically impossible to grind on Nightmare and Inferno until midgame or so, lol.
  • Not sure if you'd count this as a negative but... As someone who's played this game through on both PC (twice) and PS4, I vastly prefer it on PC because of less frame drops and a faster save/load system.
But yeah, other than that, absolutely fucking amazing game, I gotta say. Positives include:

  • Good story... up until the epilogue, at least (like seriously, it could've been executed SO much better...)). And also, the optional segment in chapter 6 with Dana (the one where you fight Io) still confuses the hell out of me. Her era story should've been over since she sealed herself, right? So why did she suddenly go back to the village after that? Is it non-canon or is it set inbetween a couple of events or what? Or was I just not paying attention?
  • Good characters in general (except Carlan, fuck him), development and interactions. Hummel is my second favourite character in the series; cool guy and busted in battle.
  • Amazing combat (whether you hate the flash move and party system or not, you can't deny it). Man, I still remember the first time I played this game and experiencing the combat for the very first time after washing up on the island... I was in awe at how fast and fluid it felt. Man, take me back.
  • The OST from this game is actually my favourite OST in all of gaming; it's just that good (could listen to it all day, any day. only track I'm kinda eh on is the swamp theme) :)
  • Way better and more exciting open world exploration than Celceta tbh. Celceta's was OK, just... it was far from perfect, let's just say.
  • Bit random, but I'm SO thankful you can open chests, even if you're surrounded by enemies now (well, not QUITE, but it's not far off, and a lot easier now).
  • And pretty everything else, really.

Ys 6

Might get hate for this one but... As for being the first game that used the Napishtim engine, it was pretty simplistic, and I like that (idk, I have a really soft spot for the combat in this game).
Positives:
  • Really like the bosses in this game (except that wall one, fuck him (Orjugan I think it is)). Probably my favourite Ys game for bosses after 7 (or Origin, idk; 2nd or 3rd place for sure tho).
  • Good characters (imo) (especially Geis, my favourite character in the series tbh) (I also like on how they improved on Terra from 5 (bring her back as a playable character someday pls?)).
  • Serviceable enough dungeons and story, though wouldn't ever say they're anywhere near the best in the franchise.
  • Love how the upgrade system works in this game. Pretty refreshing to only be required to upgrade the swords you have, rather than having to constantly worry about buying new ones.
  • Oh yeah, and I also have quite the soft spot for the OST in this game. Lovely little underrated package.
  • I seriously love the addition of Catastrophe mode. Why doesn't every other Ys game have this (I'm talking Ys 7 and beyond)!? Doing every boss in the series being locked out of items would be interesting :3
Negatives:
Notice how I haven't mentioned any negatives yet, well... Now's the time. Pretty much the only gripes I have with this game are the fact that there's no sprint button (you get used to it as you play, but still), and the platforming is actual ass (everyone who's played this game will know what I mean). The platforming could've easily been fixed with the addition of a sprint button though. So yeah, sprint button is basically the only issue for me, lol.
I play on the PC version of 6 btw, whereas you get warping. From what I've heard, on other versions such as PS2 and PSP, you don't actually get warping and there's a lot of backtracking. Not sure if it's true, but yikes, that sounds nasty (don't think I ever wanna try those versions tbh, even if there is voice acting there).

Ys Origin

Positives:
  • Actual good characters all around!
  • The tower being the only dungeon kinda reminds me of Persona 3, which is my favourite Persona game. The dungeon of which never gets boring in either game imo (yes, I went there). Especially in this game though, as the scenery keeps changing to keep things fresh.
  • The Roo scenes are genuinely fucking adorable <3
  • The Epona and Hugo love story is actually amazing; pretty awesome how there's actual canon romance stories in an Ys game! Easily my favourite scenes in the game tbh (Epona's death in Hugo's route still hits me hard).
  • In fact, the story as a whole in this game, with all 3 characters, is amazing! Yunica is freaking adorable and Toal is a badass with a pretty feelsy story. Honestly, it does make me quite sad that Toal's route is the only canon one. That being said though, I definitely DO feel like there are events from the other 2 routes that are still canon in Toal’s route, just we don’t get to see them (for example, Hugo with the Hammer in Devil’s Corridor).
  • The bosses in this game are actually amazing all around! Well... with the exception of one or two (and it's not what you'd expect), I'll get to that in a bit.
  • The OST in this game is up there with one of my favourite in the series. Probably 3rd or 4th (Celceta/4's OST is most likely second)? Idk. Really good though.
  • INSTANT ABILITY TO WARP! Thank the Goddesses! Why doesn't every Ys game before this have this!?
  • The "item get" jingle in this game is the best one in the series. Change my mind.
  • Best (MAIN) boss theme in the series tbh. Scars of the Divine Wing is my jam!
Negatives:
  • So those bosses I was talking about earlier. Yeah, one of them is Zava. Why do I hate her fight? It's extremely tedious and slow no matter what difficulty you're on (still a hot villain tho). Period (and I ain't afraid to admit she took me a few minutes to beat on Very Easy with Yunica...). Bet you were all expecting Pictimos eh? Nah, I actually really enjoy that fight. One of my favourite in the series, maybe (yes, I'm serious).
  • And another boss... actually fuck the true final boss. Why? It's unbalanced af on Nightmare and heavily luck based. Fun, but HEAVILY luck based.
  • The fact (fact, haha) you have to play through the game 3 times to get the FULL experience can be tedious (but is definitely bearable, since the game isn't that long).
  • FUCK that demon trap at the start of the game with Toal on Nightmare... Really badly designed. Try it on Nightmare and you'll see what I mean.
  • The game had a pretty nice ending, but I hate that we never got proper closure on Hugo and Epona :(
  • Fuck grinding out achievements in this game, it's just plain painful. So this and Oath were the last to go through in my Ys binge, right (replaying for achievements)? At this point I was pretty burnt out and just wanted it to all be over. So yeah, I honestly just got the easy ones and quit. Err, just look at the achievement lists and you’ll understand the salt. Arena mode is really boring btw, so I couldn’t be bothered.

Ys 7

Now... I really did want to put this in S tier, I really did. This is probably my favourite Ys game in terms of "pure fun", honestly.
Positives:
  • The game is really fast paced.
  • Spam rolling is extremely fun.
  • This game has the best designed dungeons and probably bosses too (overall anyway, there are a couple I dislike) in the entire series imo (Ys 9 might change that when I play). The Earth Dragon though, holy shit. Still my favourite Ys boss of all time, honestly.
  • Pretty damn decent cast of characters, though not really as good as 8 or Origin. I really love especially how you get to play as Dogi and Geis in this game (just wish Geis was more useful; legit never used him at all apart from skill grinding in my second playthrough (and I played on Nightmare both playthroughs)).
  • Good OST as usual. Not sure where I'd rank this one (again, probably 3rd or 4th; torn between this or Origin being better). "Lost Harmony Among People" is my favourite Ys song of all time though, so there's that (seriously, how can you not love this song?).
  • Best title screen music, easily.
  • People like to give the story a lot of slack in this game (from what I've seen), but I actually really like it. It is as cliche as a lot of people say? Yes, but isn't every other games' story too? Think about it. Just saying.
  • Some really fun skills to use in this game. Aisha/Sigroon's and Adol's Pentagram especially (why did Pentagram never come back!?)
  • Quite like how this game handled the Flash System, with only having Flash Guard that lasts a split second. I do enjoy Ys 8's system a tad more, but it would be interesting to see how other games would use what this game did with it.
  • The "save anywhere" system in this game they introduced is actually a godsend.
Mid:
  • The ending was pretty neat and heartwarming, but I do genuinely wish there was more to it. Something like... actually show what's going on in the other villages, rather than just explaining it, and actually have Geis give Adol a proper goodbye (since he's probably never returning again (unless Ys 10 says otherwise), RIP).
Now for the negatives... OH BOY, DO I STILL feel sad I can't put this game in S tier.
  • No Time Attack. Every mordern Ys game (which starts at 6, not this game imo) has a Time Attack mode. There is NO excuse for this game not to have it. Because of this I had to make a save right before every boss in my second playthrough, in case I ever wanted to play them again. I can live without a NG+ (since I never actually play NG+ unless it's for extra achievements in this series), but NOT a Time Attack. Actually fuck you, devs.
  • As much as I like using skills in this game, the learn/level up system was done TERRIBLY (I could definitely feel it on my 2nd playthrough). Why do I have to LEARN skills by having a certain weapon equip until they reach level 1? WHY are there 10 levels for each skill!? That's pretty dumb tbh. Thank GOD Celceta and later fixed this. And also thank God there was no "max every skill in the game" Steam achievement, otherwise I would've gone ballistic, ngl.
  • Not really a big fan how you have the option to buy AND synthesize equipment. Just make it one or the other, seriously. Fuck grinding money AND materials. I mean, fair enough for the ultimate weapons, they make sense, but otherwise no.
  • Speaking of materials, the harvesting system sucks. On paper it can be pretty ok but... Most of the time your party members won't even help you harvest the materials, since there'll most likely be enemies nearby and they'll go attack those instead. And if there's NOT enemies nearby, there's still a 50/50 chance they'll just stand there anyway out of laziness. Also yeah, this is something else that Celceta and later fixed; they made it much easier to grind materials. Again, fuck the harvest system.
  • Another thing that Celceta and later improved on was the side mission system. Now I'm not going to say it was straight out bad here but, don't expect me to talk to every single person in each village everytime I visit to check if they have missions or not. Seriously. Once you know where the locations for the missions are after playing through the game once, it ain't so bad, but still.
  • WHY do you not get warping until beating the third temple/shrine/whatever? Bit late if you ask me.
  • And in case you're wondering which bosses I dislike from what I said in the bosses bit earlier... Ghilda Ros (feels like a difficulty spike early game tbh) and The Sea Dragon (hard to predict, moves fast, and is really cluttered in the side cave where you have to attack his back).
  • Really easy to get lost in Altago City on your first playthrough (I know I did a couple times).
Minus the time attack and ending points, the positives pretty much outweigh the negatives here. But yeah, now you see why I can't come to put this in S tier. So close, but not quite there, sadly.

Ys: The Oath in Felghana

Positives:
  • Some really nicely designed dungeons here, actually. Well, for the most part at least. I have two which I straight up dislike which are the Abandoned Mine and the Lava Zone. Fuck those two. Also I'm kinda 50/50 on the final dungeon... I like how it's designed, but at the same time it's enemy spam galore, eh.
  • The story and writing (the ending of this game actually felt like the most "complete" one in the series thus far tbh (well, between this one and Dawn of Ys)) is where the game really shines imo. So good.
  • The OST is really freaking good in this game! Sadly though, I probably wouldn't even put it in my top 5, nor would I listen to much of it outside of playing the game.
Mid:
  • Not really a negative point, but the cast in this game is pretty weak compared to other Ys games if you ask me. Outside of Adol, Dogi, Chester, Elena (underrated girl tbh), Fran, Cynthia and Adonis, everyone else is just... "there" for me? Like, they aren't bad characters by any means, just yeah.
  • Some cool bosses, but nothing too mindblowing. Like in 8, half them are pretty forgettable here imo, and... Yeah, I'll get more into this in the negatives. Ones I really love though are that dog wolf guy, Gyvala (Yes, seriously. Looks like a Sonic Rivals boss, ngl) and Galbalan (best final boss in the series imo; really does feel like one).
  • You have to actually unlock Inferno mode... Which can be a pain, since you have to an extra playthrough, but eh. At least it's optional and doesn't provide extra experience to the game like Origin's 3 playthroughs. Didn't actually bother me that much tho, since my first Nightmare playthrough and the second playthrough on Inferno were months apart.
Negatives:
  • UNBALANCED AF! Seriously, whoever designed the difficulty balancing in this game deserves to be fired. This is coming from someone who beat both Nightmare AND Inferno (bonus boss inc) btw (never did manage to beat Nightmare boss rush tho... it’s way harder on patience than you think).
  • I find it hard to believe that Adol survived a 10k ft fall without a scratch after the Chester 1 fight.
  • What the actual hell is that dub? The VAing in this game is laughably mediocre tbh; sounds more like a fandub than an official one. And why the hell do the naration and Galbalan have voices? It just feels... wrong. Though... Elena has a semi-cute voice though, I like Fran's, and Dularn's voice really suits him (her?). But otherwise, could definitely be better, and takes a while of getting used to.
  • Speaking of the VAing, skipping through the dialogue will cause it to echo (in my headphones when there's no BGM at least), and it can be pretty annoying, ngl.
  • And yeah, again, badly designed achievements that try to force multiple playthroughs for the easiest tasks (why?). Ok, so I was fine with Celceta doing this, as you only needed to blaze through the game a second time to get the rest of the ultimate weapons, but this game requires playthroughs on EVERY difficulty for the said tasks in achievements. I just cannot be assed (anyone could do these anyway tbh (except maybe the Nightmare and Inferno playthroughs)). And in Origin... you need to playthrough the game like 8 times overall (literally just straight playthroughs), just because "hey, extra achievements :)". I did the multiple playthrough achievements anyway cause I'm stupid.
  • During the campaign, the Ligaty boss won't even trigger unless you speak to the mayor at some point, which the game does not indicate. Haven't actually tested if you can boss skip with this, but I assume you can't (I did go on ahead a bit, but not too far. Assuming certain story events don't trigger.).
  • Everything else is pretty much mentioned in positives besides certain comments.
Honestly though, despite its shortcomings, I've come to really respect this game and could probably play through it any day of the week (well, as long as those playthroughs aren't so close together that I'd burn myself out). Part of me was saying to bump this up to S tier after replaying it, honestly, and then there's another part telling me to knock it down to B tier because of the unfair difficulty. But again, since I'm torn, I'm leaving it be in A.

Ys 5

I had some good fun with this one tbh. I really do hope this game gets remade someday, preferrably in the Napish engine.
Positives:
  • Really refreshing to see a "classic" Ys game that decided to finally grow out of the bumper system.
  • No grinding is required! The game is that easy you basically don't need to grind the entire game, if you don't want to, and is awesome. I decided to anyway, since I actually like to grind in Ys games, lul.
  • Quite like the story in this game tbh. And imo it's one of the darkest in the series. Like, you actually get to see people being sacrificed for the ritual (speaking of which happens quite often, by the looks of it)? Damn.
  • Pretty in the middle OST with this one, but there are a couple I really like (I forget the names).
  • The dungeon design in this game is pretty cool, ngl. Nowhere NEAR the best in the series... But for what they were, I did like them :p
Negatives:
  • Only 3 save slots when the Ys 4 games had more (Mask of the sun with 5(?) and Dawn of Ys with 15)... Cmon...
  • Menuing in this game was super weird. Like you could lay the menu out however you wanted and it always changed depending on how you menu. It really is... eh?
  • Can we STOP with the hidden item in the wall thing? I appreciate how Ys 4 never really did this, and they really had to go back to it here? Ugh, just put every item in a chest, ffs.
  • I actually enjoyed the bosses in this game, but they're a bit too easily to be that memorable (until near the end at least), sadly.
  • It's REALLY easy to get lost in Kefin, aka the end game dungeon.
  • Enemy hitboxes are pretty crap in this game. I appreciate the effort, and it isn't completely unbearable for it being the first non-bump combat game, but yeah. I feel a lot of time I should've been hitting normal enemies way more than I was, and they hit me more than they should've, idk.
  • Bit of a nitpick, but it's really easy to fall off narrow ledges from platforming and it triggers me.
  • Minus the initial fire magic you get (and are forced to make), magic is basically useless in this game. Like, the animations are way too long and they don't serve any real purpose. Again, except the fire one.

Ys 4: Mask of the Sun

HEAR ME OUT! Please don't instantly hate me for this. Ok so... The two Ys 4 games were actually the last ones I did my "first playthrough" on. This game is NOWHERE near as bad as people say it is imo. Nowhere near.
Positives:
  • It's fast paced as HELL and I LOVE it for that! Until this game I never actually liked a classic Ys game with the bumper system (minus Ys 1/2 Chronicles), because idk, they felt too slow or weird to control. This one though, oh, I had fun with this.
  • Say what you want, but the dungeons are ALL well designed imo (well, all except that silver temple thing before the tower near the end, fuck that maze-y place). Like seriously, the sand dunes in the first dungeon was a poggers idea! And the list goes on.
  • The game is pretty linear in general up until again, the silver temple, which I also really like. Usually when it comes to classic Ys games I'd have to follow a guide to know where I'm going. Whereas in this game I just went in on my own, completely blind, and did 90% of the game no problem.
  • For a classic Ys game, the story was ok. A bit better than 5's I'd say.
  • The game actually had an ending, unlike Memories of Celceta, and it's actually decent imo!
  • Bosses are quick and snappy, which makes them fun. I actually wish there was a Time Attack in this one, would've been cool.
  • Good OST. Was nice hearing the original songs that Memories of Celceta took from.
  • Lol at the "all right, no time like the present!" jump moment near the end of the game.
Negatives:
  • Karna and Leeza are DICKS in this game! :(
  • Whilst I did say the bosses are fun, what I do NOT appreciate is the fact that half the bosses in this game have instant kill attacks. They're hard to see coming, too. WHO'S idea was this!?
  • Again, the silver temple place.
  • Only 5 save slots. Would've liked more so I could've replayed bosses more easily.
  • Magic, again, was useless in this game. Like, I don't really care since I probably would have never used it anyway, but just putting this here.
  • I find it hard to believe Adol survived a lightning explosion without a scratch in that one scene...

Ys 2 Chronicles

Yes, I feel this and Ys 1 Chronicles deserve to be seperated, since:
  1. I like them for different reasons.
  2. I like this one better than Ys 1.
Positives:
  • If it weren't for the maze like dungeons in this game, this would've easily been my favourite bumper combat game tbh.
  • The edition of the magic system was well implemented here actually. Probably the best magic system in an a bumper combat game, easily.
  • I'm surprised at how nice the story was in this game, and how much effort they put into that ending, damn.
  • There are literally NO bad bosses in this game (which I think this is the ONLY Ys game I can say that for). I wish I was joking. Fuck Dalles on Nightmare though; my only complaint.
  • Whilst I did like the level 10 limit in Ys 1, I do appreciate them buffing it to a lot higher in this game; actually gives you a reason to fight stuff.
  • That ice/snow dungeon was really cool tbh (no pun intended).
  • Sleeping in beds was uh... a nice touch :eyes:
Negatives:
  • Again, the maze-like dungeons leave a bad taste in my mouth.
  • A lot of looking up guides to figure out what to do at the start of the game, meh.
  • FUCK that escort mission with the kid in the lava cave. NEVER want to go through that again.

Ys: Memories of Celceta

Oh boy, do I have a lot to say about this one... So originally, right, I did my first playthrough of this game coming right out of Ys 7 and thought it was the most boring game ever and had a lot of beef with it. I cannot stress enough how happy I was to be done with my first playthrough back then. HOWEVER, after playing through the game again (yes, it was a NG+, but it's still something), I've actually come to respect the game quite a bit, for a good number of reasons.
Positives:
So I've already said what this game improves upon over Ys 7 in my Ys 7 thoughts, so I won't say them again (character limit).
Ok so... What other positives are there? Well...
  • Karna best girl. My personal favourite Ys girl of all time (well, this game's version of her at least). Seems like a fun one to hang out with. She also has really fun combat! Probably the most fun in the game actually. What is it with pierce users being super fun?
  • Frieda 2nd best girl. As well as my favourite DESIGNED Ys character of all time (her EXTRA with Hero Ring on is also damn cool). Second most fun in combat imo.
  • Really like how they handled Leo in this game tbh. Rather than being a Wario-like antagonist they made him a cooler comedic character. Don't get me wrong, I do like Dawn of Ys' version of him, but yeah.
  • In fact, I'd honestly have to say this game does comedy scenes best in general. Had me giggling a few times.
  • Griselda... she's a hot mommy tbh, and I bet she'd make a good dom :3 Far from my favourite girl in the series, but she's hawt. That said I'm sad she never got any romance moments in Ys 8 :(
  • OST is easily one of the best in the series (second place tied with the original 4 games, easily. there's SO many good tracks in here).
  • The SECOND half of the game has some neat dungeons and bosses (keyword: SOME). That tower inparticular was a pretty badass dungeon, ngl.
  • I think the graphics are decent in this game. Except the menus though; they look so basic, it hurts, ugh (too lazy to put this in negatives, but yeah, it is one). Still remember saying to myself when installing this game for the first time though "oh wow, that is one CLEAN looking Adol model". Easily the worst graphics of the modern Ys era, but they definitely have their charm.
  • Ninja running in this game when you unlock the shoes artifact thing is actually AMAZING! This game does it much better than Ys 8 imo (feels barely a bit faster than normal in that game). This might just be my favourite mechanic in the whole series just due to how fun it is.
  • The fact that this game shows you stats for each character's skills is actually really nice. It's such a shame the other games don't do this, because it makes skill builds so much easier.
  • Chasing a Mishy down and being able to access a 3D Roo's nest!? Yes please! I love it tbh. Sorry Ys 2, but yours was ok at best.
  • Spam rolling is still fun, but not really as much as in 7 (though I do appreciate how much smoother Duren's rolling feels compared to Dogi/Mustafa/Cruxie).
  • Holy shit, after my second playthrough I can't get over how they removed the switching during EXTRA attacks feature after this game. I think it's really cool and it makes bosses feel faster, just saying.
  • Combat is actually quite fun in this game... ONCE you get used to it. Again, took me almost an entire playthrough to get used to it. I do like it now though. Again, Karna and Frieda in particular are my favourites to use, followed by Calilica and Adol with Aura Fencer and Duren with Phoenix Kick.
Mid:
  • The story is pretty ok imo, but pretty average for an Ys game. I will say though the "oh no, the criminal Adol is back!" when you enter a new village gets annoying after the first time.
  • Not sure entirely how I feel about Adol speaking so much in a canon game (I'm talking the memory cutscenes)...
  • There are WAY too many dialogue choices. I do like these but... again, feel they are way too oversaturated, and that they do try to force humor (I did laugh at quite a few of them, but still doesn't excuse the fact).
Negatives:
  • Ok, so despite what I said about the combat in positives, I STILL can't forgive what the game does with the "skill finish", "excellent finish" and "aerial finish" messages and animations whenever you killed normal enemies with them, which... Yeah. They just flat out ruined the flow of things, honestly. And overall the combat just didn't feel as exciting as 7, or even other games for that matter. Again though, after my second playthrough, I DO enjoy it now (to some extent), but again, not nearly as much as the other games.
  • Pls Falcom, NEVER bring that Misfortune ailment back. EVER.
  • Swimming in this game feels like a BIG nono. It's fine in other Ys games, but just feels way too slugish and boring in this game imo.
  • Dungeons in general... at least ones that involve swimming, genuinely suck. Like seriously, fuck dungeons that involve swimming. They feel slow and boring.
  • And speaking of dungeons... the mandatory Slate Fragment collecting in the first couple of dungeons were really stupid. If I wanna blaze through a dungeon without caring for something like this, I should be able to. Surely there are better ways you can encourage exploration?
  • Up until like halfway through the game, the bosses are really hit or miss, but CAN be enjoyable if you really try to.
  • Not really a massive fan of how Flash Guard works in this game. It works like 7's where it only stays active for a split second, but I'm fine with it in 7, it feels like its own thing. Here though I don't like it because the Flash system feels a lot more like 8's, which leaves me comparing this game to 8, and 8 does Flash Guarding way better (if that makes sense). Also I swear in this game you can easily still get hit if you Flash Guard anyway, so it doesn't 100% make you invincible in this game, which can be slightly annoying.
  • Getting 100% map in this game is a major annoyance (wasn't ANYWHERE near as bad in 8). Hugging every possible wall is... just super annoying.
  • That ending... Might the WORST ending I've ever seen in a video game. AT LEAST MAKE SOME EFFORT... Like, even Ys 8's ending isn't this bad... Freaking Mask of the Sun, a SNES game, had a way better ending than this.
  • You do all that work for Rabbit and Pigeon and they don't even get a satisfying ending to their arc. It pissed me off. In a romantical sense, I mean.
  • There's a side quest near the end of the game where you have to kill a certain amount of enemies with probably the weakest sword in existance. If you did this yourself you KNOW how pisstaking it can be; ESPECIALLY on Nightmare.
  • Why is it required to start a NG+ to unlock Time Attack? Why? Just put the shit on the main menu like you do every other game.
  • Hey, you get warping at the start of the game like in Origin! ...LIMITED warping, though. Basically you can warp to any momument that has the same colour as the one you're warping from (and later on they add the same SHAPE rule too... why?). Why not just give us the full package from the getgo? Makes NO sense whatsoever. I hate the fact that it also literally takes HALF THE GAME to get the full one, ugh.
  • WHY should I have to keep constantly switching Duren into my party just to fucking open chests!? WHO thought this was a good idea? Same goes with other party members tbh. Like, for example, it's basically mandatory to keep Calilica in your party in the tower dungeon for her out-of-battle ability. Feel like this is going to be a recurring thing in Ys 9 too for some reason... Which I'm not looking forward to, but hey.
  • TOO MANY TUTORIALS SCREENS FOR ME TO SKIP REEEE (no, seriously, there are a LOT in this game).
  • I'm gonna be honest, after playing through this game a second time months later, the lack of camera control can be annoying in the open world (like, I found myself opening the bigger minimap a lot just to see where about I was). In 7 it felt like everything was placed sensibly with the camera in mind tbh. Fighting the forest super boss is especially annoying because of this (would be a lot easier otherwise).
  • Those early game areas that repeat the same path over and over until you pick the right way... ugh.
  • I really, REALLY do not the weapon/armor enhancement system in this game. Just feels out of place for an Ys game.
  • I wish we got to see that date with Sandra in the endgame :(
Despite its shortcomings though, again, I really have gained quite a bit of respect for this game after playing through it a second time for achievements, not enough for it to be B tier or above, but I originally put this game in C tier, and have bumped it up to the borderline tier.

Ys 4: The Dawn of Ys

Ok so... I DO understand why people love this game so much. Gameplay wise though... Meh. I'm probably gonna get some hate for this one, but whatever.
Positives:
  • The voice acting (especially for a fan dub) and animated scenes were fucking great.
  • Again, good OST. Was nice hearing the original songs that Memories of Celceta took from.
  • An 8-way movement system in a classic Ys game before 5!? POGGERS!
  • Oh hey, there's actually a decent amount of save files this time.
  • Better story than Mask of the Sun (even though I DID like the one there), and holy shit, the addition of Leo (he honestly reminded me of Wario with those laughs tbh)!
  • That ending especially man... Idk if it's my favourite ending in the series, but definitely in my top 3. SO good. This is the reason why the game is in the borderline tier btw. If it weren't for the ending, it would've been C tier.
  • Karna and Leeza aren't dicks in this game (and are actual good characters now) (comparing to Mask of the Sun)! :)
  • Holy shit swimming as a Roo is amazing! My favourite part of the gameplay, probably. Yes, I'm aware you can also do this in Memories of Celceta, but it feels way too slow there to be enjoyable.
Negatives:
  • Oh no, the return of maze like dungeons :(
  • After transitioning from this game from Mask of the Sun... The gameplay felt way too slow, I'm sorry. Like, both from a control standpoint and recovering health (in Mask of the Sun, it'd recover to max in basically a few seconds; here it takes like a century. by standing still, btw.). Again, I do appreciate the 8-way movement, but yeah.
  • Bosses are fun, but terribly unbalanced since imo they have way too much health (for the bumper system, at least). I'll make an exception here for like the last 4 or so bosses, since they actually feel ok.
  • Takes a goooooood while for you to get warp magic in this game... Which is annoying, because this game isn't anywhere near as linear as Mask of the Sun, whereas I was ok there at the timing you got warping because of it.
  • There's an optional section near the end of the game where you can get the highest tier of equipment from Leo after he dies, but it's a massive pain to do (look it up). Not even worth it anyway tbh, since you'll be fine with the penultimate tier equipment easily.
But yeah... The negatives outweigh the positives here, I'm sorry to say (notice how I only put 1 (or technically 2) minor gameplay positive point down). Apart from the voice acting and animated scenes, I don't like this game as much as other people (yeah I know, my taste is trash, roast me in the comments).

Ys 1 Chronicles

After putting down the og Ys 1 after half an hour of playing (I really didn't care; you'll see why after), this felt really refreshing tbh. I really like the amount of detail that went into this game and Ys 2 Chronicles.
Positives:
  • So yeah, nice attention to detail. For Ys 2 Chronicles also, but too lazy to scroll up and add it there. Like seriously, feels like a breath of fresh air seeing seagulls fly around in a nicely graphic'd environment in a classic Ys game. Also nice how you can see Adol behind buildings, etc in the overworld.
  • Decent bosses tbh, I like these ones. Well, all except (check negatives)...
  • Good story.
  • Good OST, as usual. One of the least memorable ones for me though, sadly. Probably in like... 7th or 8th place. But still good.
  • Darm Tower is a fun dungeon.
Negatives:
  • Maze-like dungeons that are worse than Ys 2. They're also boring and flat in this game. Again, excluding Darm Tower, which I quite liked.
  • Vagullion (third boss)... Everyone who's played this game will know why he's here. No explanation needed. Dark Fact isn't going here because he's actually a fun boss, even on Nightmare.
  • Whilst I do appreciate what they tried to do with the level cap being 10, would've been nice to actually have a reason to fight normal enemies besides enemy book registration beyond that. Also feels like a boss or two weren't designed with the level cap in mind (on Nightmare, at least).
  • Again, a lot of looking at the guide to figure out what to do. Mainly due to the first negative point I made. And also, the plains can be really easy to get lost in, which is also a pain.

Ys vs. Sora no Kiseki: Alternative Saga

Honestly not much to say about this game since it isn't even fully translated yet (I think it was menus and a few other words here and there?) apart from the gameplay feels like a really clunky version of Ys 7's engine, which it plays in. Despite that though, I had a blast from what I played of this; feels preeetty freaking fun, ngl. If it was as fluid as Ys 7, probably would've been at least a B. Also, it's fucking cool that you can put Adol against Chester Ys 7 style :3
...Despite the story not being translated though, it does look pretty damn weird from what I've seen.

Typing of Ys

Again, not really much to say for this one either. It's a typing game, and a pretty fun one at that. Really short though (10-15 mins at best) and probably wouldn't ever touch it again unless I've got absolutely NOTHING to do (like AT ALL). But yeah, good for what it is imo. Moving on.

Ys 1/2 OG

As explained earlier in my Ys 1 or 2 Chronicles section, I only played Ys 1 for about half an hour before dropping it due to how slow and weird it felt. Nothing more to say tbh.

Ys 3

It's a sidescroller, and a bad one at that. Please never make another Ys sidescroller again. Thanks. The hitboxes are pure SHITE in this game. Maybe I'm just bad, but never made it past the first dungeon of this game and just dropped it lol.

Ys Strategy

This game doesn’t exist, shush.


Additionally, I have created a Pastebin (link below) with my thoughts on the Ys 1/2 anime, along with some mini Ys tier lists, as I felt like throwing them in. Reason I'm not putting them here is because the character limit keeps cucking me, so yeah.
https://pastebin.com/317SdPmr

And finally, in case you're wondering, I played the Ys games in this order (first playthrough wise)


  • Ys 8
  • Ys 6
  • Ys: The Oath in Felghana
  • Ys 1/2 OG (for what I played at least)
  • Ys 3 (for what I played at least)
  • Ys 7
  • Ys: Memories of Celceta
  • Ys Origin
  • Typing of Ys
  • Ys Strategy (for what I played at least)
  • Ys 5
  • Ys vs. Sora no Kiseki: Alternative Saga
  • Ys 1 Chronicles
  • Ys 2 Chronicles
  • Ys 4: Mask of the Sun
  • Ys 4: The Dawn of Ys
  • Soon to be Ys 9
Yes, I spent a shit ton of free time typing all this out, but whatever.
Anyways... it's been a fun ride tbh. Again, for the most part, I genuinely have enjoyed my time with these games. Might do another binge one day, who knows. If you have any questions, ask them below and I'll get back to you. Peace out.
submitted by thegreatpenguintm to WorldOfYs [link] [comments]


2020.09.18 03:01 mareck_ Favorite Telecaster model?

What's your favorite Telecaster or Tele-adjacent model? E.g., standard, Esquire, Broadcaster, Cabronita, Deluxe, Custom, Thinline, Nashville, ASAT, Blacktop/baritone, etc.! Maybe even add-ons like a Bigsby or a Jazzmaster trem 😏, or special wiring/pickups.
I personally love the Esquire and Broadcaster, mostly for their unique wirings. My current (and so far only) Tele is a Squier Bullet with the neck pickup, tone control, and pickup selector removed 😃 it's kinda cheap shit but I love it!
I think the first Telecaster model I really fell in love with is the Cabronita, after seeing Elena Tonra play one 🤗. The new Squier ones a pretty neat (especially the baritone with P90s 👀) but I think I prefer the ones with Filter'Tron-style pickups.
submitted by mareck_ to telecaster [link] [comments]


2020.09.17 07:03 YufineThrowaway [Datamine] 9/17/2010 Patch

Patch is a wip. Something came up. Will finish in a few minutes.

Next Banners

  • Japan: Including maybe some announced Sigret, Elena, Lidica, Ken.
  • Global: Including maybe some announced banners: Ludwig, Landy & Wall of ORder (Liimited), Tenebria, Ken

New Story BGs

New Tutorial Images

New Borders

New BG Packs

New Monsters

New NPCs

Artifact: Samsara Prayer Beads

  • Images: Link.
  • Rarity: 5*
  • Role: Warrior
  • Health: 76 -> 988
  • Attack: 9 -> 117
  • Description: "With this...will I grow stronger?" Old prayer beads of unknown origin passed down since long ago. It is said that depending on the nature of the wearer, it can grant partial control of natural power.
  • Effect: 20% (40%) chance each to grant increased Effect Resistance and Defense for 1 turn at the end of the turn.

Artifact: Manica of Control

  • Images: Link.
  • Rarity: 5*
  • Role: Assassin
  • Health: 32 -> 416
  • Attack: 21 -> 273
  • Description: Sez's arm was modified and weaponized as part of an experiment in the past. After he escaped the facility, it grew more and more powerful until he could no longer control it. Sez considered this power a curse and used clothes and gloves to conceal his arm. After coming to realize this, the members of the Phantom CIC made him a special glove to help him control its power.
  • Effect: Increases Hit Chance by 10% (20%) and Critical Hit Chance by 15% on a Single Attack.

Artifact: Wall of Order

  • Images: Link.
  • Rarity: 5*
  • Role: Ranger
  • Health: 32 -> 416
  • Attack: 21 -> 273
  • Description: A device that can restrict access to certain districts under the authority of the police. Unless granted access from the authorities, no one can enter."
  • Effect: At the start of the turn, for each buff granted to an enemy, has a 4% (8%) chance to grant the caster increased Attack (Greater) for 1 turn. After using an attack that targets all enemies, increases Combat Readiness of the caster by 10%. This effect is not activated by a counterattack, Dual Attack, or extra attack.

Artifact: Crimson Moon of Nightmares

  • Images: Link.
  • Rarity: 5*
  • Role: Mage
  • Health: 32 -> 416
  • Attack: 21 -> 273
  • Description: It's hard to even venture a guess as to when this red marble was created. This marble creates the illusion that an immense full moon has risen in the sky, bringing forth the deep madness hidden within any who see it and trapping them in a never-ending hallucination.
  • Effect: Increases Dual Attack chance by 7% (14%). When it is not the caster's turn, increases Effectiveness by 20% (40%).

Hero: Landy

Politia's Chief of Police in charge of maintaining public order
A woman of principles who works hard to do what's best for her city. As she is an older model, she lacks a few functions, but she has great durability. She adores Flan like her own little sister.
Faces: Link.
Skill Icons: Link.
S3 Animation:
Rarity: 5
Attribute: Earth
Role: Ranger
Zodiac: Leo
Gacha Line: I'm Landy, Politia’s chief of police. If you notice anyone suspicious or have a lead for me, don't hesitate to let me know!
Personalities: Arrogant / Loyal
Camping Topics: Interesting Story / Unique Comment
Camping Chat #1: One day, when I retire from active duty, I'd like to go traveling with Flan. Of course, she's still pretty new, so it will be a while!
Camping Chat #2: Even machines have their own needs and desires, so you need to be kind to them. Give them names, make them part of your family, hug them, talk to them...
Command/Attractiveness/Politics: 91 / 14 / 67
Stat Stat
Combat Power: 16977 Critical Hit Chance: 23%
Health: 6003 Critical Hit Damage: 150%
Attack: 1158 Resistance: 0%
Defense: 553 Effectiveness: 0%
Speed: 112 Dual Attack Chance: 5%

Skill 1 - Fire

Fires at the enemy and increases the caster's Combat Readiness by 10%. Effect is doubled when the enemy is buffed.
Cooldown: 0 turns.
Soul Gain: 1 souls.
Attack Rate: 1.0
POW: 1
Upgrades: +5% damage dealt, +2% Combat Readiness, +10% damage dealt, +3% Combat Readiness, +15% damage dealt

Skill 2 - The Chief Is on the Scene

Increases the caster's Attack by 7% after attacking. This effect can only stack up to 5 times. At the start of the turn, gains 10 Fighting Spirit for each buff granted to an enemy, and when Fighting Spirit is full, resets skill cooldown. Starts the first battle with 50 Fighting Spirit.
Upgrades: +0.5% Attack, +0.5% Attack, +0.5% Attack, +0.5% Attack, +1% Attack

Skill 3 - Full Burst

Fires at all enemies and grants the caster increased Speed for 2 turns. When Fighting Spirit is full, consumes all Fighting Spirit to increase damage dealt, and increases Combat Readiness of all allies by 15%.
Full Stack: 1.15/1 (1.25/1 Soul Burn)
Cooldown: 5 turns.
Soul Gain: 3 souls.
Attack Rate: 0.9
POW: 1
Soulburn: Increases damage dealt.
Soulburn Attack Rate: 1.15
Soulburn Attack Rate: 1.15
Upgrades: +5% damage dealt, +5% damage dealt, -1 turn cooldown, +10% damage dealt, +10% damage dealt
submitted by YufineThrowaway to EpicSeven [link] [comments]


2020.09.16 15:41 TomSelleckReverse Been taking a break from SFV to play USFIV for the past few weeks, my thoughts.

(Warning, long post below.)
I'm no stranger to the SFIV series, but before this I hadn't spent any time with the game since SFV was released. I know there are a lot of people that romanticize the game in response to the flaws of SFV, but I think this experience has helped me understand that SFIV is a very flawed game as well. Anyway, here's my breakdown on some of the issues that I have, and how SFV is different.
The netcode: SFIV seems to have a much wider band of opponents where the game is "playable" and feels a lot smoother. Like I was getting matches with people from Europe that were actually decent - which is crazy when you compare it to what we have in SFV. That's not to say that SFIV's netcode is necessarily better over all though. The big difference is that SFIV netcode fundamentally changes how the game is played depending on how much latency there is. There are a lot of gimmicky hit-and-run strategies that work exclusively under SFIV's netcode because you can't properly react to things and defend yourself. Or at least the way the delay works it lulls you into the false belief that you have more time to react than you really do.
Combos and one-frame links: The more open-ended combo system with FADC is definitely one of the strongest things that the game has going for it. However, I noticed that this is rarely even used online simply because combos are so technically challenging to pull off. Going for a hard combo actually carries significant risk in SFIV because a dropped combo can result in a huge punish. It's better to just take your damage on an easy 2-in-1 combo that is impossible to miss than going for something with four links and an FADC to squeeze out an extra 100 damage or so. And this brings me to my next issue...
Reversal attacks: Oh god, these are the cancer of this game. Every single character has a some form of mashable attack with full invincibility - sometimes even meterless. The difference between winning and losing a round can often hinge on landing your 1f link because the other character will inevitably be mashing his 400 damage Ultra in case you drop. It also makes oki impossible in a lot of cases because the risk of pressing a button on their wakeup is too high. Later on in the round I find myself just blocking letting the opponent get up because if they mash Ultra then you lose.
The wonk: SFIV interpolates hitbox data from the actual character models, so there's a lot of weird things that happen during combos that don't really make sense. SFV directly addressed this issue by strictly defining them as standardized boxes - so with very rare exception all combos work on all characters in the same way. I sort of have mixed feelings about this. On one hand I appreciate that I don't have to memorize interactions for every single character in the game just to play my own character. On the other hand, it's interesting that if you did take the time to develop this knowledge, you would be rewarded for it. Although the other side of this is that sometimes you can be punished - because what you thought was a BNB actually only works against like 20 other characters, and in the other matchups you have to do something else or else it will drop.
Air mobility/dive kicks: Yeah, it's bad. I definitely prefer SFV's much nerfed air attacks. It feels spammy and gimmicky that some characters just bounce all over the place like bunnies and your options are limited to stop them without taking a huge risk. Removing neutral jumping or backward jumping dive kicks was a good thing for the game.
Vortex: I don't have a problem with it outright, but it's just one of those things that puts an unnecessary high barrier up for new players. There are a lot of characters that straight up cannot be played effectively without knowing how to vortex, but the vortex setups aren't inherently obvious how to pull off. So you need to pull up youtube tutorials just to get your character functioning on a basic level.
Focus attacks: I'm a fan honestly. I think they do add a nice layer of depth to neutral. It's not perfect, but the problems with focus attack have more to do with the range/coverage that certain characters get, and how other characters lack good armor break attacks to punish them. Basically the problems aren't with the mechanic overall and could be corrected with some fine tuning of specific characters.
Red focus: I think if we got more updates to the game this is something that could have been tweaked a little more. Red focus cancel is a bit too generous in allowing some characters to get their Ultra off, and the damage feels too high compared to what is allowed in the rest of the game. Like Yun and Evil Ryu doing c.mk buffer with three bars and Ultra stocked is the equivalent to SFV Seth fishing with his c.mk while he's in V-Trigger. You just keep going for it over and over again until it hits and then you get an explosion of damage. Also the regular red focus attack is underutilized and the cost of two bars seems unnecessarily harsh. Perhaps at one bar this would be a much more usable, factoring the risk of it getting punished.
Ultras: I would be fine with this if not for the full invincibility on startup so you can mash to punish people trying to pressure you. As a comeback mechanic I think it works as intended - you get a one-shot damage boost and then it's done. And the damage scales appropriately if you combo into one. V-Trigger is obviously a much more robust idea, but it's also much harder to balance. The vast majority of Ultra attacks are roughly equal in power - some trading a bit of utility for damage, but none of them (except Elena Healing) actually feel unfair or oppressive. V-Triggers on the other hand are like the entire game right now, and the powerlevel of the characters seems to rest solely on how they can close out rounds with it.
Tierlist/metagame: I think it's a lot harder to differentiate high tier from low tier in USFIV - many characters have such uniquely powerful tools. In SFV, the game is more standardized so you can actually measure the "haves" and the "have-nots". Guile's Sonic Boom in SFV is a strictly better attack than Ryu's fireball, and that goes a long way in differentiating Guile as a high tier versus Ryu as a low tier. In USFIV there are a wealth of other things to consider - like Hakkan is considered very low tier, but he has this mechanic where he can cancel his focus attack directly into normals without having to dash - this is unique to him and is outrageously powerful. Or Ken is like a low/mid tier character but he has an absurdly long kara throw range that makes him a tick-throw god - again powerful and completely unique to him. I really wish SFV gave characters a bit more power outside of V-Trigger to help differentiate them from each other - now it seems like everyone is so samey for the first half of the round.
submitted by TomSelleckReverse to StreetFighter [link] [comments]


2020.09.14 13:45 Thiraeth Rename the Weasleys!

I'll take a stab at this. For those of you who don't know (which I doubt but just in case), the Weasleys are:
Arthur, Molly, William 'Bill', Charlie, Percy, Fred and George, Ronald 'Ron', Ginevra 'Ginny'.
So, I propose this new model:
Lance and Tansy. Lancelot is an Arthurian figure, like the name Arthur (also, old man vibes) and Tansy is a flower name like Molly, but isn't as obvious as Rose or Lily or Poppy.
James 'Jim'. Both William and James are classic, boring names to many people, and Jim seems to be equivalent of Bill here. However, both are genial, just like Bill Weasley himself.
Harry. This looks like I'm cheating but I promise I'm not, and since Charlie seems to be his full name, which is usually a derivative of Charles, then I chose a nickname name that also works as a standalone: Harry from Henry.
Tristan gives me adorable vibes, kind of like how Percy does. It's also an Arthurian name, while Percy can be understood to be short for 'Percival'.
Theodore and Alexander can be shortened to jaunty names like Teddy and Alex, which give off Fred and George vibes.
Timothy 'Tim' is a very ordinary, good natured guy, very funny and an overall great bloke to have as a friend. I also have a very soft spot for the name Timothy, just as I love Ronald Weasley.
Ginevra is a form of Guinevere, which is also a name from Arthurian mythology. Helaine is the English form of Helen and since Arthur and Molly opted for the Italian version, I'll choose the closest usage of Helaine there and go with Elena, nickname Ellie.
So, what are your thoughts? Also, you don't have to use Arthurian connotations since there are no rules to this game, just make it as fun an upbeat as the Weasleys! If you use Greek names, no one minds, and if you decide to just go with names from royalty or astronomy that's okay too!
Bonus points for a new surname: I'll take the unoriginal route and choose Buckley, which is basically make deer for the weasel connotation.
submitted by Thiraeth to namenerds [link] [comments]


2020.09.12 01:02 Britneyfan456 Which Director had the best run in the 50s?

Best run in terms of anything
Alfred Hitchcock: Vertigo, Rear Window, North by Northwest, Strangers on a Train, To Catch a Thief, Dial M for Murder, I Confess, Stage Fright, The Trouble with Harry, The Man Who Knew Too Much, and The Wrong Man.
Nicholas Ray: In a Lonely Place, Rebel Without a Cause, Bigger Than Life, Johnny Guitar, Bitter Victory, Macao, On Dangerous Ground, Party Girl, The Lusty Men, Run for Cover, Born to Be Bad, The Racket, Flying Leathernecks, Androcles and the Lion, The True Story of Jesse James, Hot Blood, and Wind Across the Everglades.
Ingmar Bergman: The Seventh Seal, Smiles of a Summer Night, Wild Strawberries, Dreams, Summer Interlude, A Lesson in Love, The Magician, Secrets of Women, Summer with Monika, Sawdust and Tinsel, Brink of Life, To Joy, and This Can't Happen Here.
Billy Wilder: Sunset Boulevard, Sabrina, Some Like It, Stalag 17, Witness for the Prosecution, The Seven Year Itch, Ace in the Hole, Love in the Afternoon, and The Spirit of St. Louis.
Fred Zinnemann: From Here to Eternity, High Noon, The Men, Oklahoma!, The Nun's Story, A Hatful of Rain, The Old Man and the Sea, Teresa, and The Member of the Wedding.
George Stevens: Shane, Giant, A Place in the Sun, The Diary of Anne Frank, and Something to Live For.
John Huston: The Asphalt Jungle, The African Queen, The Red Badge of Courage, Moby Dick, Beat the Devil, The Barbarian and the Geisha, Heaven Knows, Mr. Allison, The Roots of Heaven, and Moulin Rouge.
Elia Kazan: On the Waterfront, A Streetcar Named Desire, East of Eden, Panic in the Streets, Baby Doll, A Face in the Crowd, Viva Zapata!, and Man on a Tightrope.
William Wyler: Ben Hur, Roman Holiday, The Big Country, Friendly Persuasion, Carrie, Detective Story, and The Desperate Hours.
Otto Preminger: The Man with the Golden Arm, Anatomy of a Murder, Where the Sidewalk Ends, The 13th Letter, Angel Face, The Moon Is Blue, Carmen Jones, Bonjour Tristesse, Porgy and Bess, Saint Joan, The Court-Martial of Billy Mitchell, and Die Jungfrau auf dem Dach.
Federico Fellini: La Strada, Nights of Cabiria, I Vitelloni, Il bidone, The White Sheik, and Variety Lights.
Robert Wise: The Day the Earth Stood Still, Destination Gobi, This Could Be the Night, Run Silent, Run Deep, I Want to Live!, Odds Against Tomorrow, Executive Suite, Two Flags West, Somebody Up There Likes Me, The Desert Rats, So Big, and House on Telegraph Hill.
Fritz Lang: The Big Heat, Clash by Night, House by the River, American Guerrilla in the Philippines, While the City Sleeps, Human Desire, Rancho Notorious, and Moonfleet.
Akira Kurosawa: Rashomon, Scandal, Seven Samurai, Ikiru, The Hidden Fortress, The Idiot, Throne of Blood, I Live in Fear, and The Lower Depths.
Orson Welles: Othello, Touch of evil, and Mr. Arkadin.
Stanley Kubrick: The Killing, Paths of Glory, Fear and Desire, and Killer's Kiss.
Luis Buñuel: Los Olvidados, El, Mexican Bus Ride, Robinson Crusoe, The Criminal Life of Archibaldo de la Cruz, and Nazarín.
Michael Curtiz: The Breaking Point, White Christmas, We're No Angels, King Creole, The Jazz Singer, The Egyptian, I'll See You in My Dreams, The Vagabond King, and The Proud Rebel.
John Ford: The Searchers, The Quiet Man, Mister Roberts, Wagon Master, Rio Grande, The Sun Shines Bright, Mogambo, The Long Gray Line, The Horse Soldiers, The Last Hurrah, The Wings of Eagles, What Price Glory, When Willie Comes Marching Home, and This is Korea.
Joseph L. Mankiewicz: All About Eve, No Way Out, People Will Talk, 5 Fingers, Julius Caesar, Guys and Dolls, The Barefoot Contessa, The Quiet American, and Suddenly, Last Summer.
Vincente Minnelli: The Bad and the Beautiful, Gigi, The Band Wagon, An American in Paris, Some Came Running, Designing Woman, Tea and Sympathy, The Cobweb, The Long, Long Trailer, Father of the Bride, Father's Little Dividend, Brigadoon, The Story of Three Loves, Lust for Life, and Kismet.
Robert Bresson: The Diary of a Country Girl, Pick Pocket, and A Man Escaped.
Yasujirō Ozu: Tokyo Story, Floating Weeds, The Munekata Sisters, Early Summer, Early Spring, Tokyo Twilight, Good Morning, Equinox Flower, and The Flavor of Green Tea over Rice.
Alexander Mackendrick: The Lady Killers, Sweet Smell of Success, The Man in the White Suit, Mandy, and The Maggie.
Douglas Sirk: Written on the Wind, Imitation of Life, All That Heaven Allows, Magnificent Obsession, A Time to Love and a Time to Die, There's Always Tomorrow, The Tarnished Angels, Battle Hymn, The First Legion, All I Desire, Take Me to Town, Meet Me at the Fair, Interlude, Taza, Son of Cochise, Sign of the Pagan, Captain Lightfoot, Meet Me at the Fair, The Lady Pays Off, No Room for the Groom, Has Anybody Seen My Gal?, Mystery Submarine, Week-End with Father, and Thunder on the Hill.
Satyajit Ray: The Apu Trilogy, The Music Room, and Parash Pathar.
Robert Aldrich: Kiss Me Deadly, Vera Cruz, The Big Knife, Autumn Leaves, The Angry Hills, Ten Seconds to Hell, Apache, and Big Leaguer.
Richard Brooks: Blackboard Jungle, Cat on a Hot Tin Roof, Deadline – U.S.A., Crisis, Battle Circus, The Last Time I Saw Paris, Take the High Ground!, The Last Hunt, and The Brothers Karamazov.
George Cukor: A Star Is Born, Born Yesterday, Bhowani Junction, It Should Happen to You, Les Girls, Wild is the Wind, The Actress, Pat and Mike, Hot Spell, A Life of Her Own, and The Marrying Kind.
Byron Haskin: The War of the Worlds, The First Texan, Conquest of Space, From the Earth to the Moon, The Little Savage, The Boss, Tarzan's Peril, His Majesty O'Keefe, Warpath, Silver City, And Treasure Island.
Howard Hawks: Gentlemen Prefer Blondes, Rio Bravo, The Big Sky, Monkey Business, Land of the Pharaohs, and O. Henry's Full House.
Roberto Rossellini: Where Is Freedom?, Journey to Italy, General Della Rovere, Europe '51, The Machine to Kill Bad People, We, the Women, The Ways of Love, Francesco, giullare di Dio, Stromboli, Fear, India: Matri Bhumi, and Joan of Arc at the Stake.
Jean Renoir: The Ways of Love, French Cancan, The River, Elena and Her Men, Elena and Her Men, The Doctor's Horrible Experiment, and Picnic on the Grass.
Jules Dassin: Night and The City, Rififi, He Who Must Die, and The Law.
Vittorio De Sica: Terminal Station, Umberto D., Miracle in Milan, The Roof, and Anna of Brooklyn.
Kenji Mizoguchi: Ugetsu, The Life of Oharu, The Crucified Lovers,
Sansho the Bailiff, The Woman in the Rumor, A Geisha, Princess Yang Kwei Fei, Shin Heike Monogatari, and Street of Shame.
Roy Ward Baker: A Night to Remember, Don't Bother to Knock, I'll Never Forget You, Morning Departure, Highly Dangerous, Inferno, Night Without Sleep, The One That Got Away, Passage Home, Jacqueline, and Tiger in the Smoke.
Henri-Georges Clouzot: The Wages of Fear, Les Diaboliques, Les Espions, The Mystery of Picasso, and Miquette.
Anthony Mann: The Man from Laramie, The Naked Spur, Winchester '73, The Glenn Miller Story, Side Street, The Tall Target, Devil's Doorway, The Furies, Bend of the River, Man of the West, God's Little Acre, Men in War, Strategic Air Command, The Tin Star, Serenade, The Far Country, and The Last Frontier.
Don Siegel: Crime in the Streets, Invasion of the Body Snatchers, Edge of Eternity, Baby Face Nelson, Spanish Affair, The Duel at Silver Creek, An Annapolis Story, Riot in Cell Block 11, China Venture, Private Hell 36, The Lineup, Hound-Dog Man, and Count the Hours.
John Sturges: Bad Day at Black Rock, Gunfight at the O.K. Corral, The People Against O'Hara, Escape from Fort Bravo, The Old Man and the Sea, Backlash, The Scarlet Coat, Jeopardy, Fast Company, Mystery Street, Right Cross, Last Train from Gun Hill, The Law and Jake Wade, Big Country, and Underwater!.
Samuel Fuller: Pickup on South Street, Hell and High Water, The Crimson Kimono, Forty Guns, Dog Face, Run of the Arrow, China Gate, House of Bamboo, Verboten!, The Steel Helmet, The Baron of Arizona, Park Row, and Fixed Bayonets!.
Joseph H. Lewis: The Big Combo, Retreat, Hell!, A Lady Without Passport, Desperate Search, Man on a Bus, Cry of the Hunted, A Lawless Street, The Halliday Brand, Terror in a Texas Town, and 7th Cavalry.
Jean-Pierre Melville: Les Enfants Terrible, sans millions!, When You Read This Letter, Bob le flambeur, and Two Men in Manhattan.
Phil Carlson: The Phenix City Story, Kansas City Confidential, 99 River Street, Hell's Island, The Iroquois Trail, The Brigand, Scandal Sheet, Gunman's Walk, Mask of the Avenger, Lorna Doone, The Texas Rangers, Tight Spot, They Rode West, The Brothers Rico, and 5 Against the House.
Martin Ritt: The Long, Hot Summer, Edge of the City, The Black Orchid, No Down Payment, and The Sound and the Fury.
Louis Malle: Les Amants, Elevator to the Gallows, Crazeologie, and Station 307.
Carol Reed: Our Man in Havana, The Key, Trapeze, The Man Between, A Kid for Two Farthings, and Outcast of the Islands.
Masaki Kobayashi: The Human Condition Trilogy, Youth of the Son, Three Loves, Somewhere Under The Broad Sky, The Spring, Beautiful Days, I Will Buy You, Black River, Sincere Heart, and The Thick-Walled Room.
Stanley Donen: Singin' in the Rain, Seven Brides for Seven Brothers, Royal Wedding, Funny Face, Indiscreet, Damn Yankees, The Pajama Game, Kiss Them for Me, and It's Always Fair Weather.
Gene Kelly: It's Always Fair Weather, Singin' in the Rain, Invitation to the Dance, and The Tunnel of Love.
Ida Lupino: The Hitch-Hiker, Outrage, The Bigamist, and Hard, Fast and Beautiful.
Budd Boetticher: The Tall T, Bullfighter and the Lady, City Beneath the Sea, East of Sumatra, Red Ball Express, Seven Men from Now, The Killer Is Loose, Ride Lonesome, Buchanan Rides Alone, Decision at Sundown, Westbound, The Magnificent Matador, The Man from the Alamo, Seminole, The Cimarron Kid, Killer Shark, Bronco Buster, Wings of the Hawk, and Horizons West.
Andre DeToth: Day of the Outlaw, House of Wax, Man in the Saddle, Riding Shotgun, Crime Wave, Last of the Comanches, Tanganyika, The Bounty Hunter, Hidden Fear, The Indian Fighter, Monkey on My Back, The Two-Headed Spy, Thunder Over the Plains, The Stranger Wore a Gun, Carson City, and Springfield Rifle.
Delmer Daves: 3:10 to Yuma, Broken Arrow, Demetrius and the Gladiators, White Feather, Drum Beat, Treasure of the Golden Condor, Jubal, The Last Wagon, Kings Go Forth, Cowboy, The Badlanders, The Hanging Tree, A Summer Place, Bird of Paradise, and Never Let Me Go.
William A. Wellman: Track of the Cat, The High and the Mighty, Blood Alley, Darby's Rangers, Lafayette Escadrille, Good-bye, My Lady, The Next Voice You Hear..., Westward the Women, Island in the Sky, My Man and I, Across the Wide Missouri, and The Happy Years.
Max Ophüls: La Ronde, The Earrings of Madame de…, Lola Montès, and Le Plaisir.
Delbert Mann: Marty, The Bachelor Party, Desire Under the Elms, Middle of the Night, and Separate Tables.
David Lean: The Bridge on the River Kwai, Madeleine, The Sound Barrier, Summertime, and Hobson's Choice.
Sidney Lumet: 12 Angry Men, That Kind of Woman, and Stage Struck.
Powell and Pressburger: The Tales of Hoffmann, The Elusive Pimpernel, Gone to Earth, Oh... Rosalinda!!, The Battle of the River Plate, and Ill Met by Moonlight.
Jean Cocteau: 8 × 8: A Chess Sonata in 8 Movements and Orpheus.
Frank Tashlin: Son of Paleface, The First Time, Susan Slept Here, The Lemon Drop Kid, Marry Me Again, Will Success, Artists and Models, The Lieutenant Wore Skirts, The Girl Can't Help It, Hollywood or Bust, Say One for Me, Rock-A-Bye Baby, and The Geisha Boy.
Mario Monicelli: Big Deal on Madonna Street, È arrivato il cavaliere!, A Dog's Life, Proibito, The Unfaithfuls, Totò and Carolina, A Hero of Our Times, Cops and Robbers, Toto and the King of Rome, Toto and the Women, Doctor and the Healer, The Great War, Donatella, and Fathers and Sons.
Youssef Chahine: Papa Amin, Son of the Nile, Women without Men, Lady of the Train, The Great Clown, Struggle in the Valley, The Desert Devil, Struggle in the Pier, Farewell to Your Love, You're My Love, Cairo Station, Forever Yours, and Jamila, the Algerian.
Rene Clement: The Glass Castle, Knave of Hearts, Forbidden Games, This Angry Age, and Gervaise.
submitted by Britneyfan456 to classicfilms [link] [comments]


2020.09.10 13:57 niuz-bot Newsweek: Cântăreața fotomodel Codruța Filip, angajată la Sănătate să monitorizeze spitalele regionale - [Actualitate][Esențial]

Ministerul Sănătății a angajat o cântăreață fotomodel pentru a se ocupa de gestionarea Spitalelor Regionale. La doar 24 de ani, Codruța Elena Filip a fost angajată fără concurs pe funcția de consilier debutant la Direcția Monitorizare, Implementare Spitale Regionale din minister, relatează Newsweek.
Citeste in continuare: https://www.hotnews.ro/stiri-esential-24278627-cantareata-model-codruta-filip-angajata-fara-concurs-ministerul-sanatatii.htm
submitted by niuz-bot to niuz [link] [comments]


2020.09.02 06:24 Leading_Cold Best female designs ever!

Okay, normally I don't talk about this because I never actually played a character like this...but I must say: Naughty Dog did great on Nadine and Chloe's body.
As a female myself, I am always annoyed when games make females either over-sexualized of rather dull. Like, compare Elena to Chloe.
Elena has no ass and barely a chest. I said it! She doesnt! She has a very pretty face though and pretty design hair for a game that came out in 2007 (Although I am not gonna lie, it did annoy me that she wore a very low tank top and nothing showed, and I am not sure she wore a bra either so like...what'sNaughty going on there?) And I feel that is the look the creators were going for, they didn't want her to be sexualized in any way, therefore they didn't give her anything. You know, a sweet innocent- girl from next door kind of look.
Then we have Chloe! Chloe in Uncharted 2, was meant to be sexual...but they didnt do her good. I don't know why but she doesn't look even to me in the second game. Like she seemed more of a sqaure than a pear figured woman. Granted they fix that, but she seems off. Yes, she has the ass and some breast cup but nothing too big. She is basically the sex symbol of the game, the rival to Elena. Hell, she even makes a comment about her ass. So obviously, the sexy character.
In the new game, they fix her body, make her curvy, and give her makeup, but not over the top makeup. If you pay attention, her eyelineeyeshadow gets smudge and I just love that detail. They also fixed her butt, so it isn't like two balloons on a woman, rather a well-shaped ass in pants.
Now, examples aside, I wanted to say that I did not like these looks because I felt that they weren't real for a woman. Now, Legacy they did it right!
For both Nadine and Chloe, they both have different body structure, but it works. Like I feel that their bodies are more realistic than Elena or most female video game characters.
Nadine has muscles but she isn't over the top buff, which makes sense if you think about it. How are you gonna lead a mini army and be a small figured female? She is black so I love that they gave her curves like...Nadine got cake! (NGL, I kept looking at Nadine and Chloe's butt's throughout the game. Which I also like, they didn't do ass shots but their butts were in frame)
Naughty Dog has made two amazing female models and I must say, it is a job well done. Now I am not saying they are the best of the best and no one can compete, I just want to give a shout out to how amazing Nadine and Chloe look.
submitted by Leading_Cold to uncharted [link] [comments]


2020.09.01 07:08 LibraryScion Elise and the flaws of this game

[Topline edit! Every time below that it says Elena, I had written Elise. My brain is busted in peculiar ways. Thank you, stagespark, or as you will be recorded up in this nonsense, stagesmart. No idea how to fix a post title.]
It is my favorite video game so far; thank you to the people who made it. I couldn't figure out the passenger I was missing at the very end, so I researched and found out I just hadn't made my way to Elena (I mighta thought she was one of my many passengers at the time yelling up above). In figuring out what soul I'd missed, I read a bunch of opinions of Elena. Yes, if I am going to spirit souls, I am definitely going to read about what other people who have done so have experienced to make sure I don't miss anybody.
No one can stand her, it seems (aside from those of you who recognize parts of yourself in her, which is also okay). And that makes sense to me, the way she talks about who's strong and who's weak from her really odd standpoint. It's class-based but totally without nuance. It makes sense to me that any number of people would bounce just right off of her. I actually liked her stern schoolteacher thing, because like many of us, I went to school and also have brain trickery afoot. I had already been there and knew how to read her and how to treat her. She was my "teacher," and I learned how to just hold still in one of her dumb challenges while I waited for her to think of a new thing to try on me. I still don't like her, but I like her as a lesson.
In gameplay, you can see that she shivers anytime she stands still without a book in her hand. She's a mess. There is a way and she knows it and you should catch up. She'll clap and clap at empty air while you feed the sheep or water some plants. I have been lucky to have had so many good teachers in my life, and so we're clear? All those good teachers also all want to make sure the sheep aren't hungry. Elena has never been warm enough to be warm.
In gameplay, she tells you how tough and scary a teacher she was and how she seemed to be a kinda crap teacher. In gameplay, she gives you an introduction to every challenge with words that indicate how she herself is, but projected. She tells you the gold dragon is more in pain than anything. She is more in pain than anything. She's cold and denies herself pleasure and wants to deny it to you. It's because she's afraid, as is anyone who ever holds up a stopwatch without being genuinely excited for someone else to beat their best time.
Have I mentioned I love this game? Elena is an utter wreck, of the sort who probably held power over most of us at some point or another. Probably still does hold power right now to most of us, psychologically if not financially. Elena also needs care and she's both direct about it and then indirect about it in ways that really reflect back on her.
Elena is a wreck. She is the convincing kind of wreck that makes you think her parameters Really Matter, but the more you fail at her tests, the more raw materials you have to make better things. I guess, let me and us all remember this. She is the kind of wreck that you were taught was Important growing up. She is dying like the rest of us and won't even allow herself a good apple pie. Take pity on Elena and treat her gently. There is an Elena inside us all.
As to the flaws in the game, that was mostly a lie for a subject line. I'm playing on Switch, and sometimes there's just a real hard crash. That's not ideal, but part of me likes that it'll just crash sometimes - feels more like life with a slightly dubious brain. I wouldn't recommend it as a game writing model or anything, but I cared too much about it to be overbothered.
Anyway, I recommend sleeping at night for save point purposes, just as I should have learned by now to recommend the same in daily life. Thank you to anyone reading who was involved in making the game. It really is remarkable.
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2020.08.30 09:40 dragonsk8r15 Does Smoking can ruin the face?

There are lots of celebs with good facial structure like Johnny Depp, Elena Bonham Carter, and etc; even some models too like Jordan Barrett. Even rappers specifically black rappers smokes and it seems like it doesn’t affect their face at all.
submitted by dragonsk8r15 to Mewing [link] [comments]


2020.08.25 18:37 quantum_waffles Playing Uncharted with Elena Character model and came across this Meme worth moment... Invest now!!!

Playing Uncharted with Elena Character model and came across this Meme worth moment... Invest now!!! submitted by quantum_waffles to MemeEconomy [link] [comments]


2020.08.22 14:50 Britneyfan456 Which Director had the best run in the 50s?

It could be best run in terms of anything
Alfred Hitchcock: Vertigo, Rear Window, North by Northwest, Strangers on a Train, To Catch a Thief, Dial M for Murder, I Confess, Stage Fright, The Trouble with Harry, The Man Who Knew Too Much, and The Wrong Man.
Nicholas Ray: In a Lonely Place, Rebel Without a Cause, Bigger Than Life, Johnny Guitar, Bitter Victory, Macao, On Dangerous Ground, Party Girl, The Lusty Men,Run for Cover, The True Story of Jesse James, The Racket, Flying Leathernecks, Born to Be Bad, Androcles and the Lion, Hot Blood, and Wind Across the Everglades.
Ingmar Bergman: The Seventh Seal, Smiles of a Summer Night, Wild Strawberries, Dreams, Summer Interlude, A Lesson in Love, The Magician, Secrets of Women, Summer with Monika, Sawdust and Tinsel, Brink of Life, To Joy, and This Can't Happen Here.
Billy Wilder: Sunset Boulevard, Sabrina, Some Like It, Stalag 17, Witness for the Prosecution, The Seven Year Itch, Ace in the Hole, Love in the Afternoon, and The Spirit of St. Louis.
Fred Zinnemann: From Here to Eternity, High Noon, The Men, Oklahoma!, The Nun's Story, A Hatful of Rain, The Old Man and the Sea, Teresa, and The Member of the Wedding.
George Stevens: Shane, Giant, A Place in the Sun, The Diary of Anne Frank, and Something to Live For.
John Huston: The Asphalt Jungle, The African Queen, The Red Badge of Courage, Moby Dick, Beat the Devil, The Barbarian and the Geisha, Heaven Knows, Mr. Allison, The Roots of Heaven, and Moulin Rouge.
Elia Kazan: On the Waterfront, A Streetcar Named Desire, East of Eden, Panic in the Streets, Baby Doll, A Face in the Crowd, Viva Zapata!, and Man on a Tightrope.
William Wyler: Ben Hur, Roman Holiday, The Big Country, Friendly Persuasion, Carrie, Detective Story, and The Desperate Hours.
Otto Preminger: The Man with the Golden Arm, Anatomy of a Murder, Where the Sidewalk Ends, The 13th Letter, Angel Face, The Moon Is Blue, Carmen Jones, Bonjour Tristesse, Porgy and Bess, Saint Joan, The Court-Martial of Billy Mitchell, and Die Jungfrau auf dem Dach.
Federico Fellini: La Strada, Nights of Cabiria, I Vitelloni, Il bidone, The White Sheik, and Variety Lights.
Robert Wise: The Day the Earth Stood Still, Destination Gobi, This Could Be the Night, Run Silent, Run Deep, I Want to Live!, Odds Against Tomorrow, Executive Suite, Two Flags West, Somebody Up There Likes Me, The Desert Rats, So Big, and House on Telegraph Hill.
Fritz Lang: The Big Heat, Clash by Night, House by the River, American Guerrilla in the Philippines, While the City Sleeps, Human Desire, Rancho Notorious, and Moonfleet.
Akira Kurosawa: Rashomon, Seven Samurai, Ikiru, The Hidden Fortress, The Idiot, Throne of Blood,Scandal, I Live in Fear, and The Lower Depths.
Orson Welles: Othello, Touch of evil, and Mr. Arkadin.
Stanley Kubrick: The Killing, Paths of Glory, Fear and Desire, and Killer's Kiss.
Luis Buñuel: Los Olvidados, El, Mexican Bus Ride, Robinson Crusoe, The Criminal Life of Archibaldo de la Cruz, and Nazarín.
Michael Curtiz: The Breaking Point, White Christmas, We're No Angels, King Creole, The Jazz Singer, The Egyptian, I'll See You in My Dreams, The Vagabond King, and The Proud Rebel.
John Ford: The Searchers, The Quiet Man, Mister Roberts, Wagon Master, Rio Grande, The Sun Shines Bright, Mogambo, The Long Gray Line, The Horse Soldiers, The Last Hurrah, The Wings of Eagles, What Price Glory, When Willie Comes Marching Home, and This is Korea.
Joseph L. Mankiewicz: All About Eve, No Way Out, People Will Talk, 5 Fingers, Julius Caesar, Guys and Dolls, The Barefoot Contessa, The Quiet American, and Suddenly, Last Summer.
Vincente Minnelli: The Bad and the Beautiful, Gigi, The Band Wagon, An American in Paris, Some Came Running, Designing Woman, Tea and Sympathy, The Cobweb, The Long, Long Trailer, Father of the Bride, Father's Little Dividend, Brigadoon, The Story of Three Loves, Lust for Life, and Kismet.
Robert Bresson: The Diary of a Country Girl, Pick Pocket, and A Man Escaped.
Yasujirō Ozu: Tokyo Story, Floating Weeds, The Munekata Sisters, Early Summer, Early Spring, Tokyo Twilight, Good Morning, Equinox Flower, and The Flavor of Green Tea over Rice.
Alexander Mackendrick: The Lady Killers, Sweet Smell of Success, The Man in the White Suit, Mandy, and The Maggie.
Douglas Sirk: Written on the Wind, Imitation of Life, All That Heaven Allows, Magnificent Obsession, A Time to Love and a Time to Die, There's Always Tomorrow, The Tarnished Angels, Battle Hymn, The First Legion, All I Desire, Take Me to Town, Meet Me at the Fair, Interlude, Taza, Son of Cochise, Sign of the Pagan, Captain Lightfoot, Meet Me at the Fair, The Lady Pays Off, No Room for the Groom, Has Anybody Seen My Gal?, Mystery Submarine, Week-End with Father, and Thunder on the Hill.
Satyajit Ray: The Apu Trilogy, The Music Room, and Parash Pathar.
Robert Aldrich: Kiss Me Deadly, Vera Cruz, The Big Knife, Autumn Leaves, The Angry Hills, Ten Seconds to Hell, Apache, and Big Leaguer.
Richard Brooks: Blackboard Jungle, Cat on a Hot Tin Roof, Deadline – U.S.A., Crisis, Battle Circus, The Last Time I Saw Paris, Take the High Ground!, The Last Hunt, and The Brothers Karamazov.
George Cukor: A Star Is Born, Born Yesterday, Bhowani Junction, It Should Happen to You, Les Girls, Wild is the Wind, The Actress, Pat and Mike, Hot Spell, A Life of Her Own, and The Marrying Kind.
Byron Haskin: The War of the Worlds, The First Texan, Conquest of Space, From the Earth to the Moon, The Little Savage, The Boss, Tarzan's Peril, His Majesty O'Keefe, Warpath, Silver City, And Treasure Island.
Howard Hawks: Gentlemen Prefer Blondes, Rio Bravo, The Big Sky, Monkey Business, Land of the Pharaohs, and O. Henry's Full House.
Roberto Rossellini: Where Is Freedom?, Journey to Italy, General Della Rovere, Europe '51, The Machine to Kill Bad People, We, the Women, The Ways of Love, Francesco, giullare di Dio, Stromboli, Fear, India: Matri Bhumi, and Joan of Arc at the Stake.
Jean Renoir: The Ways of Love, French Cancan, The River, Elena and Her Men, Elena and Her Men, The Doctor's Horrible Experiment, and Picnic on the Grass.
Jules Dassin: Night and The City, Rififi, He Who Must Die, and The Law.
Vittorio De Sica: Terminal Station, Umberto D., Miracle in Milan, The Roof, and Anna of Brooklyn.
Kenji Mizoguchi: Ugetsu, The Life of Oharu, The Crucified Lovers, Sansho the Bailiff, The Woman in the Rumor, A Geisha, Princess Yang Kwei Fei, Shin Heike Monogatari, and Street of Shame.
Roy Ward Baker: A Night to Remember, Don't Bother to Knock, I'll Never Forget You, Morning Departure, Highly Dangerous, Inferno, Night Without Sleep, The One That Got Away, Passage Home, Jacqueline, and Tiger in the Smoke.
Henri-Georges Clouzot: The Wages of Fear, Les Diaboliques, Les Espions, The Mystery of Picasso, and Miquette.
Anthony Mann: The Man from Laramie, The Naked Spur, Winchester '73, The Glenn Miller Story, Side Street, The Tall Target, Devil's Doorway, The Furies, Bend of the River, Man of the West, God's Little Acre, Men in War, Strategic Air Command, The Tin Star, Serenade, The Far Country, and The Last Frontier.
Don Siegel: Crime in the Streets, Invasion of the Body Snatchers, Edge of Eternity, Baby Face Nelson, Spanish Affair, The Duel at Silver Creek, An Annapolis Story, Riot in Cell Block 11, China Venture, Private Hell 36, The Lineup, Hound-Dog Man, and Count the Hours.
John Sturges: Bad Day at Black Rock, Gunfight at the O.K. Corral, The People Against O'Hara, Escape from Fort Bravo, The Old Man and the Sea, Backlash, The Scarlet Coat, Jeopardy, Fast Company, Mystery Street, Right Cross, Last Train from Gun Hill, The Law and Jake Wade, Big Country, and Underwater!.
Samuel Fuller: Pickup on South Street, Hell and High Water, The Crimson Kimono, Forty Guns, Dog Face, Run of the Arrow, China Gate, House of Bamboo, Verboten!, The Steel Helmet, The Baron of Arizona, Park Row, and Fixed Bayonets!.
Joseph H. Lewis: The Big Combo, Retreat, Hell!, A Lady Without Passport, Desperate Search, Man on a Bus, Cry of the Hunted, A Lawless Street, The Halliday Brand, Terror in a Texas Town, and 7th Cavalry.
Jean-Pierre Melville: Les Enfants Terribles, Quatre sans millions!, When You Read This Letter, Bob le flambeur, and Two Men in Manhattan.
Phil Carlson: The Phenix City Story, Kansas City Confidential, 99 River Street, Hell's Island, The Iroquois Trail, The Brigand, Scandal Sheet, Gunman's Walk, Mask of the Avenger, Lorna Doone, The Texas Rangers, Tight Spot, They Rode West, The Brothers Rico, and 5 Against the House.
Martin Ritt: The Long, Hot Summer, Edge of the City, The Black Orchid, No Down Payment, and The Sound and the Fury.
Louis Malle: Les Amants, Elevator to the Gallows, Crazeologie, and Station 307.
Carol Reed: Our Man in Havana, The Key, Trapeze, The Man Between, A Kid for Two Farthings, and Outcast of the Islands.
Masaki Kobayashi: The Human Condition Trilogy, Youth of the Son, Three Loves, Somewhere Under The Broad Sky, The Spring, Beautiful Days, I Will Buy You, Black River, Sincere Heart, and The Thick-Walled Room.
Stanley Donen: Singin' in the Rain, Seven Brides for Seven Brothers, Royal Wedding, Funny Face, Indiscreet, Damn Yankees, The Pajama Game, Kiss Them for Me, and It's Always Fair Weather.
Gene Kelly: It's Always Fair Weather, Singin' in the Rain, Invitation to the Dance, and The Tunnel of Love.
Ida Lupino: The Hitch-Hiker, Outrage, The Bigamist, and Hard, Fast and Beautiful.
Budd Boetticher: The Tall T, Bullfighter and the Lady, City Beneath the Sea, East of Sumatra, Red Ball Express, Seven Men from Now, The Killer Is Loose, Ride Lonesome, Buchanan Rides Alone, Decision at Sundown, Westbound, The Magnificent Matador, The Man from the Alamo, Seminole, The Cimarron Kid, Killer Shark, Bronco Buster, Wings of the Hawk, and Horizons West.
Andre DeToth: Day of the Outlaw, House of Wax, Man in the Saddle, Riding Shotgun, Crime Wave, Last of the Comanches, Tanganyika, The Bounty Hunter, Hidden Fear, The Indian Fighter, Monkey on My Back, The Two-Headed Spy, Thunder Over the Plains, The Stranger Wore a Gun, Carson City, and Springfield Rifle.
Delmer Daves: 3:10 to Yuma, Broken Arrow, Demetrius and the Gladiators, White Feather, Drum Beat, Treasure of the Golden Condor, Jubal, The Last Wagon, Kings Go Forth, Cowboy, The Badlanders, The Hanging Tree, A Summer Place, Bird of Paradise, and Never Let Me Go.
William A. Wellman: Track of the Cat, The High and the Mighty, Blood Alley, Darby's Rangers, Lafayette Escadrille, Good-bye, My Lady, The Next Voice You Hear..., Westward the Women, Island in the Sky, My Man and I, Across the Wide Missouri, and The Happy Years.
Max Ophüls: La Ronde, The Earrings of Madame de…, Lola Montès, and Le Plaisir.
Delbert Mann: Marty, The Bachelor Party, Desire Under the Elms, Middle of the Night, and Separate Tables.
David Lean: The Bridge on the River Kwai, Madeleine, The Sound Barrier, Summertime, and Hobson's Choice.
Sidney Lumet: 12 Angry Men, That Kind of Woman, and Stage Struck.
Powell and Pressburger: The Tales of Hoffmann, The Elusive Pimpernel, Gone to Earth, Oh... Rosalinda!!, The Battle of the River Plate, and Ill Met by Moonlight.
Jean Cocteau: 8 × 8: A Chess Sonata in 8 Movements and Orpheus.
Frank Tashlin: Son of Paleface, The First Time, Susan Slept Here, The Lemon Drop Kid, Marry Me Again, Will Success, Artists and Models, The Lieutenant Wore Skirts, The Girl Can't Help It, Hollywood or Bust, Say One for Me, Rock-A-Bye Baby, and The Geisha Boy.
Mario Monicelli: Big Deal on Madonna Street, È arrivato il cavaliere!, A Dog's Life, Proibito, The Unfaithfuls, Totò and Carolina, A Hero of Our Times, Cops and Robbers, Toto and the King of Rome, Toto and the Women, Doctor and the Healer, The Great War, Donatella, and Fathers and Sons.
Youssef Chahine: Papa Amin, Son of the Nile, Women without Men, Lady of the Train, The Great Clown, Struggle in the Valley, The Desert Devil, Struggle in the Pier, Farewell to Your Love, You're My Love, Cairo Station, Forever Yours, and Jamila, the Algerian.
Rene Clement: The Glass Castle, Knave of Hearts, Forbidden Games, This Angry Age, and Gervaise.
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