Gaultier is a global superstar of the Parisian haute couture. It was him who designed the 500 daring and extravagant costumes. Renowned media such as The Times, The New York Times, VOGUE, ELLE, and arte are excited. THE ONE Grand Show is an extremely artistic piece defined by show producer Roland Welke’s typical style. Lavish grandeur alternates with quiet, poetic, and surreal moments. The One is a modern interpretation of oriental fragrances characterized by fresh bergamot and mandarin. Discover women’s perfume on Dolce & Gabbana. The One Show Announces 2017 Winners. The One Show awarded Best of Show to “The Refugee Nation” for Amnesty International by Ogilvy/New York. “Arty to the extreme” as the stylish i-D Magazine writes. The spectacular lighting design was created by Emmy awardee Peter Morse who has already worked for Michael Jackson, Madonna, Barbra Streisand, and Bette Midler. This disambiguation page lists articles associated with the title The One. If an internal link led you here, you may wish to change the link to point directly to the. Jul 17, 2014 The One I Love Official Trailer #1 (2014) - Elizabeth Moss, Mark Duplass Romantic Comedy HD. This film starts off well giving me an element of hope that this film might actually be good. But just as my expectations are lifted, the sledge hammer comes down hard crushing all hope of this film being somewhat entertaining. The acting is good, but the writing doesn't do the actors justice. Even the best of actors couldn't make this film believable or plausible. There are too many stereo types written into the script which makes it tired, dated and so irritating to watch. The casting was well done which was the only redeeming factor that made the film palatable to watch. The ending of this film was, let me just say, very incomplete and unsatisfying. There really was no resolution except for the obvious. ![]() A total bust in my opinion.
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The harrowing true story that inspired the critically acclaimed film The son of a freed slave, Solomon Northup lived the first thirty years of his life as a free man. Oct 17, 2013. “12 Years a Slave” isn't the first movie about slavery in the United States — but it may be the one that finally makes it impossible for American cinema to continue to sell the ugly lies it's been hawking for more than a century. Written by John Ridley and directed by Steve McQueen, it tells the true story of. • United States • United Kingdom Language English Budget $17.1 million Box office $187.7 million 12 Years a Slave is a 2013 and an adaptation of the 1853 memoir by, a New York State-born free man who was kidnapped in by two conmen in 1841 and sold into. Northup was put to work on plantations in the state of for 12 years before being released. The first scholarly edition of Northup's memoir, co-edited in 1968 by and, carefully retraced and validated the account and concluded it to be accurate. Other characters in the film were also real people, including Edwin and Mary Epps, and. The film was directed. The screenplay was written. Stars as Solomon Northup.,,,,,,, and are all featured in supporting roles. Principal photography took place in, from June 27 to August 13, 2012. The locations used were four historic:,,, and. Of the four, Magnolia is nearest to the actual plantation where Northup was held. Major Characters Solomon Northup, aka “Platt” A free black man who lived in the northern United States in the 1800s, Solomon was kidnapped in 1841. 12 Years a Slave. 843333 likes 693 talking about this. Available now on DIGITAL: http://apple.co/2uRhl2i. 12 Years a Slave received widespread critical acclaim, and was named the best film of 2013 by several media outlets. It proved to be a box office success, earning over $187 million on a production budget of $22 million. The film won three:, for Nyong'o, and for Ridley. The Best Picture win made McQueen the first African British producer to ever receive the award and the first African British director of a Best Picture winner. The film was awarded the, and the recognized it with the and the award for Ejiofor. 12 Years a Slave was later named the 44th greatest film since 2000 in a poll of 177 critics. ![]() Contents • • • • • • • • • • • • • • • • • • • Plot [ ] In 1841, is a free African-American man working as a violinist, living with his wife and two children in. Two white men, Brown and Hamilton, offer him short-term employment as a musician if he will travel with them to Washington, D.C. However, once they arrive they drug Northup and deliver him to a run by a man named Burch. Northup proclaims that he is a free man, only to be savagely beaten with, at first, a wooden paddle, then, a leather belt. Northup is later shipped to along with other captive African Americans. He is told by the others that if he wants to survive in the South, he must adapt to being a slave and not tell anyone he is a free man. A slave trader named Freeman gives Northup the identity of 'Platt', a runaway slave from Georgia, and sells him to plantation owner. Tension grows between Northup and a plantation overseer which ends with Northup savagely beating and whipping the overseer. To save Northup's life, Ford sells him to another slave owner named Edwin Epps. In the process, Northup attempts to explain that he is actually a free man, but Ford tells him he is too afraid and that he cannot help him now. At the plantation, Northup meets Patsey, a favored slave who can pick over 500 pounds of cotton a day, twice the usual quota, whom Epps regularly rapes and abuses. Some time later, destroy Epps's cotton. Unable to work his fields, Epps leases his slaves to a neighboring plantation for the season. While there, Northup gains the favor of the plantation's owner, Judge Turner, who allows him to play the fiddle at a neighbor's wedding anniversary celebration and to keep his earnings. Northup is also raped by a female slave in the middle of the night. When Northup returns to Epps, he uses the money to pay a white field hand and former overseer, Armsby, to mail a letter to his friends in New York. Armsby agrees and accepts Northup's saved money, but immediately betrays him to Epps. In the middle of the night, a drunken Epps wakes Northup and questions him menacingly about the letter. Northup is narrowly able to convince Epps that Armsby is lying and Epps relents. Solomon then emotionally burns the letter he intended to give to Armsby. Northup begins working on the construction of a with a Canadian laborer named Samuel Bass. Bass is unsettled by the brutal way that Epps treats his slaves and expresses his opposition to American slavery, earning Epps's enmity. Northup overhears the conversation and decides to reveal his kidnapping to Bass. Once again, Northup asks for help in getting a letter to Saratoga Springs. Bass agrees to send it. One day, the local sheriff arrives in a carriage with another man. The sheriff asks Northup a series of questions to confirm that his answers match the facts of his life in New York. Northup recognizes the sheriff's companion as Mr. Parker, a shopkeeper he knew in Saratoga. Parker has come to free him, and the two embrace, though an enraged Epps furiously protests the circumstances and tries to prevent Northup from leaving. Northup gives an emotional farewell to Patsey and rides off to his freedom. Patsey faints as Northup leaves. After being enslaved for 12 years, Northup is restored to freedom and returned to his family, leaving behind the other slaves. As he walks into his home, he sees his wife with their son and daughter (fully grown) and her husband, who present him with his grandson and namesake, Solomon Northup Staunton. Northup apologizes for his long absence while his family comforts him. The film's epilogue displays a series of graphics recounting Northup's unsuccessful suits against Brown, Hamilton, and Burch, along with the 1853 publication of Northup's memoir,. The memoir describes his role in the abolitionist movement and the mystery surrounding details of his death and burial. Patsey and Northup never met again. At the 2013 After meeting screenwriter at a screening of in 2008, director got in touch with Ridley about his interest in making a film about 'the slave era in America' with 'a character that was not obvious in terms of their trade in slavery.' Developing the idea back and forth, the two did not strike a chord until McQueen's partner, Bianca Stigter, found 's 1853 memoir. McQueen later told an interviewer: I read this book, and I was totally stunned. At the same time I was pretty upset with myself that I didn't know this book. I live in where is a national hero, and for me this book read like but written 97 years before – a firsthand account of slavery. I basically made it my passion to make this book into a film. After a lengthy development process, during which Brad Pitt's production company backed the project, which eventually helped get some financing from various film studios, the film was officially announced in August 2011 with McQueen to direct and to star as, a who was kidnapped and sold into slavery in the. McQueen compared Ejiofor's conduct 'of class and dignity' to that of and. In October 2011, (who starred in McQueen's previous films Hunger and ) joined the cast. In early 2012, the rest of the roles were cast, and filming was scheduled to begin at the end of June 2012. To capture the language and dialects of the era and regions in which the film takes place, dialect coach Michael Buster assisted the cast in altering their speech. The language has a literary quality related to the style of writing of the day and the strong influence of the. Buster explained: We don't know what slaves sounded like in the 1840s, so I just used rural samples from Mississippi and Louisiana [for actors Ejiofor and Fassbender]. Then for, I found some real upper-class New Orleanians from the '30s. And then I also worked with, who is Kenyan but she did her training at Yale. So she really shifted her speech so she could do American speech. After both won Oscars at the, it was reported that McQueen and Ridley had been in an ongoing feud over screenplay credit. McQueen reportedly had asked Ridley for shared credit, which he declined. McQueen appealed to Fox Searchlight, which sided with Ridley. Neither thanked the other during their respective acceptance speeches at the event. Since the event, Ridley has noted his regret for not mentioning McQueen and denied the feud. He spoke favorably of working with McQueen, and explained that his sole screenplay credit was due to the rules of the. McQueen has not commented on the alleged feud. Director at the premiere of 12 Years a Slave at the 2013 With a production budget of $22 million, principal photography began in, Louisiana, on June 27, 2012. After seven weeks, filming concluded on August 13, 2012. As a way to keep down production costs, a bulk of the filming took place around the area – mostly south of the country in the north of the state, where the historic Northup was enslaved. Among locations used were four historic plantations:,,, and. Magnolia, a plantation in, is just a few miles from one of the historic sites where Northup was held. 'To know that we were right there in the place where these things occurred was so powerful and emotional,' said actor Chiwetel Ejiofor. 'That feeling of dancing with ghosts – it's palpable.' Filming also took place at the Columns Hotel and in the of New Orleans. Cinematographer, the film's primary camera operator, shot 12 Years a Slave on with a 2.35:1 aspect ratio using both an LT and ST. 'Particularly for a period piece, film gives the audience a definite sense of period and quality,' said Bobbitt. 'And because of the story's epic nature, widescreen clearly made the most sense. Widescreen means a big film, an epic tale – in this case an epic tale of human endurance.' The filmmakers avoided the desaturated visual style that is typical of a more gritty documentary aesthetic. Deliberately drawing visual comparisons in the filming to the works of Spanish painter, McQueen explained: When you think about Goya, who painted the most horrendous pictures of violence and torture and so forth, and they're amazing, exquisite paintings, one of the reasons they're such wonderful paintings is because what he's saying is, 'Look – look at this.' So if you paint it badly or put it in the sort of wrong perspective, you draw more attention to what's wrong with the image rather than looking at the image. Design [ ] To accurately depict the time period of the film, the filmmakers conducted extensive research that included studying artwork from the era. With eight weeks to create the wardrobe, costume designer collaborated with to compile costumes that would illustrate the passage of time while also being historically accurate. Using an earth tone color palette, Norris created nearly 1,000 costumes for the film. 'She [Norris] took earth samples from all three of the plantations to match the clothes,' McQueen said, 'and she had the conversation with Sean [Bobbitt] to deal with the character temperature on each plantation, there was a lot of that minute detail.' The filmmakers also used some pieces of clothing discovered on set that were worn by slaves. Main articles: and The musical score to 12 Years a Slave was composed by, with original on-screen violin music written and arranged by and performed. The film also features a few pieces of western classical and American folk music such as 's 'Trio in B-flat, D471' and and 's arrangement of '. A soundtrack album, Music from and Inspired by 12 Years a Slave, was released digitally on November 5 and received a physical format release on November 11, 2013,. In addition to Zimmer's score, the album features music inspired by the film by artists such as,,,, and. Legend's cover of ' debuted online three weeks prior to the soundtrack's release. Historical accuracy [ ] African-American history and culture scholar was a consultant on the film, and researcher David Fiske, co-author of Solomon Northup: The Complete Story of the Author of Twelve Years a Slave, provided some material used to market the film. Nevertheless, news and magazine articles around the time of the film's release described a scholar alleging some license that Northup could have taken with his book, and liberties that McQueen definitely took with Northup's original, for dramatic, modernizing, or other reasons. Scott Feinberg wrote in about a September 22 New York Times article that 'dredged up and highlighted a 1985 essay by another scholar, James Olney, that questioned the 'literal truth' of specific incidents in Northup's account and suggested that David Wilson, the white to whom Northup had dictated his story, had taken the liberty of sprucing it up to make it even more effective at rallying public opinion against slavery.' According to Olney, when invited an ex-slave to share his experience in slavery at an antislavery convention, and when they subsequently funded the appearance of that story in print, 'they had certain clear expectations, well understood by themselves and well understood by the ex-slave, too.' Wrote in about a scene in McQueen's adaptation. Shortly after Northup's kidnapping, he is sent on a slave ship. One of the sailors attempts to rape a female slave, but is stopped by a male slave. 'The sailor unhesitatingly stabs and kills [the male slave],' he wrote, stating that 'this seems unlikely on its face—slaves are valuable, and the sailor is not the owner. And, sure enough, the scene is not in the book.' Forrest Wickman of wrote of Northup's book giving a more favorable account of the author's onetime master, William Ford, than the McQueen film. In Northup's own words, 'There never was a more kind, noble, candid, Christian man than William Ford,' adding that Ford's circumstances 'blinded [Ford] to the inherent wrong at the bottom of the system of Slavery.' The movie, however, according to Wickham, 'frequently undermines Ford.' McQueen undercuts Christianity itself as well, in an effort to update the ethical lessons from Northup's story for the 21st century, by holding the institutions of Christianity up to the light for their ability to justify slavery at the time. Northup was a Christian of his time, writing of his former master being 'blinded' by 'circumstances' that in retrospect meant a racist acceptance of slavery despite being a Christian, a position untenable to Christians now and to of the 19th century but not contradictory to Northup himself. Valerie Elverton Dixon in characterized the Christianity depicted in the movie as 'broken'. Emily West, an associate professor of history at the who specializes in the history of slavery in the U.S., said she had 'never seen a film represent slavery so accurately'. Reviewing the film for History Extra, the website of BBC History Magazine, she said: 'The film starkly and powerfully unveiled the sights and sounds of enslavement – from slaves picking cotton as they sang in the fields, to the crack of the lash down people's backs. We also heard a lot about the ideology behind enslavement. Masters such as William Ford and Edwin Epps, although very different characters, both used an interpretation of Christianity to justify their ownership of slaves. They believed the Bible sanctioned slavery, and that it was their 'Christian duty' to preach the scriptures to their slaves.' Release [ ] Initial screenings [ ]. Michael Fassbender and Lupita Nyong'o at the 2013 12 Years a Slave at the on August 30, 2013; it was later screened at the on September 6, the on October 8, the on October 10, and the on October 19. On November 15, 2011, announced it had secured a deal to distribute 12 Years a Slave to international markets. In April 2012, a few weeks before principal photography, agreed to co-finance the film. Because of a distribution pact between and New Regency, acquired the film's United States distribution rights. However, instead of paying for the distribution rights, Fox Searchlight made a deal in which it would share box-office proceeds with the financiers of the independently financed film. 12 Years a Slave was commercially released on October 18, 2013 in the United States for a limited release of 19 theaters, with a wide release in subsequent weeks. The film was initially scheduled to be released in late December 2013, but 'some exuberant test screenings' led to the decision to move up the release date. The film was distributed by in the United Kingdom. Marketing [ ] Due to both the film's explicit nature and award contender status, 12 Years a Slave's financial success was being watched closely. Many analysts compared the film's content to other drama films of a similar vein such as (1993) and (2004), which became box office successes despite their respective subject matters. 'It may be a tough subject matter, but when handled well. Films that are tough to sit through can still be commercially successful,' said Phil Contrino of. Despite its content, the film's critical success has assisted its domestic distribution by that began with a limited released aimed primarily towards and African-American patrons. The film's release was gradually widened in subsequent weeks, similarly to how the studio had successfully done in years prior with films such as and. International release dates for 12 Years a Slave were largely delayed to early 2014 in order to take advantage of the attention created. During its marketing campaign, 12 Years a Slave received unpaid endorsements by celebrities such as and. In a video posted by, Combs urged viewers to see 12 Years a Slave by stating: 'This movie is very painful but very honest, and is a part of the healing process. I beg all of you to take your kids, everybody to see it.. You have to see this so you can understand, so you can just start to understand.' Home media [ ] Following its cinematic release in theaters, the edition of the film was released on in the United States on March 4, 2014. Special features for the DVD include; a Closed Caption option, The Team - Meet the creative minds assembled by Director Steve McQueen and bring Solomon Northup's journey to life bonus selection, and The Score - Follow film Composer Hans Zimmer creating his dramatic score feature. In supplemental fashion, a widescreen hi-definition version of the film was also released on the same day. Special features include; a historical portrait from Director Steve McQueen's documentary feature, cast and crew interviews, The Team special feature, and The Score selection. An additional viewing option for the film in the media format of has been made available as well. Reception [ ] Box office [ ] 12 Years a Slave earned $187.7 million, including $56.7 million in the United States. During its opening limited release in the United States, 12 Years a Slave debuted with a weekend total of $923,715 on 19 screens for a $48,617 per-screen average. The following weekend, the film entered the top ten after expanding to 123 theatres and grossing an additional $2.1 million. It continued to improve into its third weekend, grossing $4.6 million at 410 locations. The film release was expanded to over 1,100 locations on November 8, 2013. In 2014, 12 Years a Slave was the 10th most-illegally downloaded movie, with 23.653 million such downloads, according to. Critical response [ ]. Signing autographs at the premiere of the film at TIFF, September 2013 of praised it as 'a new movie landmark of cruelty and transcendence' and as 'a movie about a life that gets taken away, and that's why it lets us touch what life is'. He also commented very positively about Ejiofor's performance, while further stating, ' 12 Years a Slave lets us stare at the primal sin of America with open eyes, and at moments it is hard to watch, yet it's a movie of such humanity and grace that at every moment, you feel you're seeing something essential. It is Chiwetel Ejiofor's extraordinary performance that holds the movie together, and that allows us to watch it without blinking. He plays Solomon with a powerful inner strength, yet he never soft-pedals the silent nightmare that is Solomon's daily existence.' Of, gave the film a four-star rating and said: 'you won't be able to tuck this powder keg in the corner of your mind and forget it. What we have here is a blistering, brilliant, straight-up classic.' He later named the film the best movie of 2013. Wrote, in her review for, 'the genius of 12 Years a Slave is its insistence on banal evil, and on terror, that seeped into souls, bound bodies and reaped an enduring, terrible price'. 's Tim Robey granted the film a maximum score of five stars, stating that 'it's the nobility of this remarkable film that pierces the soul', while praising Ejiofor and Nyong'o's performances. February 19, 2014. Retrieved February 19, 2014. Retrieved January 2, 2017. 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Retrieved January 21, 2014. • January 2, 2014, at the., Metacritic, December 8, 2013. External links [ ] Wikiquote has quotations related to: • • on • at • at •. ![]() Bio-Dome is one of the last 'major' films starring Pauly Shore, and it's no secret as to why he faded after this piece of trash. When Pauly Shore first started out, he did bring a few laughs. Encino Man and Son in Law were decent comedies. After that, Pauly became so repetitive and unfunny so fast that it's no wonder that he's in the where are they now file. Briefly, a group of people are sealed into a Bio-Dome which is supposed to be a miniature self-sufficient ecology, sealed off from the outside world. This film is stupid, dimwitted, excrutiatingly painful to watch. Bio-Dome is a poorly made comedy with no laughs whatsoever, there's only one chuckle to be had in the film. The film insults the intellect and has nothing good whatsoever going on to interest the viewer. The film sucks, the characters terrible, and worst, some good talent chose to be in this film. Signing on to do a Pauly Shore film is the nail in the coffin to many up and coming actors. Just look at Stephen Baldwin, this film ended his career. Bio-Dome is the perfect example of a film that should've never been made in the first place. The film misses the mark on so many levels and can only be described as a really bad comedy and film overall. This film sucks. It's no wonder why Pauly Shore's career went downhill from here. There's only so much one can do, and his gimmick became old after two films. Avoid this film. Summary: Rebecca is a young girl who, haunted by her father’s suicide, enrolls in an elite boarding school for girls. Before long, Rebecca’s friendship with the popular Lucy is shattered by the arrival of a dark and mysterious new student named Ernessa. Lucy falls under Ernessa’s spell and becomes emotionally and physically consumed by her Rebecca is a young girl who, haunted by her father’s suicide, enrolls in an elite boarding school for girls. Before long, Rebecca’s friendship with the popular Lucy is shattered by the arrival of a dark and mysterious new student named Ernessa. Directed by Mary Harron. With Sarah Bolger, Sarah Gadon, Lily Cole, Anne Day-Jones. Rebecca is suspicious of Ernessa, the new arrival at her boarding school. Watch The Moth Diaries movie trailers, exclusive videos, interviews from the cast, movie clips and more at TVGuide.com. ![]() Lucy falls under Ernessa’s spell and becomes emotionally and physically consumed by her glamorous new friend. Rebecca, whose overtures of concern are rejected by Lucy, finds herself lost and confused. She begins to develop a crush on her handsome English teacher, Mr. Davies and immerses herself in the Gothic vampire novel Carilla for his class. Rebecca starts to suspect that Ernessa is a vampire, but, despite the suspicious deaths that begin to occur, her fears are treated as simple girlish jealousy. As the bodies of young girls pile up and the line between reality and the supernatural starts to blur, Rebecca decides to take matters into her own hands and get rid of Ernessa. Who can say what is real and what is unreal to the heart consumed by passion and a mind afire with loss? When the new girl in school starts to come between Rebecca and her best friend, Lucy, she begins to suspect that there is something far more sinister behind their relationship. Rachel Klein's modern update on traditional Gothic storytelling is brought to life in Mary Harron's screen When the new girl in school starts to come between Rebecca and her best friend, Lucy, she begins to suspect that there is something far more sinister behind their relationship. Rachel Klein's modern update on traditional Gothic storytelling is brought to life in Mary Harron's screen adaptation of THE MOTH DIARIES, from 2011. Rebecca and the other girls transpose their teenage anxieties like anorexia, depression, suicide, and sexuality on to their ghostly classmate as a means of dealing with their internal struggles. While Ernessa may not be seen physically drawing the blood from her victims, her presence at the school certainly saps the other girls of their strength and happiness, leading them in to despair. The lesbianic undertones that are present in the plot also draw strongly from the classic tale of Carmilla, which is frequently referenced throughout the girls' schoolwork. Harron takes a timely approach in developing the characters and mood of the picture, but unfortunately, her deliberate pacing begins to wear during the long periods of inaction and leaves the audience feeling deprived as the film draws to its anticlimactic ending. Still, we are left on a positive note, having grown with Rebecca as she overcomes her pain and loss to find a renewed strength in herself. THE MOTH DIARIES ultimately falls short of becoming a modern classic, but it does provide another unique and emotionally charged vampire tale in the same vein as LET THE RIGHT ONE IN. Contents • • • • • • • • • • Plot [ ] In 1855 Edward Pierce (Sean Connery), a charismatic member of London's high society, is secretly a master thief. He plans to steal a monthly shipment of gold from the London to train which is meant as payment for British troops fighting in the. The gold is heavily guarded in two in the baggage car, each of which has two locks, requiring a total of four keys. Pierce recruits Robert Agar (Donald Sutherland), a pickpocket and. Pierce's mistress Miriam (Lesley-Anne Down) and his Barlow (George Downing) join the plot, and a train guard, Burgess, is bribed into participation. ![]() The Great Train Robbery was the robbery of £2.6 million from a Royal Mail train heading from Glasgow to London on the West Coast Main Line in the early hours of 8 August 1963, at Bridego Railway Bridge, Ledburn, near Mentmore in Buckinghamshire, England. After tampering with line signals, a 15-strong gang of. Great Train Robbery: Great Train Robbery, (August 8, 1963), in British history, the armed robbery of £2,600,000 (mostly in used bank notes) from the Glasgow–London. The executives of the bank who arrange the gold transport, the manager Mr. Henry Fowler (Malcolm Terris) and the president Mr. Edgar Trent (Alan Webb), each possess a key; the other two are locked in a cabinet at the offices of the at the London Bridge train station. In order to hide the robbers' intentions, wax impressions are to be made of each of the keys. Pierce ingratiates himself with Trent by feigning a shared interest in. He also begins courting Trent's spinster daughter, Elizabeth (Gabrielle Lloyd), to learn the location of her father's key. Pierce and Agar successfully break into Trent's home at night, and make a wax impression of the key before making a clean getaway despite a close call with the butler. Pierce targets Fowler through his weakness for. Miriam reluctantly poses as 'Madame Lucienne', a high-class prostitute in an exclusive bordello. Miriam meets Fowler and asks him to undress, forcing him to remove the key worn round his neck. While Fowler is distracted by Miriam, Agar makes an impression of his key. Pierce then arranges a phoney police raid to rescue Miriam, forcing Fowler to flee to avoid a scandal. The keys at the train station prove a much harder challenge. After a diversionary tactic with a child pickpocket fails because Agar cannot locate the two Chubb safe keys in the key cabinet, much less wax them in the time available, Pierce decides to use cat burglar Clean Willy (Wayne Sleep) to climb the station's wall, climb down into the station, enter the office via a small hatch in the office ceiling, and open the office door and the key cabinet from within. Because Clean Willy is incarcerated at, Pierce and Agar first have to break him out, using a public execution as a distraction. With Willy's help, the criminals succeed in taking wax impressions of the keys when the night guard takes a scheduled restroom break without detection. Clean Willy is subsequently arrested after being caught in the act pick-pocketing and informs on Pierce. The police use Willy to lure Pierce into a trap, but the master cracksman easily eludes capture. Clean Willy escapes from his captors but is murdered by Barlow on Pierce's orders. The authorities, now aware that the robbery is imminent, increase security by having the baggage car padlocked from the outside until the train arrives at its destination and forbidding passengers to travel in the guard's van. Any container large enough to hold a man must be opened and inspected before it is loaded on the train. Pierce smuggles Agar into the baggage car disguised as a corpse in a coffin. Pierce plans to reach the car across the coach roofs while the train is under way, but he and Miriam encounter Fowler, who is riding the train to Folkestone to watch over the shipment. After arranging for Miriam to travel in the same compartment as Fowler to divert his attention, Pierce crosses the roof of the train and unlocks the baggage van's door from the outside. He and Agar replace the gold with lead bars and toss the bags of gold off the train at a prearranged point. However, soot from the engine's smoke has stained Pierce's clothes and he is forced to borrow Agar's suit, which is much too small for him. The jacket splits across the back when he disembarks at Folkstone. The police quickly become suspicious and arrest him before he can re-join his accomplices. Pierce is put on trial for the robbery. As he exits the courthouse, he receives the adulation of the crowds, who consider him a folk hero for his daring act. In the commotion, a disguised Miriam kisses him full on the mouth, in the process slipping him a key to his handcuffs from her mouth to his. Agar is also present, disguised as a driver. As Pierce is about to be put into the wagon, he frees himself and he and Agar escape, to the jubilation of the crowd and the chagrin of the police. Cast [ ] • as Edward Pierce • as Agar • as Miriam • as Trent • as Henry Fowler • as Sharp • as Burgess • as Clean Willy • as Emily Trent • Gabrielle Lloyd as Elizabeth Trent • George Downing as Barlow • as Harranby • as Judge • as Station Master • as Maggie Production [ ] Film rights to the novel were bought in 1975. In 1977 it was announced the film would be made in Ireland by with and. Crichton deliberately varied the movie from his book. He said 'the book was straight, factual but the movie is going to be close to farce.' Sean Connery originally turned down the movie after reading the script, judging it 'too heavy.' He was asked to reconsider, read the original novel, met Crichton, and changed his mind. Sean Connery performed most of his own stunts in the film, including the extended sequence on top of the moving train. The train was composed of J-15 class 0-6-0 No 184 of 1880, with its wheels and side rods covered and roof removed, leaving only spectacle plate for protection to give it a look more akin to the 1850s and coaches that were made for the movie from modern railway flat wagons. Connery was told that the train would travel at only 20 miles per hour during his time on top of the cars. However, the train crew used an inaccurate means of judging the train's speed. The train was actually doing speeds of 40 to 50 miles per hour. Connery wore soft rubber soled shoes and the roofs of the carriages were covered with a sandy, gritty surface. Connery actually slipped and nearly fell off the train during one jump between two carriages, and had difficulty keeping his eyes free of smoke and cinders from the locomotive. One error can be seen in the sequence. When the lid is wrenched off the casket and Lesley-Anne Down bends in to pull out her 'brother,' Donald Sutherland's eyes twitch from left to right. Heuston Station in Dublin stood in for 'London Bridge' station in the movie. During the filming at the station, a diesel locomotive leaked a large quantity of fuel onto the tracks by the platform. When the production company's steam engine rolled onto the same tracks, embers dropping from the underside of the locomotive ignited the fuel soaked track, momentarily producing a very large fire within the station. Origins of the plot [ ] The film's plot is loosely based on the, in which a named William Pierce engineered the theft of a trainload of being shipped to the during the. The gold shipment of £12,000 (equal to £1,029,140 today) in gold coin and ingots from the -to- was stolen by Pierce and his accomplices, a in the railway offices named Tester, and a skilled named Agar. The robbery was a year in the planning and involved making sets of duplicate keys from impressions for the locks on the safes, and bribing the train's guard, a man called Burgess.: 210 Crichton, the author of the book and the screenplay, was inspired by Kellow Chesney's 1970 book The Victorian Underworld, which is a comprehensive examination of the more sordid aspects of society. In his screenplay Crichton based his character 'Clean Willy' Williams on another real-life character from Chesney's book, a named Williams (or Whitehead) who, sentenced to death in, escaped from prison by climbing the 15-meter (50-ft.) tall sheer walls, squeezing through the revolving iron spikes at the top, and climbing over the inward projecting sharp spikes above them before making his escape over the roofs.: 187 The only completely fictional character in the film is Miriam (). Filming locations [ ] Although set in and, most of the filming took place in. In particular, the final scenes were filmed in and in. The scenes on the moving train were filmed on the Mullingar to Athlone railway line (now closed) around the Athlone/Moate area. The train driver was John Byrne from Mullingar (now deceased). The two locomotives which featured were both J-15 0-6-0's, No 184 of 1880, and No 186 of 1879. Music [ ] The film's lavish, energetic soundtrack was written by -winning composer. The score marked his third collaboration with writer/director following (1972) and (1978). The music for two pianos played by the characters Elizabeth (Gabrielle Lloyd) and Emily Trent () is from the third movement of Mozart's Molto Allegro. Reception [ ] The Great Train Robbery has a critical rating of 78 percent on. The site's critics praised the film's comedic tone, action sequences, and Victorian details. Wrote that 'Crichton's film drags in dialog bouts, but triumphs when action takes over.' Of the singled out Connery, writing that the actor 'is one of the best light comedians in the movies, and has been ever since those long-ago days when he was James Bond.' Of praised director Crichton's 'amplitude.in this visually dazzling period piece,' and that 'the climactic heist of the gold, with Mr. Connery climbing atop the moving railroad cars, ducking under bridges just before a possible decapitation, is marvelous action footage that manages to be very funny as it takes your breath away.' Accolades [ ] •, Best Motion Picture Screenplay, 1980 — Michael Crichton References [ ]. • ^ Owen, Michael (28 Jan 1979).. New York Times. • at • Ebert, Roger.. Ebert Digital LLC. Retrieved 27 October 2017. • Thomas, Bob (21 Sep 1975). 'Movies: Director Dino hits the shores of America'. Chicago Tribune. • Fitzsimons, Godfrey (10 Jun 1977). 'Hollywood company to make $5m. The Irish Times. • Sterritt, David (3 Apr 1979).. Christian Science Monitor. • Mann, Roderick (19 Dec 1978). 'The Diagnoses of Dr. Los Angeles Times. • Bray, Christopher (2011). Sean Connery: A Biography. New York: Pegasus.. Retrieved 14 March 2017. The Victorian Underworld. London: Maurice Temple Smith Ltd.. • David Ingoldsby.. Shot at Trinity. Trinity College Dublin. Retrieved 20 May 2015. • 31interactive.co.uk.. • 31interactive.co.uk.. Rotten Tomatoes. Retrieved 2 July 2014. • (9 Feb 1979).. Chicago Sun-Times. • ^ (2 Feb 1979).. New York Times. External links [ ] • on • at • at •. THE LUCKY ONE followed MR. PIM PASSES BY and THE TRUTH ABOUT BLAYDS as Mint’s third production by A.A. Milne—best remembered today as the creator of Winnie the Pooh. The play tells the timeless story of antagonism between two brothers: Gerald, who stands in the sun and Bob, who stands in Gerald’s shadow. ![]() Lyrics to 'The Lucky One' song by Alison Krauss: You're the lucky one So i've been told As free as the wind, Blowin' down the road Loved by many. When Bob finds himself in serious legal trouble, he turns to Gerald for rescue. When Gerald fails to come through, years of simmering resentment boil over in a confrontation that is as stirring as it is surprising. First published in 1919, THE LUCKY ONE was produced on Broadway by the Theatre Guild in 1922—Milne’s sixth Broadway production in less than two years. “Few plays have ever been more directly and deeply searching of the springs of conduct, more subtle in depicting essential character,” hailed John Corbin of the New York Times, calling it “a play of quite extraordinary delicacy and soundness of feeling.” Ninety-five years later, our production of THE LUCKY ONE reminded New York theatergoers of Milne’s remarkable skill as a playwright. Creatives • Directing Jesse Marchese • Sets Vicki R. Davis • Costumes Martha Hally • Lights Christian DeAngelis • Sound Toby Algya • Props Joshua Yocom • Dialects and Dramaturgy Amy Stoller • Casting Stephanie Klapper, CSA • Production Stage Manager Jeff Meyers • Assistant Stage Manager Kelly Burns • Illustration Stefano Imbert • Graphics Hey Jude Design, Inc. • Advertising The Pekoe Group • Press David Gersten & Associates MEET THE DESIGNERS Director Jesse Marchese and his design team will talk about the process, the production and the play—and answer your questions. JEANNE SAFER, AUTHOR OF CAIN’S LEGACY: LIBERATING SIBLINGS FROM A LIFETIME OF RAGE, SHAME, SECRECY AND REGRET Jeanne Safer, PhD is a psychotherapist who has been in private practice for over forty years, and the author of six acclaimed and thought-provoking books on neglected psychological issues including and. She has appeared on television (“The Today Show,” “Good Morning America,” and “CBS World News Tonight”) and contributed articles to The New York Times, The Washington Post, The Wall Street Journal, and other publications. Safer’s discussion will focus on the play’s depiction of a sibling rivalry. 'As Charming as Usual?' Milne and The Lucky One MAYA CANTU, THEATER HISTORIAN AND DRAMATURG Maya Cantu is a theater historian, scholar, and Dramaturgical Advisor for the Mint. She received a D.F.A. In Dramaturgy and Dramatic Criticism at Yale School of Drama, and is a member of the Drama faculty at Bennington College. Maya is the author of the book, American Cinderellas on the Broadway Musical Stage: Imagining the Working Girl from “ Irene” to “Gypsy.” Her discussion will focus on the life and work of A.A. Milne, and on the contexts and influences informing The Lucky One. Program Flyer. Logan is a marine serving in Iraq. While there, he finds a photo of a girl with 'keep safe' written on the back. He is admiring it when his unit is attacked. He survives and credits the photo for saving him. He tries to find the owner but can't, assuming he was killed. When he goes back to the States, he finds it difficult to adjust and is still haunted by what happened. Analyzing the photo, he finds in the background a landmark that tells him she is in Louisiana. He then goes there and finds her. He learns her name is Beth. He tries to tell her what happened but can't get the words out. She assumes he's there to apply for the job they advertised looking for someone to help at her family's business, a dog kennel. He says yes but at first she gets an uneasy feeling from him but her grandmother decides to give him a chance. It isn't long that he makes a connection with her son. He then discovers that it was her brother who had the picture only he doesn't remember him. He sees that her. When you walk into a Nicolas Sparks movie, you expect certain things. The Lucky One follows a storyline similar to most of Nicolas Sparks' other adapted novels. This is neither a good nor a bad thing. So long as the movie can stand on its own feet, it deserves recognition. On that ground, The Lucky One does hold its own. The acting is great and the story held my interest. In the end, specific problems make this movie much worse than it should have been. The main fallback of the story is the characters. Stereotypes are abound. The mayor-to-be is the same as any story that tries to cover a trapped-in-a-small-town feel. The father is an incredibly flat character that is in no way believable. Even Zac Efron's character is too mysterious for his own good. Although Efron pulled off the role quite well, it was the way the character is presented that is the problem. The other problem with the film is its climax. I won't give it away, but I have seen the same climax more than once. It was an unfortunate low point in a movie that was incredibly well acted. The rest of the storyline was quite unique and enjoyable. Even the modern setting of PTSD and soldiers who have served too many tours was a fascinating setting for the movie. Unfortunately, the amateur screenwriter dropped the ball. I must point out an unfortunate fact of this movie. It's only 101 minutes. Since it is so short for a complex drama, it drops the ball on many occasions. In the beginning of the film, Zac Efron's character walks from Colorado to Missouri. This fact is almost addressed at one point, but then dropped and never brought back. Things like this happen throughout the film. These holes could have been filled with 15 to 20 minutes more screen time. Unfortunately, the push to keep films shorter made The Lucky One significantly worse. If you are a Nicolas Sparks fan, this movie is worth seeing. If you enjoy romantic dramas, I would recommend renting The Notebook, A Walk to Remember, or Dear John. If you don't like romantic dramas, there is no reason for you to see this movie. Nicolas Sparks is one of the few authors who deliver consistently good plots. Unfortunately, his last two films have fallen flat. Maybe it's time for him to stop using the same formula again and again. War Stories False Atrocity Tales, Swift Boaters, and Winter Soldiers--What Really Happened in Vietnam by Gary Kulik Potomac, 304 pp., $29.95 One of the oft-repeated stories among soldiers in Vietnam concerned a purported island in the Pacific where the U.S. Army would dispatch those men who had contracted incurable forms of venereal disease. To spare their families embarrassment, so the stories went, the military would inform them that their loved ones had gone missing in action--and the afflicted soldiers would never return. To this day, some Vietnam veterans remain firmly convinced that this really happened. 'It is of course a false and absurd story,' writes Gary Kulik, who served as a medic in Vietnam. 'In my experience some young soldiers thought that their repeated cases of gonorrhea were marks of virility, rather than symptoms of long-term unpleasantness. I can easily imagine medics, who were usually older and better educated, using such a fantasy for its invigilating effects.' Kulik's wry comment about this fantasy island constitutes a rare lighter moment in an otherwise deadly serious, emotionally charged book. Anyone who grew up in the 1960s--whether he served in Vietnam, took to the streets in protest, did both, or neither--is likely to hesitate before picking up a book with the subtitle: 'False atrocity tales, Swift Boaters, and Winter Soldiers--What Really Happened in Vietnam.' The instinctive reaction is to ask what ideological line Kulik is peddling--and why should I, as a reader, dredge up all the political, personal, cultural, and psychological battles of that era? What more is there to be said? The short answer is 'a lot,' and Kulik says it extraordinarily well. At a time when most people who lived through the war in Vietnam would rather cling to their own versions of events, disregarding anything that complicates the narrative that they've accepted in their minds as the truth, along comes a writer who refuses to settle for simple ideological answers of either the left or the right. Instead, he follows the evidence wherever it leads him, scrupulously examining the record of how American soldiers behaved when they served in Vietnam, and the stories they have been telling since they came home. Kulik's ability to navigate and weigh seemingly contradictory evidence, coming to conclusions that will not please the ideologues of either side, flows from his own complex feelings about Vietnam. As a graduate student at Brown, he was opposed to the war and applied to be classified as a conscientious objector. ![]() But he expressed his willingness to serve in a noncombatant role in the military, and was inducted into the Army in 1969. While enjoying a cushy assignment as a writer in the Historical Unit of the Walter Reed Army Medical Center, he penned antiwar articles and was even arrested in a demonstration. (Because he was in civilian clothes and released quickly, his superiors didn't learn about this.) In June 1970, he was shipped to Vietnam, where he served as a medic and then, somewhat to his frustration, as a clerk to the battalion adjutant. He volunteered to join a flight crew, but was rejected because of less-than-perfect vision. He was still technically a conscientious objector, but he clearly wanted to be in on the action. The war no longer looked black and white to him, nor did the warriors. Kulik methodically sets out to debunk anything he has concluded is a lie or misrepresentation about that period. What is held to be true isn't necessarily true, he argues, even when there are Vietnam veterans claiming responsibility for particular actions. His most graphic example: The case of Kim Phuc, the nine-year-old girl who was badly burned in a napalm attack in 1972, and was famously photographed running naked in agony. She was later rediscovered by Western journalists, and in 1996, she attended a Veterans Day ceremony at the Vietnam Veterans War Memorial in Washington. Addressing the crowd, she told them that, if she could meet the pilot who napalmed her, she would ask him 'to promote peace.' Jan 01, 2018 Please consider leaving a like and subscribing if you enjoyed the content. It helps tremendously, thank you! This content is licensed under Creative. The Ghost Patrol is a 1923 silent film drama directed by Nat Ross from a short story by Sinclair Lewis, produced and distributed by Universal Pictures. At that point, John Plummer passed a note to her saying: 'I am THAT man.' The two embraced and Phuc said, 'I forgive you.' The only problem was that, as Kulik points out, Plummer was not that man. Yes, he served in Vietnam, but his entire story falls apart on closer examination. The real pilot was a South Vietnamese who had responded to an appeal for help from South Vietnamese troops under attack. So why did Plummer claim he was the guilty one? It produced invitations to appear on Nightline, a documentary on A&E, and countless other appearances to talk about forgiveness. That, in turn, strengthened his reputation as a minister in Purcellville, Virginia. Kulik argues that many people--including some Vietnam veterans--have come to accept an image of the war that is heavily influenced by popular culture. Books like Michael Herr's Dispatches and movies like Apocalypse Now and Taxi Driver painted a picture of a war where everything goes, and soldiers routinely were crazed both on the battlefield and when they returned home. The notion of a 'post-Vietnam syndrome' gained wide acceptance, with claims that Vietnam veterans suffered an unprecedented level of trauma and suicide rates. Kulik marshals the evidence that this is wide off the mark. Partly because the military was more experienced in dealing with psychological problems during the Vietnam war than in earlier conflicts, the rate of psychological breakdown was much lower than it was in either the Korean war or World War II (11 per 1,000 troops in Vietnam as compared to at least triple that rate in Korea). A 1988 study by the Department of Veterans Affairs found that Vietnam veterans had a 7 percent lower risk of suicide than veterans of other wars. All of which sets the context for Kulik's main interest: How true were the stories of widespread atrocities in Vietnam? Here, too, he dismisses some popular myths, like the frequently told tales of helicopter crews throwing out prisoners in flight. But the key sections of this book consist of his examination of the records of military investigations and trials, along with the stories told by Vietnam veterans, especially those in the antiwar movement. Kulik isn't claiming that the Vietnam war didn't produce its share of atrocities, or take a heavy psychological toll on some soldiers. 'I shared a barracks room with a heroin addict who would be arrested for losing it one night and firing directly into a Vietnamese settlement immediately outside our perimeter,' he writes. Elsewhere, he adds, 'Americans did commit war crimes in Vietnam, and even now, no one of good conscience can claim that all those war crimes have come to light.' But his main focus is on debunking the exaggerations and outright fabrications that have contributed to the impression that the My Lai massacre wasn't some horrendous exception to the rule but typical of what happened. In particular, he takes on the Winter Soldier Investigation (WSI) that featured the most hair-raising testimonies about alleged atrocities, including the stories about tossing prisoners from helicopters and the crucifixion and skinning of others. He convincingly demonstrates both the absurdity of many of those claims and the dubious credentials of some of the accusers. 'The reason to expose false atrocity stories is so we can retain our outrage at true atrocity stories,' he maintains. Kulik follows up on the military investigations of several cases. The saga of what happened, the often-contradictory testimonies at the time, and the recollections of those veterans he tracked down for this book, contain an accumulation of evidence that makes some sections a slog. Still, it's this attention to detail that allows him to conclude in the cases he examines that war crimes were committed--but on nothing like the scale of popular lore. The sum total of confirmed war crime cases to come out of the WSI testimonies, he insists, is exactly one. Kulik lauds a soldier who, he finds, spoke the truth about a war crime committed by his unit, despite intense pressure to go along with a whitewash. And he isn't about to join those who tar every veteran who protested the war and offered more sweeping judgments. While hardly a fan of John Kerry, who participated in WSI and backed its extravagant claims, he is scathing in his criticism of the Swift Boat Veterans who sought to prove that Kerry was surrounded by fake veterans making fake charges. 'The case that 'many' of those at the WSI were frauds was itself a fraud,' he concludes--although he adds that many of those who later joined Vietnam Veterans Against the War 'were neither veterans nor were they truly against the war.' Nothing is simple about Kulik's feelings or findings. He explains that he stands on 'the narrowest of moral ledges, condemning the way we fought the war, but wishing the South Vietnamese had prevailed... Proud of my reluctant, conscience-driven service, outraged by war crimes like the one at My Lai, but intent on exposing fake war crime stories.' In other words, War Stories tries to provide as accurate an account as possible. Because of the intense passions on both the left and the right, this is a herculean task--but Kulik pulls it off. Andrew Nagorski, vice president and director of public policy at the EastWest Institute, and the author of The Greatest Battle: Stalin, Hitler, and the Desperate Struggle for Moscow That Changed the Course of World War II, is working on a book about Americans in Hitler's Germany. The Weekly Standard The Weekly Standard 2009 Washington, DC Politics 2009-11-16 November 16, 2009 Ghost Patrol War Stories False Atrocity Tales, Swift Boaters, and Winter Soldiers--What Really Happened in Vietnam by Gary Kulik Potomac, 304 pp., $29.95 One of the oft-repeated stories among soldiers in Vietnam concerned a purported island in the Pacific where the U.S. Army would dispatch those men who had contracted incurable forms of venereal disease. To spare their families embarrassment, so the stories went, the military would inform them that their loved ones had gone missing in action--and the afflicted soldiers would never return. To this day, some Vietnam veterans remain firmly convinced that this really happened. It is of course a false and absurd story, writes Gary Kulik, who served as a medic in Vietnam. In my experience some young soldiers thought that their repeated cases of gonorrhea were marks of virility, rather than symptoms of long-term unpleasantness. I can easily imagine medics, who were usually older and better educated, using such a fantasy for its invigilating effects. Books and Arts, Andrew Nagorski http://cdn.weeklystandard.biz/cache/280x280.jpg. Private O'Brian Produced. Supervising producer: Canada. Executive producer. Executive producer Cinematography by Film Editing by Casting By. (casting director Italy). Jun 02, 2014 2047 - SIGHT OF DEATH ICFF Canada. Unsubscribe from ICFF Canada? Cancel Unsubscribe. Subscribe Subscribed Unsubscribe 187. ![]() (casting by) Production Design by Art Direction. Creative director Set Decoration by Production Management. Post-production manager / post-production supervisor. Production manager Second Unit Director or Assistant Director. First assistant director. Second assistant director. Second assistant director. Second assistant director. Third assistant director Sound Department. Boom operator. Sound effects editor. Foley artist / sound effects editor. Re-recording mixer Visual Effects. Digital compositor. Digital compositor: AIC. Stereoscopic compositor. Digital compositor. Digital compositor. Digital compositor. Compositing supervisor. Digital matte painter. Visual effects supervisor: Canada. Visual effects supervisor. Digital compositor. Digital compositor. Digital compositor. Digital compositor Camera and Electrical Department. First assistant camera. Camera operator / steadycam. Video assist. Second assistant camera. Gaffer Casting Department. Casting associate Costume and Wardrobe Department. Costume supervisor Editorial Department. Assistant editor. Digital intermediate colorist. Post production supervisor Other crew. International distribution. Unit publicist. Production coordinator. Script supervisor. Script supervisor: additional. Dialogue Coach. Opening credits. You are watching Storm Surfers: New Zealand movie. Big wave pioneer Ross Clarke-Jones and two-time world champion Tom Carroll are two Aussie surfing legends who have spent the last few years scouring the ends of the earth to ride the most dangerous waves they can find. Now they're taking their search to New Zealand to endure the freezing temperatures, rugged terrain and inhospitable conditions of remote Fiordland in Storm Surfers: New Zealand, sequel to the highly successful Storm Surfers: Dangerous Banks. Hunting waves the size of a four-storey building involves strategy, timing, preparation and tracking the largest oceanic storms in the world. That's where meteorologist and surf forecaster Ben Matson comes in. 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It successfully delivered its cargo, but on its way to its next assignment, by a Japanese submarine, leaving about 880 surviving crewmen in the water. Rescue didn’t come for four days, by which time hundreds had died, some from shark attacks. The film’s leaden treatment of this incredible story somehow sucks all the drama out of it. Plays the ship’s captain, Charles McVay, but the script by Cam Cannon and Richard Rionda Del Castro never offers him a chance to do much more than stare ahead earnestly and bark orders. An assortment of secondary characters are given story lines too flimsy to register, and the special effects are equally rickety. The most interesting part of the film is its treatment of Capt. McVay’s subsequent court-martial (he decades later), but this stretch, too, feels like a missed opportunity. Indianapolis: Men of Courage” is rated R (Under 17 requires accompanying parent or adult guardian) for gory shark attacks. The harrowing true story of the crew of the USS Indianapolis, who were stranded in the Philippine Sea for five days after delivering the atomic weapons that would. May 04, 2016 In the waning days of World War II, the Navy warship USS Indianapolis secretly delivered one of two atomic bombs that would eventually end the war. USS INDIANAPOLIS: MEN OF COURAGEOriginal Motion Picture SoundtrackMusic Composed and Conducted by Laurent EyquemA wonderful new. Two minutes of sincerity don’t make up for two-hours plus of bumbling and pandering. Watch video Nicolas Cage stars in this film depicting the true story of the World War II naval disaster that claimed hundreds of lives. Overview The USS Indianapolis had the grim mission of delivering the atomic weapons that would be dropped on Hiroshima and Nagasaki. After dropping these bombs off, the men on this ship find themselves stranded in the Philippine Sea. Their mission was a secret, so there is no one on hand to rescue them. As food and water supplies run low, a more pressing problem emerges. Surrounding their ship are hundreds of sharks, and they begin to attack with relentless ferocity. By the time rescuers finally come, will there be anyone left to rescue from the clutches of these vicious sea creatures? |
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