But you can also see it via YouTube:
Do you know what it is to be poor? Not poor with the arrogant poverty complained of by certain people who have five or six thousand a year to live upon, and who yet swear they can hardly manage to make both ends meet, but really poor,—downright, cruelly, hideously poor, with a poverty that is graceless, sordid and miserable? Poverty that compels you to dress in your one suit of clothes till it is worn threadbare,—that denies you clean linen on account of the ruinous charges of washerwomen,—that robs you of your own self-respect, and causes you to slink along the streets vaguely abashed, instead of walking erect among your fellow-men in independent ease,—this is the sort of poverty I mean. This is the grinding curse that keeps down noble aspiration under a load of ignoble care; this is the moral cancer that eats into the heart of an otherwise well-intentioned human creature and makes him envious and malignant, and inclined to the use of dynamite. When he sees the fat idle woman of society passing by in her luxurious carriage, lolling back lazily, her face mottled with the purple and red signs of superfluous eating,—when he observes the brainless and sensual man of fashion smoking and dawdling away the hours in the Park, as if all the world and its millions of honest hard workers were created solely for the casual diversion of the so-called 2‘upper’ classes,—then the good blood in him turns to gall, and his suffering spirit rises in fierce rebellion, crying out—“Why in God’s name, should this injustice be? Why should a worthless lounger have his pockets full of gold by mere chance and heritage, while I, toiling wearily from morn till midnight, can scarce afford myself a satisfying meal?”
Why indeed! Why should the wicked flourish like a green bay-tree? I have often thought about it. Now however I believe I could help to solve the problem out of my own personal experience. But ... such an experience! Who will credit it? Who will believe that anything so strange and terrific ever chanced to the lot of a mortal man? No one. Yet it is true;—truer than much so-called truth. Moreover I know that many men are living through many such incidents as have occurred to me, under precisely the same influence, conscious perhaps at times, that they are in the tangles of sin, but too weak of will to break the net in which they have become voluntarily imprisoned. Will they be taught, I wonder, the lesson I have learned? In the same bitter school, under the same formidable taskmaster? Will they realize as I have been forced to do,—aye, to the very fibres of my intellectual perception,—the vast, individual, active Mind, which behind all matter, works unceasingly, though silently, a very eternal and positive God? If so, then dark problems will become clear to them, and what seems injustice in the world will prove pure equity! But I do not write with any hope of either persuading or enlightening my fellow-men. I know their obstinacy too well;—I can gauge it by my own. My proud belief in myself was, at one time, not to be outdone by any human unit on the face of the globe. And I am aware that others are in similar case. I merely intend to relate the various incidents of my career in due order exactly as they happened,—leaving to more confident heads the business of propounding and answering the riddles of human existence as best they may.
During a certain bitter winter, long remembered for its arctic severity, when a great wave of intense cold spread 3freezing influences not alone over the happy isles of Britain, but throughout all Europe, I, Geoffrey Tempest, was alone in London and well-nigh starving.
Whether we take Sollima’s masterpiece as a great political comment on the times or as one of the most endearing, action-packed spaghetti western films of the 1960s, one thing is sure: with The Big Gundown, Sollima places himself at the side of masters Leone and Corbucci...Rotten Tomatoes has a consensus audience score of 85%.
an acerbic, dynamic and intense film that exposes the diseased under-side of New York City's glamorous night life, revealing brutality, capriciousness, greed, evil, psychological violence, corrupt American ambition, betrayal and cynicism. The taut, little-seen, menacing, late film noir classic is the first American film of Scottish director Alexander Mackendrick, better known for Ealing Studios light comedies such as Man in the White Suit (1951) and The Ladykillers (1955).Rotten Tomatoes has a critics consensus score of 98%. Roger Ebert has it on his list of Great Movies.
You can read translations of this work online.
You can listen to them here:
Julianne Moore gives a breakthrough performance as Carol White, a Los Angeles housewife in the late 1980s who comes down with a debilitating illness. After the doctors she sees can give her no clear diagnosis, she comes to believe that she has frighteningly extreme environmental allergies.The New Yorker calls it a masterpiece. Roger Ebert has a review. Rotten Tomatoes has a xritics consensus score of 87%.
S.S. Rajamouli’s RRR (Rise, Roar, Revolt) has taken the world by storm. It’s one of the most expensive Indian films ever made, and one of the most successful, becoming the fourth-highest-grossing Indian film of all time. Even Netflix, which has been streaming the movie since May, declared it to be the most watched Indian film on its service, viewed over 45 million times globally. Critics love it, and its GIFs and scenes have swept social media. It’s an undeniable slam-dunk of global success. Coming out of the Telugu-language film industry of Tollywood in South India, as opposed to the more popular Hindi-language industry of Bollywood, this period drama from India’s biggest filmmaker is a cinematic event.Roger Ebert's site concludes by saying,
It’s not every day that a new Indian movie—which are typically not advertised to Western viewers beyond indigenous language speakers, and therefore largely ignored by Western outlets—is presented as an event to American theatergoers. Attend or miss out.Rotten Tomatoes has a critics consensus score of 92% and an audience score even higher.
Edgar Wright's new movie lands a double-whammy of funny and clever: a good-natured sci-fi comedy of male mid-life discontent that disproves the famous LP Hartley quotation. It is the present that is the foreign country, or rather the alien planet, and as we get older we feel increasingly exiled from that homeland of the past where everything felt more vivid and real.Rotten Tomatoes has a critics consensus score of 89%.
Sloan's paintings are represented in almost all major American museums. Among his best-known works are Hairdresser's Window (1907) in the collection of the Wadsworth Atheneum, The Picnic Ground (1907) in the collection of the Whitney Museum of American Art, The Haymarket (1907) in the collection of the Brooklyn Museum, Yeats at Petitpas in the collection of the Corcoran Gallery of Art, McSorley's Bar (1912) in the collection of the Detroit Institute of Arts, The 'City' from Greenwich Village (1922) in the collection of the National Gallery of Art, and The White Way (1927) in the collection of the Philadelphia Museum of Art. In 1971, his painting Wake of the Ferry (1907) was reproduced on a U.S. postage stamp honoring Sloan.
His students included Peggy Bacon, Aaron Bohrod, Alexander Calder, Reginald Marsh, Barnett Newman, Minna Citron, and Norman Raeben. In 1939, he published a book of his teachings and aphorisms, Gist of Art, which remained in print for over sixty years.
In American Visions, the critic Robert Hughes praised Sloan's art for "an honest humaneness, a frank sympathy, a refusal to flatten its figures into stereotypes of class misery ... He saw his people as part of larger totality, the carnal and cozy body of the city itself." In American Painting from the Armory Show to the Depression, art historian Milton Brown called Sloan "the outstanding figure of the Ash Can School." To his friend, the painter John Butler Yeats, and to art critic Henry McBride, he was "an American Hogarth."
The lobby of the United States Post Office in Bronxville, New York, features a mural by Sloan painted in 1939 and titled The Arrival of the First Mail in Bronxville in 1846 commissioned by the Treasury Section of Fine Arts. The post office and mural were listed on the National Register of Historic Places in 1988
Why do I link the film name to the Wikipedia entry if there is one instead of the IMDb or other link? Because the Wikipedia entry provides a link to the IMDb entry as well as to other sources of information while the IMDb is self-contained and more limited in the information they provide. YMMV, of course, and I know there are folks who have different starting points for film information, but Wikipedia is my go-to starter site. The film below has a Wikipedia entry for the director but not for this individual film, so the film link is to IMDb.
the story was personalized by taking the feminist view of the film's narrator and heroine, Esperanza Quintero (Rosaura Revueltas), living with her oppressed miner husband Ramon Quintero (Juan Chacón); they were a typical impoverished Mexican-American family with two young children, living in a run-down shack (without utilities) owned by the mining companyRotten Tomatoes has a critics consensus score of 100%.
It was still evening, as I remember, and the four of us, Jessop, Arkright, Taylor and I, looked disappointedly at Carnacki, where he sat silent in his great chair.
We had come in response to the usual card of invitation, which —as you know— we have come to consider as a sure prelude to a good story; and now, after telling us the short incident of the Three Straw Platters, he had lapsed into a contented silence, and the night not half gone, as I have hinted.
However, as it chanced, some pitying fate jogged Carnacki's elbow, or his memory, and he began again, in his queer level way:
—"The 'Straw Platters' business reminds me of the 'Searcher' Case, which I have sometimes thought might interest you. It was some time ago, in fact a deuce of a long time ago, that the thing happened; and my experience of what I might term 'curious' things was very small at that time.
"I was living with my mother when it occurred, in a small house just outside of Appledorn, on the South Coast. The house was the last of a row of detached cottage villas, each house standing in its own garden; and very dainty little places they were, very old, and most of them smothered in roses; and all with those quaint old leaded windows, and doors of genuine oak. You must try to picture them for the sake of their complete niceness.
"Now I must remind you at the beginning that my mother and I had lived in that little house for two years; and in the whole of that time there had not been a single peculiar happening to worry us.
"And then, something happened.
“Shy People” is one of the great visionary films of recent years, a film that shakes off the petty distractions of safe Hollywood entertainments and develops a large vision. It is about revenge and hatred, about mothers and sons, about loneliness. It suggests that family ties are the most important bonds in the world.
Known as one of the founders of the Latin American Boom, Cortázar influenced an entire generation of Spanish-speaking readers and writers in America and Europe.You can read this particular story online here or listen to it read to you at the bottom of this post.. It begins,
He is considered one of the most innovative and original authors of his time, a master of history, poetic prose and short story in general and a creator of important novels that inaugurated a new way of making literature in the Hispanic world by breaking the classical moulds through narratives that escaped temporal linearity.
There was a time when I thought a great deal about the axolotls. I went to see them in the aquarium at tbe Jardin des Plantes and stayed for hours watching them, observing their immobility, their faint movements. Now I am an axolotl.
I got to them by chance one spring morning when Paris was spreading its peacock tail after a wintry Lent. I was heading down tbe boulevard Port-Royal, then I took Saint-Marcel and L'Hôpital and saw green among all that grey and remembered the lions. I was friend of the lions and panthers, but had never gone into the dark, humid building that was the aquarium. I left my bike against tbe gratings and went to look at the tulips. The lions were sad and ugly and my panther was asleep. I decided on the aquarium, looked obliquely at banal fish until, unexpectedly, I hit it off with the axolotls. I stayed watching them for an hour and left, unable to think of anything else.
My father was a St. Bernard, my mother was a collie, but I am a Presbyterian. This is what my mother told me, I do not know these nice distinctions myself. To me they are only fine large words meaning nothing. My mother had a fondness for such; she liked to say them, and see other dogs look surprised and envious, as wondering how she got so much education. But, indeed, it was not real education; it was only show: she got the words by listening in the dining-room and drawing-room when there was company, and by going with the children to Sunday-school and listening there; and whenever she heard a large word she said it over to herself many times, and so was able to keep it until there was a dogmatic gathering in the neighborhood, then she would get it off, and surprise and distress them all, from pocket-pup to mastiff, which rewarded her for all her trouble. If there was a stranger he was nearly sure to be suspicious, and when he got his breath again he would ask her what it meant. And she always told him. He was never expecting this but thought he would catch her; so when she told him, he was the one that looked ashamed, whereas he had thought it was going to be she. The others were always waiting for this, and glad of it and proud of her, for they knew what was going to happen, because they had had experience. When she told the meaning of a big word they were all so taken up with admiration that it never occurred to any dog to doubt if it was the right one; and that was natural, because, for one thing, she answered up so promptly that it seemed like a dictionary speaking, and for another thing, where could they find out whether it was right or not? for she was the only cultivated dog there was. By and by, when I was older, she brought home the word Unintellectual, one time, and worked it pretty hard all the week at different gatherings, making much unhappiness and despondency; and it was at this time that I noticed that during that week she was asked for the meaning at eight different assemblages, and flashed out a fresh definition every time, which showed me that she had more presence of mind than culture, though I said nothing, of course. She had one word which she always kept on hand, and ready, like a life-preserver, a kind of emergency word to strap on when she was likely to get washed overboard in a sudden way—that was the word Synonymous. When she happened to fetch out a long word which had had its day weeks before and its prepared meanings gone to her dump-pile, if there was a stranger there of course it knocked him groggy for a couple of minutes, then he would come to, and by that time she would be away down wind on another tack, and not expecting anything; so when he'd hail and ask her to cash in, I (the only dog on the inside of her game) could see her canvas flicker a moment—but only just a moment—then it would belly out taut and full, and she would say, as calm as a summer's day, “It's synonymous with supererogation,” or some godless long reptile of a word like that, and go placidly about and skim away on the next tack, perfectly comfortable, you know, and leave that stranger looking profane and embarrassed, and the initiated slatting the floor with their tails in unison and their faces transfigured with a holy joy.
And it was the same with phrases. She would drag home a whole phrase, if it had a grand sound, and play it six nights and two matinees, and explain it a new way every time—which she had to, for all she cared for was the phrase; she wasn't interested in what it meant, and knew those dogs hadn't wit enough to catch her, anyway. Yes, she was a daisy! She got so she wasn't afraid of anything, she had such confidence in the ignorance of those creatures. She even brought anecdotes that she had heard the family and the dinner-guests laugh and shout over; and as a rule she got the nub of one chestnut hitched onto another chestnut, where, of course, it didn't fit and hadn't any point; and when she delivered the nub she fell over and rolled on the floor and laughed and barked in the most insane way, while I could see that she was wondering to herself why it didn't seem as funny as it did when she first heard it. But no harm was done; the others rolled and barked too, privately ashamed of themselves for not seeing the point, and never suspecting that the fault was not with them and there wasn't any to see.
You can see by these things that she was of a rather vain and frivolous character; still, she had virtues, and enough to make up, I think. She had a kind heart and gentle ways, and never harbored resentments for injuries done her, but put them easily out of her mind and forgot them; and she taught her children her kindly way, and from her we learned also to be brave and prompt in time of danger, and not to run away, but face the peril that threatened friend or stranger, and help him the best we could without stopping to think what the cost might be to us. And she taught us not by words only, but by example, and that is the best way and the surest and the most lasting. Why, the brave things she did, the splendid things! she was just a soldier; and so modest about it—well, you couldn't help admiring her, and you couldn't help imitating her; not even a King Charles spaniel could remain entirely despicable in her society. So, as you see, there was more to her than her education.
On 1 January 1993, two customs officers, one Belgian and the other French, have to deal with closure of their small customs post situated in the middle of the small village of "Courquain" (French) or "Koorkin" (Belgian).I got a big kick out of this one, even though comedies aren't my favorite genre. I watched it on Amazon Prime, but it's free on Tubi.
Both a hereditary Francophobe and an over-zealous Belgian customs officer, Ruben Vandevoorde is forced to join the first Franco-Belgian mobile squad. The first French volunteer for the squad is Mathias Ducatel, Vandervoorde's personal bête noire. He does this because he has fallen in love with Vandervoorde's sister Louise, and is afraid to unveil their love because of the trouble it will cause within her family.
With its variety of camera angles, expressive mise en scène and carefully designed movement, it has claims to be not only an accomplished work in its own right but one that anticipates the dark moral complexities that would fully emerge in Peckinpah’s later films.I watched it on HBO Max.
Whimsy is as delicate as a butterfly wing. But "The Man in the Hat" sustains a whimsical tone beautifully throughout its brief running time... Somewhere between a dream and a fable, this is the kind of film viewers could debate for hours, pondering the meaning of the characters who keep reappearing, the mysterious framed photo, the central character who has only two lines of dialogue...Here's a screenshot from the opening scene:
just go along for the ride and relish the lush French countryside, the luscious food, the lovely music...
On the Waterfront (1954) is a classic, award-winning, controversial film directed by Elia Kazan - a part drama and part gangster film. The authentic-looking, powerful film is concerned with the problems of trade unionism, corruption and racketeering. And it is set on New York's oppressive waterfront docks, where dock workers struggled for work, dignity, and to make ends meet under the control of hard-knuckled, mob-run labor unions that would force them to submit to daily 'shape-ups' by cruel hiring bosses.Roger Ebert has it on his Great Movies list and notes this as background information: "This was the film made in 1954 by Elia Kazan after he agreed to testify before the House Un-American Activities Committee, named former associates who were involved with the Communist Party and became a pariah in left-wing circles." The Hollywood Reporter in a review from the film's release concludes a glowing review with this: "This is one of the year’s important films." Variety has a positive review. Rotten Tomatoes has a critics consensus score of 99%.
The tale of youthful defiance, which could have been exploitative - but wasn't, provides a rich, but stylized (and partly out-dated) look at the world of the conformist mid-1950s from the perspective of the main adolescent male character - a troubled teen with ineffectual parents, who faces a new school environment.Roger Ebert says,
The film has not aged well, and Dean's performance seems more like marked-down Brando than the birth of an important talent. But "Rebel Without a Cause" was enormously influential at the time, a milestone in the creation of new idea about young people.Rotten Tomatoes has a critics consensus score of 93%.