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2013-2015: TOP 250 FILM CHALLENGE - Page 2
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Aside from the talents of Brad Pitt and Edward Norton, this revisit to an oldie-but-goodie allows us to deep further into the psychology of the inner-struggles to conquer anticipated pain deliberately.
I am sure if there are any war veterans who experienced combat, hand-to-hand, fist-a-cuffs, and the brutality of war with the subsequent body pain - they would probably see this film in a connected value, albeit a fictional story that would never amount to the actual experience.
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Getting a head start on the upcoming Christmas Season (12 weeks) - with this great classic.
Many of today's folks did not grow up watching this film on TV, and perhaps even their parents missed it. Sad, because this film touches on the historical view of human nature and how some of us can live above the "crowd" so matter what the financial or power temptations may be.
Getting a head start on the upcoming Christmas Season (12 weeks) - with this great classic.
Many of today's folks did not grow up watching this film on TV, and perhaps even their parents missed it. Sad, because this film touches on the historical view of human nature and how some of us can live above the "crowd" so matter what the financial or power temptations may be.
I'm also a huge fan of this movie.. but I'll save it for a Snowy night, I'm sure it won't be too long in coming! I agree that this film is so much more than a simple story. It's a commentary on the human condition: suffering. And how to realize that we can have joy in the midst of that suffering, if we only have the right perspective.
- Steve B.
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I loved all the lord of the rings films, I've got a box with all of them! I also really liked the dark knight and I just found a discount code on voucherbox for amazon so I will buy all three tomorrow :). I've never seen the godfather, and I feel really bad about it actually. I think that will be my next purchase. Do they have a box with all the godfather films?
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- Posts: 900
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Why is it that another viewing of this film during a quiet time of the evening brings additional insights into the human drama of civilization? I am fortunate to have this in my collection.
For those who are new to this film, the following may be enlightening:
"Casablanca is a 1942 American romantic drama film . . . stars Humphrey Bogart, Ingrid Bergman, and Paul Henreid; and features Claude Rains, Conrad Veidt, Sydney Greenstreet, Peter Lorre, and Dooley Wilson.
"Set during World War II, it focuses on a man torn between, in the words of one character, "love and virtue". He must choose between his love for a woman and helping her Czech Resistance leader husband escape the Vichy-controlled Moroccan city of Casablanca to continue his fight against the Nazis.
"Story editor Irene Diamond convinced producer Hal Wallis to purchase the film rights of the play in January 1942. Brothers Julius J. and Philip G. Epstein were initially assigned to write the script. However, despite studio resistance, they left after the attack on Pearl Harbor to work on Frank Capra's Why We Fight series. Howard Koch was assigned to the screenplay until the Epsteins returned. Casey Robinson assisted with three weeks of rewrites, but his work would later go uncredited. Wallis chose Curtiz to direct the film after his first choice, William Wyler, became unavailable. Filming began on May 25, 1942, and ended on August 3, and was shot entirely at Warner Bros. Studios in Burbank, and one sequence at Van Nuys Airport in Van Nuys.
"Although Casablanca was an A-list film with established stars and first-rate writers, no one involved with its production expected it to be anything out of the ordinary. It was just one of hundreds of pictures produced by Hollywood every year. Casablanca had its world premiere on November 26, 1942 in New York City, and was released on January 23, 1943, in the United States.
"The film was a solid if unspectacular success in its initial run, rushed into release to take advantage of the publicity from the Allied invasion of North Africa a few weeks earlier. Despite a changing assortment of screenwriters adapting an unstaged play, barely keeping ahead of production, and Bogart attempting his first romantic leading role, Casablanca won three Academy Awards, including Best Picture. Its lead character, memorable lines, and pervasive theme song have all become iconic.
"The film has consistently ranked near the top of lists of the greatest films of all time."
All my best,
Check out the Leonard Maltin 100 Must-See Films of the 20th Century. CLICK HERE
Edited by David Copeland - 11/9/13 at 12:30pm
For a long time I found the list was relatively reliable -- for about a decade. I remember going on there years ago and it never changed because tried and true movies were at the top and the latest rave review couldn't dislodge the likes of Shawshank or Godfather. I noticed the list began to become unstable around the time the last Lord the Rings movie came out (2005ish?). It finally became totally unstable in 2008 when The Dark Knight went to number one nearly overnight. From there the decline escalated to a point where the latest critical fave can move up the list with relative ease. Case in point: I noticed just last week that Gravity was sitting somewhere around 40. Good flick, but not top 40.
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100 Must-See Films of the 20th Century
by Leonard Maltin
GoodFellas (1990)
146 minutes, D: Martin Scorsese
A boy grows up in an Italian-American neighborhood of Brooklyn and dreams of becoming part of the Mob. Fascinating look at the allure - and the reality - of day-to-day life in a Mafia family, based on experiences of Henry Hill (Liotta), who wound up in the Federal witness protection program. The violence is (necessarily) harsh and off-putting, like the film itself at times, but it's brilliantly realized by Scorsese and cinematographer Michael Ballhaus. Major criticism: It goes on too long. Bracco and Oscar winner Pesci stand out in an exceptional cast; that's Scorsese's mother as Pesci's mom. Screenplay by the director and Nicholas Pileggi, based on the latter's book Wiseguy.
Schindler's List (1993)
195 minutes, D: Steven Spielberg
Staggering adaptation of Thomas Keneally's best-seller about the real-life Catholic war profiteer who initially flourished by sucking up to the Nazis, but eventually went broke saving the lives of more than 1,000 Polish Jews by employing them in his factory, manufacturing crockery for the German army. Filmed almost entirely on location in Poland, in gritty b/w, but with a pace to match the most frenzied Spielberg works, this looks and feels like nothing Hollywood has ever made before. The three central characters rate - and receive - unforgettable performances: Neeson, who's towering as Oskar Schindler; Kingsley, superb as his Jewish accountant (and conscience); and Fiennes, who's frightening as the odious Nazi commandant. Outstanding screenplay by Steven Zaillian and cinematography by Janusz Kaminski. Spielberg's most intense and personal film to date. Seven Oscars include Best Picture, Director, Adapted Screenplay, Art Direction, Cinematography, Editing, and Original Score (John Williams).
Pulp Fiction (1994)
154 minutes, D: Quentin Tarantino
Audacious, outrageous look at honor among lowlifes, told in a somewhat radical style overlapping a handful of separate stories. Jackson and Travolta are magnetic as a pair of hit men who have philosophical debates on a regular basis; Willis is compelling as a crooked boxer whose plan to take it on the lam hits a few detours. (In fact, there are no slackers in this cast.) This voluble, violent, pumped-up movie isn't for every taste - certainly not for the squeamish - but it's got more vitality than almost any other film of 1994. Tarantino is featured onscreen as Jimmie of Toluca Lake. Roger Avary gets co-story credit with Tarantino (they won the Screenplay Oscar).
Fargo (1996)
97 minutes, D: Joel Coen
The Coen Brothers put a unique spin on a murder case, layering their story with droll observations about Minnesotans and winding up with a totally disarming comedy! McDormand is terrific as an efficient (and pregnant) police chief with multiple murders on her hands; Macy is equally good as a two-bit schemer who tries to stay cool when he finds himself way over his head in a quicksand of crime. Love that Muzak in the background! Oscar winner for Best Screenplay (Joel and Ethan Coen) and Actress (McDormand).
Raging Bull (1980)
128 minutes, D: Martin Scorsese
Extraordinarily compelling look at prizefighter Jake La Motta, whose leading opponent outside the ring was always himself. That such an unappealing man could inspire so vivid a portrait is a tribute to the collaboration of Scorsese, De Niro, and writers Paul Schrader and Mardik Martin. There's not a false note in characterization or period detail. De Niro and editor Thelma Schoonmaker won richly deserved Academy Awards.
E.T. - The Extra-Terrestrial (1982)
115 minutes, D: Steven Spielberg
A 10-year-old boy (Thomas) befriends a creature from another planet that's been stranded on Earth. A warm, insightful story of childhood innocence, frustration, courage, and love...with a remarkable "performance" by E.T. An exhilarating experience for young and old alike. Screenplay by Melissa Mathison. John Williams won an Oscar for his soaring score, as did the sound and visual effects teams. Trivia note: Debra Winger contributed to E.T.'s voice.
The Godfather (1972)
175 minutes, D: Francis Ford Coppola
The 1970s' answer to Gone With the Wind, from Mario Puzo's novel on the violent life and times of Mafia patriarch Don Corleone (Brando). Pulp fiction raised to the highest level; a film of epic proportions, masterfully done, and set to Nino Rota's memorable music. Absolutely irresistible. Academy Award winner for Best Picture, Actor (Brando), and Screenplay (Coppola and Puzo). Followed by two sequels.
Mean Streets (1973)
110 minutes, D: Martin Scorsese
Masterpiece about small-time hood Keitel, irresponsible friend De Niro and their knock-about cronies in N.Y.C.'s Little Italy. Technically dazzling film put director Scorsese on the map and deservedly so.
The Godfather, Part II (1974)
200 minutes, D: Francis Ford Coppola
They said it couldn't be done, but cowriter-director Coppola made a sequel that's just as compelling. This one contrasts the life of melancholy "don" (Pacino) with early days of his father (De Niro) as an immigrant in N.Y.C. Winner of six Oscars including Best Picture, Director, Screenplay (Coppola, Mario Puzo), Supporting Actor (De Niro), Score (Nino Rota, Carmine Coppola), Art Direction/Set Decoration (Dean Tavoularis, Angelo Graham, George R. Nelson).
The Conversation (1974)
113 minutes, D: Francis Ford Coppola
Brilliant film about obsessive surveillance expert (Hackman) who makes professional mistake of becoming involved in a case, and finds himself entangled in murder and high-level power plays. Coppola's top-notch, disturbing script makes larger statements about privacy and personal responsibility. An unbilled Robert Duvall has a cameo. One of the best films of the 1970s.
Blazing Saddles (1974)
93 minutes, D: Mel Brooks
Brooks's first hit movie is a riotous Western spoof, with Little an unlikely sheriff, Korman as villainous Hedley Lamarr, and Kahn as a Dietrich-like chanteuse. None of Brooks's later films have topped this one for sheer belly laughs. Scripted by Brooks, Andrew Bergman, Richard Pryor, Norman Steinberg, and Alan Uger; story by Bergman. Title song sung by Frankie Laine.
Jaws (1975)
124 minutes, D: Steven Spielberg
A rare case of a bubble-gum story (by Peter Benchley) scoring as a terrific movie. The story: New England shore community is terrorized by shark attacks; local cop (Scheider), ichthyologist (Dreyfuss) and salty shark expert (Shaw) determine to kill the attacker. Hold on to your seats! Screenplay by Benchley and Gottlieb. Three Oscars include John Williams' now-classic score, Verna Fields' sensational editing. Benchley has cameo as reporter on beach. Followed by three sequels.
Nashville (1975)
159 minutes, D: Robert Altman
Altman's brilliant mosaic of American life as seen through 24 characters involved in Nashville political rally. Full of cogent character studies, comic and poignant vignettes, done in seemingly free-form style. Carradine's song "I'm Easy" won an Oscar; Elliott Gould and Julie Christie appear as themselves. Screenplay by Joan Tewkesbury.
Annie Hall (1977)
94 minutes, D: Woody Allen
Woody's best film, an autobiographical love story with incisive Allenisms on romance, relationships, fame, N.Y.C. vs. L.A., and sundry other topics. Warm, witty, intelligent Oscar winner for Best Picture, Actress, Direction, Screenplay (Allen and Marshall Brickman). Look sharp and you'll spot future stars Jeff Goldblum (at the L.A. party), Shelley Hack (on the street), Beverly D'Angelo (on a TV monitor), and Sigourney Weaver (as Woody's date seen in extreme long-shot near the end of the picture.)
Star Wars (1977)
121 minutes, D: Geroge Lucas
Elaborate, imaginative update of Flash Gordon incredibly became one of the most popular films of all time. It's a hip homage to B-movie ethics and heroism in the space age, as a callow youth (Hamill) becomes an interplanetary hero with the help of some human and robot friends. R2D2 and C-3PO steal the show. Won seven Oscars for various technical achievements and John Williams' rousing score.
The Deer Hunter (1978)
183 minutes, D: Michael Cimino
Stunning film about young Pennsylvanian steelworkers, their lives before, during, and after wartime duty in Vietnam. Long but not overlong, this sensitive, painful, evocative work packs an emotional wallop. Story by Cimino, Deric Washburn, Louis Garfinkle and Quinn Redeker; scripted by Washburn. Five Oscars include Picture, Director, Supporting Actor (Walken), Editing (Peter Zinner).
Apocalypse Now (1979)
150 minutes, D: Francis Ford Coppola
Coppola's controversial Vietnam war epic, based on Joseph Conrad's Heart of Darkness. Special agent Sheen journeys upriver into Cambodia with orders to find and kill errant officer Brando, leading him (and viewer) on a mesmerizing odyssey of turbulent, often surreal encounters. Unfortunately, film's conclusion - when he does find Brando - is cerebral and murky. Still, a great movie experience most of the way, with staggering, Oscar-winning photography by Vittorio Storaro
Psycho (1960)
109 minutes, D: Alfred Hitchcock
The Master's most notorious film is still terrifying after all these years, as larcenous Leigh picks the wrong place to spend a night: The Bates Motel (12 cabins, 12 vacancies...and 12 showers), run by a peculiar young man and his crochety old "mother." Hitchcock's murder set-pieces are so potent, they can galvanize (and frighten) even a viewer who's seen them before! Bernard Herrmann's legendary (and endlessly imitated) score adds much to the excitement. Script by Joseph Stefano from the Robert Bloch novel.
La Dolce Vita (1962 - Italian)
175 minutes, D: Federico Fellini
Lengthy trend-setting film, not as ambiguous as other Fellini works - much more entertaining, with strong cast. Mastroianni stars as tabloid reporter who sees his life in shallow Rome society as worthless but can't change. Story and screenplay by Fellini, Ennio Flaiano, and Tullio Pinelli, with Brunello Rondi. Piero Gherardi's costumes won an Oscar.
Lawrence of Arabia (1962 - British)
216 minutes, D: David Lean
Blockbuster biography of enigmatic adventurer T.E. Lawrence is that rarity, an epic film that is also literate. Loses some momentum in the second half, but still a knockout - especially in 1989 reissue version, which restored many cuts made over the years (and made a few judicious trims in the process). Still, the only way to really appreciate this film is on a big screen. Screenplay by Robert Bolt and Michael Wilson, based on Lawrence's book The Seven Pillars of Wisdom. Seven Oscars include Best Picture, Director, Cinematography (Freddie Young), Score (Maurice Jarre), Editing, and Art Direction. O'Toole's first leading role made him an instant star.
8 1/2 (1963 - Italian)
135 minutes, D: Federico Fellini
Fellini's unique, self-analytical movie casts Mastroianni as a filmmaker trying to develop a new project, amid frequent visions and countless subplots. A long, difficult, but fascinating film, overflowing with creative and technical wizardry. Certainly one of the most intensely personal statements ever made on celluloid. Screenplay by Fellini, Tullio Pinelli, Ennio Flaiano, and Brunello Rondi. Oscar winner for Costume Design and as Best Foreign Language Film.
Dr. Strangelove or: How I Learned To Stop Worrying... (1964 - British)
93 minutes, D: Stanley Kubrick
U.S. President must contend with the Russians and his own political and military leaders when a fanatical general launches A-bomb attack on U.S.S.R. Sellers plays the President, British captain, and mad inventor of the Bomb in this brilliant black comedy, which seems better with each passing year. Sellers' phone conversation with Soviet premier is classic. Outstanding cast, incredible sets by Ken Adam.
Mary Poppins (1964)
140 minutes, D: Robert Stevenson
There's charm, wit, and movie magic to spare in Walt Disney's adaptation of P.L. Travers's book about a "practically perfect" nanny who brings profound change to the Banks family of London, circa 1910. Oscars went to Richard and Robert Sherman for their tuneful score, the song "Chim-Chim-Cheree," the formidable Visual Effects team, Cotton Warburton for his editing, and Andrews, in her film debut (though Van Dyke is equally good as Bert, the whimsical jack of all trades). That's Jane Darwell, in her last screen appearance, as the bird lady. A wonderful movie.
Blow-Up (1966 - British/Italian)
111 minutes, D: Michelangelo Antonioni
Writer-director Antonioni's hypnotic pop-culture parable of photographer caught in passive lifestyle. Arresting provocative film, rich in color symbolism, many-layered meanings. Music by Herbie Hancock.
The Graduate (1967)
105 minutes, D: Mike Nichols
Landmark film of the late 60s that's still just as poignant - and funny - as ever. Hoffman, in his first major film role, plays ultra-naive college grad who's seduced by a middle-aged woman, then falls in love with her daughter. Perfect song score by Simon and Garfunkel. Script by Buck Henry (who plays the desk clerk) and Calder Willingham from Charles Webb's novel. Nichols won Best Director Oscar.
Bonnie And Clyde (1967)
111 minutes, D: Arthur Penn
Trend-setting film about unlikely heroes of 1930s bank-robbing team has spawned many imitators but still leads the pack. Veering from comedy to melodrama and social commentary, it remains vivid, stylish throughout. When released, violent conclusion was extremely controversial. Screenplay by David Newman and Robert Benton. Parsons and cinematographer Burnett Guffey were Oscar winners. Wilder's first film.
2001: A Space Odyssey (1968 - British)
139 minutes, D: Stanley Kubrick
A unique masterpiece, immensely influential; Kubrick starkly depicts several encounters mankind has with never-glimpsed aliens, from the dawn of Man four million years ago to the title year, when an alien artifact is found on the Moon. An expedition tracking its radio signal is launched to Jupiter, with mysterious, haunting results. A visual feast, film also boasts distinction of having put Richard Strauss into the Top 40 with "Also Sprach Zarathustra." Oscar-winning special effects. Screenplay by Arthur C. Clarke and the director, from Clarke's The Sentinel.
The Wild Bunch (1969)
134 minutes, D: Sam Peckinpah
Peckinpah's best film won instant notoriety for its "beautiful" bloodletting, but seems almost restrained alongside today's films. Aging outlaws with their own code of ethics find themselves passe in 1913 and decide to retire after one final haul. Acting, dialogue, direction, score, photography, and especially editing are world class; an authentic American classic.
Midnight Cowboy (1969)
113 minutes, D: John Schlesinger
Emotionally shattering dramatization of James Leo Herlihy's novel was rated X in 1969, but it's essentially an old-fashioned story with some unusual modern twists: hayseed Voight comes to N.Y.C., becomes a free-lance stud, and develops unusual and deep friendship with seedy Ratso Rizzo (Hoffman). Seamiest side of N.Y.C. is backdrop for compelling, keen-eyed character study that if anything looks better today than it did when it came out. Won Best Picture, Director, Screenplay (Waldo Salt) Oscars. Graphic effects by Pablo Ferro.
All About Eve (1950)
138 minutes, D: Joseph L. Mankiewicz
Brilliantly sophisticated (and cynical) look at life in and around the theater, with a heaven-sent script by director Mankiewicz (based on the story "The Wisdom of Eve" by Mary Orr). Davis is absolutely perfect as an aging star who takes in an adoring fan (Baxter) and soon discovers that the young woman is taking over her life. Witty dialogue to spare, especially great when spoken by Sanders and Ritter. Six Oscars include Best Picture, Director, Screenplay, and Supporting Actor (Sanders).
Sunset Boulevard (1950)
110 minutes, D: Billy Wilder
Legendary Hollywood black comedy about faded silent-film star Norma Desmond (Swanson), living in the past with butler (von Stroheim), who shelters hack screenwriter (Holden) as boyfriend. Bitter, funny, fascinating; Gloria's tour de force. Three Oscars include Best Screenplay (Wilder, Charles Brackett, D.M. Marshman, Jr.) and Score (Franz Waxman).
Rashomon (1950 - Japanese)
88 minutes, D: Akira Kurosawa
Kurosawa's first huge international success is superlative study of truth and human nature; four people involved in a rape-murder tell varying accounts of what happened. The film's very title has become part of our language. Oscar winner as Best Foreign Film.
Strangers on a Train (1951)
101 minutes, D: Alfred Hitchcock
Walker gives his finest performance as psychopath involved with tennis star Granger in "exchange murders." Lorne is unforgettable as doting mother; so is merry-go-round climax. First-class Hitchcock, based on a Patricia Highsmith novel and coscripted by Raymond Chandler.
Singin' In The Rain (1952)
102 minutes, D: Gene Kelly, Stanley Donen
Perhaps the greatest movie musical of all time, fashioned by Betty Comdon and Adolph Green from a catalogue of Arthur Freed-Nacio Herb Brown songs. The setting is Hollywood during the transition to talkies, with Hagen giving the performance of a lifetime as Kelly's silent screen costar, whose voice could shatter glass. Kelly's title number, O'Connor's "Make 'Em Laugh," are just two highlights in a film packed with gems.
High Noon (1952)
84 minutes, D: Fred Zinnemann
On his wedding - and retirement - day, marshal Cooper learns that a gunman is coming seeking revenge. Though he has good excuses for leaving, he feels a responsibility to stay and face the gunman - but no one in town is willing to help. The story appears to unfold in "real time," as the many on-screen clocks will verify. Legendary Western drama about a crisis of conscience, written by Carl Foreman, underscored by Tex Ritter's performance of Oscar-winning Dimitri Tiomkin-Ned Washington song, "Do Not Forsake Me, Oh My Darlin'." Oscars also went to Cooper, Tiomkin's score, and Elmo Williams' and Harry Gerstad's editing.
Seven Brides for Seven Brothers (1954)
103 minutes, D: Stanley Donen
Rollicking musical perfectly integrates song, dance, and story: Keel's decision to get himself a wife (Powell) inspires his rowdy brothers to follow suit. Tuneful Johnny Mercer-Gene DePaul score (with Oscar-winning musical direction by Adolph Deutsch and Saul Chaplin), but it's Michael Kidd's energetic dance numbers that really stand out, with rare screen work by dancers Jacques D'Amboise and Marc Platt. The barn-raising sequence is an absolute knockout. Screenplay by Albert Hackett, Frances Goodrich, and Dorothy Kingsley, from a Stephen Vincent Benet story.
On The Waterfront (1954)
108 minutes, D: Elia Kazan
Budd Schulberg's unflinching account of N.Y.C. harbor unions (suggested by articles by Malcolm Johnson), with Brando unforgettable as misfit, Steiger his crafty brother, Cobb his waterfront boss, and Saint the girl he loves. That classic scene in the back of a taxicab is just as moving as ever. Winner of eight Oscars: Best Picture, Director, Actor (Brando), Supporting Actress (Saint), Story and Screenplay, Cinematography (Boris Kaufman), Art Direction-Set Decoration (Richard Day), and Editing (Gene Milford). Leonard Bernstein's music is another major asset. Film debuts of Saint, Martin Balsam, Fred Gwynne, and Pat Hingle.
The Seven Samurai (1954 - Japanese)
141 minutes, D: Akira Kurosawa
Classic film about 16th-century Japanese village which hires professional warriors to fend off bandits. Kurosawa's "far-east Western" has served as model for many films since, including American remake The Magnificent Seven (a title once given this film for U.S. release).
The Searchers (1956)
119 minutes, D: John Ford
Superb Western saga of Wayne's relentless search for niece (Wood) kidnapped by Indians, spanning many years. Color, scenery, photography all splendid, with moving, insightful Frank Nugent script to match (based on Alan LeMay's novel). And who could ever forget that final shot?
Paths of Glory (1957)
86 minutes, D: Stanley Kubrick
During WW1, French general Macready orders his men on a suicidal charge; when they fail, he picks three soldiers to be tried and executed for cowardice. Shattering study of the insanity of war has grown even more profound with the years; stunningly acted and directed. Calder Willingham, Jim Thompson, and Kubrick adapted Humphrey Cobb's novel - based on fact.
The Seventh Seal (1957 - Sweden)
96 minutes, D: Ingmar Bergman
Sydow, a disillusioned knight on his way back from the Crusades, tries to solve the mysteries of life while playing chess game with Death, who has offered him a short reprieve. Spellbinding, one-of-a-kind masterpiece helped gain Bergman international acclaim.
Vertigo (1958)
128 minutes, D: Alfred Hitchcock
One of Hitchcock's most discussed films. Retired police detective Stewart, who has a fear of heights, is hired by old school chum in San Francisco to keep an eye on his wife (Novak), eventually falls in love with his quarry...and that's just the beginning; to reveal more would be unthinkable. Alec Coppel and Samuel Taylor scripted, from the novel D'entre les morts by Pierre Boileau and Thomas Narcejac. Haunting, dream-like thriller, with riveting Bernard Herrmann score to match; a genuinely great motion picture that demands multiple viewings.
North By Northwest (1959)
136 minutes, D: Alfred Hitchcock
Quintessential Hitchcock comedy-thriller, with bewildered ad-man Grant chased cross country by both spies (who think he's a double agent) and the police (who think he's an assassin). One memorable scene after another, including now-legendary crop-dusting and Mount Rushmore sequences; one of the all-time great entertainments. Witty script by Ernest Lehman, exciting score by Bernard Herrmann.
The 400 Blows (1959 - French)
99 minutes, D: Francois Truffaut
Captivating study of Parisian youth who turns to life of small-time crime as a reaction to derelict parents. First of Truffaut's autobiographical Antoine Doinel series.
Some Like It Hot (1959)
119 minutes, D: Billy Wilder
Legendary comedy by Wilder and I.A.L. Diamond about two musicians who witness the St. Valentine's Day Massacre and try to elude their pursuers by joining an all-girl band heading for Miami. Sensational from start to finish, with dazzling performances by Lemmon and Curtis, a memorably comic turn by Monroe as Sugar Kane, and Oscar-winning costumes by Orry-Kelly. Brown has film's now-classic closing line.
His Girl Friday (1940)
92 minutes, D: Howard Hawks
Splendid comedy remake of The Front Page with Grant as conniving editor, Russell as star reporter (and his ex-wife), Bellamy as mama's boy she's trying to marry amid hot murder story. Terrific character actors add sparkle to must-see film, scripted by Ben Hecht and Charles Lederer.
The Grapes of Wrath (1940)
129 minutes, D: John Ford
Classic Americana of Okies moving from dust bowl to California during Depression, lovingly brought to screen. Fonda, as ex-con, is unforgettable in role of his life. Darwell, as determined family matriarch, and Ford won well-deserved Oscars. Written for the screen (from John Steinbeck's classic) and produced by Nunnally Johnson. Don't miss this one.
Fantasia (1940)
120 minutes, D: Ben Sharpsteen (production supervisor)
Walt Disney's eight-part marriage of music and animated images remains an amazing achievement; Taylor's narration dates it more than the content. "The Sorcerer's Apprentice" (with Mickey Mouse), "The Dance of the Hours" (with dancing hippos and alligators), "Rite of Spring" (dinosaurs stalking the earth), and "A Night on Bald Mountain" (with Chernobog, the personification of evil) are so stunning that they make up for the less compelling sequences. Also notable for groundbreaking use of multichannel stereophonic sound.
Sullivan's Travels (1941)
91 minutes, D: Preston Sturges
Tired of making fluff, movie director McCrea decides to do a "serious" film; to research it, he sets out with 10 cents in his pocket to experience life in "the real world." Slapstick and sorrow blend seamlessly in this landmark Hollywood satire, which grows more pertinent with each passing year. A unique achievement for writer-director Sturges.
Citizen Kane (1941)
119 minutes, D: Orson Welles
Welles' first and best, a film that broke all the rules and invented some new ones, with fascinating story of Hearst-like publisher's rise to power. The cinematography (by Gregg Toland), music score (by Bernard Hermann), and Oscar-winning screenplay (by Welles and Herman J. Mankiewicz) are all first-rate. A stunning film in every way...and Welles was only 25 when he made it!
The Maltese Falcon (1941)
100 minutes, D: John Huston
Outstanding detective drama improves with each viewing. Bogey is Dashiell Hammett's "hero" Sam Spade, Astor his client, Lorre the evasive Joel Cairo, Greenstreet (in his talkie film debut) the Fat Man, and Cook the neurotic gunsel Wilmer. Huston's first directorial effort (which he also scripted) moves at lightning pace, with cameo by his father Walter Huston as Captain Jacobi.
The Lady Eve (1941)
94 minutes, D: Preston Sturges
Stanwyck is a con artist who sets her eyes on wealthy Fonda - the dolt to end all dolts, who proclaims "snakes are my life." Sometimes silly and strident, this film grows funnier with each viewing - thanks to Sturges's script, breathless pace, and two incomparable stars.
Casablanca (1942)
102 minutes, D: Michael Curtiz
Everything is right in this WW2 classic of war-torn Morocco with elusive night-club owner Rick (Bogart) finding old flame (Bergman) and her husband, underground leader Henreid, among skeletons in his closet. Rains is marvelous as dapper police chief, and nobody sings "As Time Goes By" like Dooley Wilson. Three Oscars include Picture, Director, and Screenplay (Julius and Philip Epstein and Howard Koch). Our candidate for the best Hollywood movie of all time.
The Ox-Bow Incident (1943)
75 minutes, D: William A. Wellman
The irony and terror of mob rule are vividly depicted in this unforgettable drama about a lynch mob taking the law into its own hands, despite protests of some level-headed onlookers. Based on Walter Van Tilburg Clark's book; superb script by Lamar Trotti.
The Miracle of Morgan's Creek (1944)
99 minutes, D: Preston Sturges
Frantic, hilarious comedy of Betty attending all-night party, getting pregnant and forgetting who's the father. Bracken and Demarest have never been better than in this daring wartime farce. Filmed in 1942.
Double Indemnity (1944)
106 minutes, D: Billy Wilder
Wilder-Raymond Chandler script (from the James M. Cain novel) packs fireworks in account of insurance salesman MacMurray coerced into murder plot by alluring Stanwyck and subsequent investigation by Fred's colleague Robinson. An American movie classic, with crackling dialogue throughout.
My Darling Clementine (1946)
97 minutes, D: John Ford
Beautifully-directed, low-key Western about Wyatt Earp (Fonda) and Doc Holliday (Mature), leading to inevitable gunfight at O.K. Corral. Full of wonderful details and vignettes; exquisitely photographed by Joseph P. MacDonald. One of director Ford's finest films, and an American classic. Screenplay by Samuel G. Engel and Winston Miller, from a story by Sam Hellman. Based on a book by Stuart N. Lake. Remake of Frontier Marshal (1939).
It's A Wonderful Life (1946)
129 minutes, D: Frank Capra
Sentimental tale of Stewart, who works all his life to make good in small town, thinking he's failed and trying to end his life. Guardian angel Travers comes to show him his mistake. Only Capra and this cast could pull it off so well; this film seems to improve with age. Capra, Frances Goodrich, Albert Hackett, and Jo Swerling expanded Philip Van Doren Stern's short story "The Greatest Gift" (which had originally been written by Stern as a Christmas card!).
The Best Years of Our Lives (1946)
172 minutes, D: William Wyler
American classic of three veterans returning home after WW2, readjusting to civilian life. Robert Sherwood's script from MacKinlay Kantor's book perfectly captured mood of postwar U.S.; still powerful today. Seven Oscars include Best Picture, Wyler, March, Russell, Sherwood, Daniel Mandell's editing, Hugo Friedhofer's score. Russell, an actual veteran who lost his hands, also took home a second Oscar, a special award for bringing hope and courage to other veterans.
Great Expectations (1946 - British)
118 minutes, D: David Lean
One of the greatest films ever made, a vivid adaptation of Dickens's tale of a mysterious benefactor making poor young orphan a gentleman of means. Opening graveyard sequence is a gem. Oscars went to cinematographer Guy Green and art director John Bryan. Lean, Kay Walsh, Cecil McGivern, and producers Anthony Havelock-Allan and Ronald Neame all contributed to script.
The Bicycle Thief (1948 - Italian)
90 minutes, D: Vittorio De Sica
Simple, realistic tale of working-man whose job depends on his bicycle, and the shattering week he spends with his young son after it is stolen. An honest, beautiful film that deservedly earned a special Academy Award (before foreign films had a category of their own); one of the all-time classics.
The Treasure of the Sierra Madre (1948)
124 minutes, D: John Huston
Excellent adaptation of B. Traven's tale of gold, greed, and human nature at its worst, with Bogart, Huston, and Holt as unlikely trio of prospectors. John Huston won Oscars for Best Direction and Screenplay, and his father Walter won as Best Supporting Actor. That's John as an American tourist near the beginning, and young Robert Blake selling lottery tickets.
Gun Crazy (1949)
86 minutes, D: Joseph H. Lewis
Knockout of a sleeper in the Bonnie and Clyde tradition, stylishly (and sometimes startingly) directed. Cummins is femme fatale who leads gun-crazy Dall into life of crime. Screenplay credited to MacKinlay Kantor and Millard Kaufman (who was actually "fronting" for then black-listed writer Dalton Trumbo), from Kantor's Saturday Evening Post story. Aka Deadly Is The Female.
All Quiet on the Western Front (1930)
133 minutes, D: Lewis Milestone
Vivid, moving adaptation of Erich Maria Remarque's eloquent pacifist novel about German boys' experiences as soldiers during WWI. Time hasn't dimmed its power, or its poignancy, one bit. Scripted by Milestone, Maxwell Anderson, Del Andrews, and George Abbott. Academy Award winner for Best Picture and Director.
City Lights (1931)
86 minutes, D: Charlie Chaplin
Chaplin's masterpiece tells story of his love for blind flower girl, and his hot-and-cold friendship with a drunken millionaire. Eloquent, moving, and funny. One of the all-time greats.
M (1931 - German)
99 minutes, D: Fritz Lang
Harrowing melodrama about psychotic child murderer brought to justice by Berlin underworld. Riveting and frighteningly contemporary; cinematically dazzling, especially for an early talkie. Lorre's performance is unforgettable.
Dracula (1931)
75 minutes, D: Tod Browning
Classic horror film of Transylvanian vampire working his evil spell on perplexed group of Londoners. Lugosi's most famous role with his definitive interpretation of the Count, ditto Frye as looney Renfield and Van Sloan as unflappable Professor Van Helsing.
Frankenstein (1931)
70 minutes, D: James Whale
Definitive monster movie, with Clive as the ultimate mad scientist, creating a man-made being (Karloff) but inadvertently giving him a criminal brain. It's creaky at times, and cries for a music score, but it's still impressive...as is Karloff's performance in the role that made him a star. Long-censored footage, restored in 1987, enhances the impact of several key scenes, including the drowning of a little girl. Based on Mary Shelley's novel. Followed by Bride of Frankenstein.
Trouble in Paradise (1932)
83 minutes, D: Ernst Lubitsch
Sparkling Lubitsch confection about two jewel thieves (Marshall and Hopkins) who fall in love, but find their relationship threatened when he turns on the charm to their newest (female) victim. This film is a working definition of the term "sophisticated comedy." Script by Samson Raphaelson and Grover Jones.
King Kong (1933)
103 minutes, D: Merian C. Cooper
Classic version of beauty-and-beast theme is a moviegoing must, with Willis O'Brien's special effects and animation of monster ape Kong still unsurpassed. Final sequence atop Empire State Building is now cinema folklore; Max Steiner music score also memorable. Followed immediately by The Son of Kong.
Duck Soup (1933)
70 minutes, D: Leo McCarey
The Marx Brothers' most sustained bit of insanity, a flop when first released, but now considered a satiric masterpiece. In postage-stamp-sized Freedonia, Prime Minister Rufus T. Firefly (Groucho) declares war on neighboring Sylvania just for the hell of it. Enough gags for five movies, but our favorite is still the mirror sequence. Zeppo's swan song with his brothers.
Sons of the Desert (1933)
69 minutes, D: William A. Seiter
Laurel and Hardy's best feature film; duo sneaks off to fraternal convention without telling the wives; then the fun begins, with Chase as hilariously obnoxious conventioneer.
It Happened One Night (1934)
105 minutes, D: Frank Capra
Legendary romantic comedy doesn't age a bit. Still as enchanting as ever, with reporter Gable and runaway heiress Colbert falling in love on rural bus trip. Hitch-hiking travails, the Walls of Jericho, other memorable scenes remain fresh and delightful. First film to win all five major Oscars: Picture, Actor, Actress, Director, and Screenplay (Robert Riskin). Based on Samuel Hopkins Adams' story "Night Bus," originally published in Cosmopolitan.
It's A Gift (1934)
73 minutes, D: Norman Z. McLeod
Fields is a grocery store owner who goes West with his family. Beautiful comedy routines in one of the Great Man's unforgettable films. Charles Sellon as a blind man, T. Roy Barnes as a salesman looking for Carl LaFong, contribute some hilarious moments. A remake of Fields' silent film It's the Old Army Game.
A Night at the Opera (1935)
92 minutes, D: Sam Wood
The Marx Brothers invade the world of opera with devastating results. Arguably their finest film (a close race with Duck Soup), with tuneful music and appealing romance neatly interwoven. One priceless comedy bit follows another: the stateroom scene, the Party of the First Part contract, etc. This is as good as it gets.
Bride of Frankenstein (1935)
75 minutes, D: James Whale
Eye-filling sequel to Frankenstein is even better, with rich vein of dry wit running through the chills. Inimitable Thesiger plays weird doctor who compels Frankenstein into making a mate for his creation; Lanchester plays both the "bride" and, in amusing prologue, Mary Shelley. Pastoral interlude with blind hermit and final, riotous creation scene are highlights of this truly classic movie. Scripted by John L. Balderston and William Hurlbut. Marvelous Franz Waxman score, reused for many subsequent films. Followed by Son of Frankenstein.
The 39 Steps (1935 - British)
87 minutes, D: Alfred Hitchcock
Classic Hitchcock mystery with overtones of light comedy and romance, as innocent Donat is pulled into spy-ring activities. Memorable banter between Donat and Carroll, who thinks he's a criminal, set style for sophisticated dialogue for years. John Buchan's novel was adapted by Charles Bennett and Alma Reville; additional dialogue by Ian Hay.
Swing Time (1936)
103 minutes, D:George Stevens
One of the best Astaire-Rogers films, with stars as dance team whose romance is hampered by Fred's engagement to girl back home (Furness). Fine support by Moore and Broderick, unforgettable Jerome Kern-Dorothy Fields songs "A Fine Romance," "Pick Yourself Up." Oscar-winning "The Way You Look Tonight." Astaire's Bojangles production number is a screen classic.
Modern Times (1936)
89 minutes, D: Charlie Chaplin
Charlie attacks the machine age in inimitable fashion, with sharp pokes at other social ills and the struggle of modern-day survival. Goddard is the gamin who becomes his partner in life. Chaplin's last silent film (with his own music - including "Smile" - sound effects and gibberish song) is consistently hilarious, and unforgettable. Final shot is among Chaplin's most famous and most poignant.
Dodsworth (1936)
101 minutes, D: William Wyler
Superb adaptation of Sinclair Lewis novel about middle-aged American industrialist who retires, goes to Europe, where he and his wife find differing sets of values, and new relationships. Intelligently written (by Sidney Howard), beautifully filmed, extremely well acted, with Huston recreating his Broadway role. Won Oscar for Interior Decoration (Richard Day). Unusually mature Hollywood film, not to be missed.
Mr. Deeds Goes to Town (1936)
115 minutes, D: Frank Capra
Cooper is Longfellow Deeds, who inherits 20 million dollars and wants to give it all away to needy people. Arthur is appealing as the hard-boiled big-city reporter who tries to figure out what makes him tick. Capra won his second Oscar for this irresistible film, written by Robert Riskin (from Clarence Budington Kelland's story "Opera Hat").
Grand Illusion (1937 - French)
117 minutes, D: Jean Renoir
Renoir's classic treatise on war, focusing on French prisoners during WWI and their cultured German commandant. Beautiful performances enhance an eloquent script (by Renoir and Charles Spaak).
Snow White And The Seven Dwarfs (1937)
83 minutes, D: Ben Sharpsteen
Walt Disney's groundbreaking animated feature film - the first of its kind - is still in a class by itself, a warm and joyful rendition of the classic fairy tale, enhanced by the vivid personalities of the seven dwarfs. Only a real-life Grumpy could fail to love it. Songs include "Whistle While You Work," "Heigh Ho," and "Some Day My Prince Will Come."
The Adventures of Robin Hood (1938)
102 minutes, D: Michael Curtiz
Dashing Flynn in the definitive swashbuckler, winning hand of de Havilland (never lovelier as Maid Marian), foiling evil prince Rains, dueling wicked Rathbone. Erich Wolfgang Korngold's outstanding score earned an Oscar, as did the art direction and editing. Scripted by Norman Reilly Raine and Seton I. Miller. Arguably Flynn's greatest role.
The Lady Vanishes (1938 - British)
97 minutes, D: Alfred Hitchcock
An old woman's disappearance during a train ride leads baffled young woman into a dizzying web of intrigue. Delicious mystery-comedy; Hitchcock at his best, with a witty script by Frank Launder and Sidney Gilliat, and wonderful performances by Naunton Wayne and Basil Radford, who scored such a hit as a pair of twits that they repeated those roles in several other films! Based on Ethel Lina White's novel The Wheel Spins.
Stagecoach (1939)
96 minutes, D: John Ford
One of the great American films, and a landmark in the maturing of the Western, balancing character study (as disparate passengers travel together on the same stagecoach) and peerless action (in a lengthy Indian attack, featuring Yakima Canutt's famous stuntwork). Also the film that propelled John Wayne to genuine stardom. Mitchell won an Oscar as the drunken doctor, as did the music score. Script by Dudley Nichols, from Ernest Haycox's story "Stage to Lordsburg" (whose plot is reminiscent of Guy de Maupassant's Boule de Suif). Filmed in Ford's beloved Monument Valley on the Arizona-Utah border.
Gone With The Wind (1939)
222 minutes, D: Victor Fleming
If not the greatest movie ever made, certainly one of the greatest examples of storytelling on film, maintaining interest for nearly four hours. Margaret Mitchell's story is, in effect, a Civil War soap opera, focusing on vixenish Southern belle Scarlett O'Hara, brilliantly played by Leigh; she won Oscar, as did the picture, McDaniel, director Fleming, screenwriter Sidney Howard (posthumously), many others. Memorable music by Max Steiner in this one-of-a-kind film meticulously produced by David O. Selznick.
The Wizard of Oz (1939)
101 minutes, D: Victor Fleming
A genuine American classic, based on L. Frank Baum's story of a Kansas girl who goes "Over the Rainbow" to a land of colorful characters and spirited adventure. A perfect cast in the perfect fantasy, with Harold Arlen and E. Y. Harburg's unforgettable score. Just as good the fifteenth time as it is the first time. Won Oscars for "Over the Rainbow" and Herbert Stothart's scoring, plus a special miniature award for Judy.
Silent Years
The Birth of a Nation (1915)
186 minutes, D: D. W. Griffith
The landmark of American motion pictures. Griffith's epic story of two families during Civil War and Reconstruction is still fascinating. Sometimes the drama survives intact; other times, one must watch in a more historical perspective. Griffith's portrayal of Ku Klux Klan in heroic role has kept this film a center of controversy to the present day.
Intolerance (1916)
178 minutes, D: D. W. Griffith
Landmark American epic, interweaves four stories of prejudice and inhumanity, from the Babylonian era to the modern day. Melodramatic, to be sure, but gains in momentum and power as it moves toward its stunning climax. That's Lillian Gish as the mother rocking the cradle; Constance Talmadge gives a most appealing and contemporary performance as the sprightly Mountain Girl.
Our Hospitality (1923)
74 minutes, D: Buster Keaton
Buster goes to the South to claim a family inheritance, and falls in love with the daughter of a longtime rival clan. Sublime silent comedy, one of Buster's best, with a genuinely hair-raising finale. Incidentally, Buster married his leading lady in real life.
Greed (1924)
140 minutes, D: Erich von Stroheim
Powerful adaptation of Frank Norris' novel McTeague, about a simple man whose wife's obsession with money eventually drives him to madness. Even though von Stroheim's film was taken from him, and severly cut by the studio (it originally ran eight hours), this remains a stunning work, one of the greatest of all silent films. The final sequences in Death Valley are unforgettable.
The Gold Rush (1925)
82 minutes, D: Charlie Chaplin
Immortal Chaplin classic, pitting Little Tramp against Yukon, affections of dance-hall girl, whims of a burly prospector. Dance of the rolls, eating leather shoe, cabin tottering over cliff - all highlights of wonderful, timeless comedy. Chaplin re-edited film in 1942; that version, with his narration and music, runs 72m.
Potemkin (1925 - Russian)
65 minutes, D: Sergei Eisenstein
Landmark film about 1905 Revolution. Unlike many staples of film history classes, this one has the power to grip any audience. Odessa Steps sequence is possibly the most famous movie scene of all time.
The Big Parade (1925)
141 minutes, D: King Vidor
One of the best WWI films ever; clean-shaven Gilbert a wonderful hero. Adoree an unforgettable heroine. Filled with memorable vignettes, and some of the most harrowingly realistic battle scenes ever filmed. A gem.
The Freshman (1925)
70 minutes, D: Sam Taylor and Fred Newmeyer
One of Lloyd's best remembered films casts him as collegiate patsy who'll do anything to be popular on campus, unaware that everyone is making fun of him. Football game finale is one of several comic highlights. A real audience-rouser.
Metropolis (1927 - German)
120 minutes, D: Fritz Lang
Classic silent-film fantasy of futuristic city and its mechanized society, with upper-class young man abandoning his life of luxury to join oppressed workers in a revolt. Heavy going at times, but startling set design and special effects command attention throughout. Many shorter prints exist; reissued in 1984 at 87 minutes with color-tints and score by Giorgio Moroder. [Also restored in its most complete version in 2002.]
The General (1927)
74 minutes, D: Buster Keaton
One of Keaton's best silent features, setting comedy against true Civil War story of stolen train, Union spies. Not as fanciful as other Keaton films, but beautifully done.
Sunrise (1927)
110 minutes, D: F. W. Murnau
Exquisite silent film is just as powerful today as when it was made, telling simple story of farmer who plans to murder his wife, led on by another woman. Triumph of direction, camerawork, art direction, and performances, all hauntingly beautiful. Screenplay by Carl Mayer, from Hermann Suderman's story. Cinematographers Karl Struss and Charles Rosher won Oscars, as did the film for "artistic quality of production." Gaynor also won Best Actress Oscar (shared for her performances in 7th Heaven and Street Angel). Remade in Germany as The Journey to Tilsit. Full title onscreen is Sunrise - A Song of Two Humans.
The Crowd (1928)
104 minutes, D: King Vidor
Classic drama about a few happy and many not-so-happy days in the marriage of hard-luck couple. One of the greatest silent films; holds up beautifully. Written by Harry Behn, John V.A. Weaver, and director Vidor, from the latter's original story.
That list is absulutely terrible. Save yourself some time and agony and go off of the the Sight and Sound Top 100:
Couldn't agree more... I take IMDB ratings with a grain of salt.
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text:
Jack Laughery, Former Hardee's(R) CEO and Chairman, Dies
Aug 21, 2006, 01:00 ET from Hardee's
ST. LOUIS, Aug. 21 /PRNewswire/ -- Jack Laughery, former CEO of Hardee's(R) and former Chairman of its Board of Directors, died Sunday in Jackson Hole, Wyo. at the age of 71. He died of pneumonia after a battle against lung cancer. Laughery joined the Hardee's family in 1972 as executive vice president of operations after Hardee's bought the Sandy's restaurant chain. One year later he was appointed president and chief operating officer, and in 1975 he was named CEO - a title he held until his retirement in 1990. During his tenure as CEO, Laughery guided the chain through its introduction of the "Big Twin" sandwich, the launch of Made-From-Scratch(TM) biscuits, the launch of the highly successful California Raisins(TM) promotion and the acquisition of the Burger Chef chain. When he retired as CEO in 1990, Hardee's was the third largest QSR hamburger chain in the world with system- wide sales of $4.1 billion. After his retirement as CEO, Laughery served as Chairman of Hardee's from 1990-1994. "Our deepest sympathies go out to the Laughery family, especially to his wife Helen and his four daughters," said Andrew F. Puzder, Hardee's president and CEO. "Jack will always be known as a tireless leader and fast-food innovator. His contributions to the Hardee's brand, to the state of North Carolina and to the city of Rocky Mount will never be forgotten." Hardee's Food Systems, Inc. is a wholly owned subsidiary of CKE Restaurants, Inc. (NYSE: CKR) of Carpinteria, Calif. As of the first fiscal quarter ended May 22, 2006, CKE Restaurants, Inc., through its subsidiaries, had a total of 3,141 franchised or company-owned restaurants in 43 states and in 13 countries, including 1,062 Carl's Jr.(R) restaurants, 1,963 Hardee's restaurants and 100 La Salsa Fresh Mexican Grill(R) restaurants. For more information, or to find a Hardee's near you, go to www.ckr.com or www.hardees.com. Contact: Jeff Mochal Hardee's (314) 259-6277 firstname.lastname@example.com
SOURCE Hardee's

subset: commoncrawl


text:
Tickets still in demand as Mo-mania hits the capital
After two weeks of intense drama, fun and excitement, you might have been forgiven if you thought the enthusiasm for the Games was dwindling. Think again. People have been queuing for 18 hours in a desperate bid to buy tickets for the remaining few events, mainly he men's 5,000 metres today. Mo-mania has hit town with the home fans keen to see Londoner Mo Farah go for a historic double having already won the 10,000 metres.
One fan from Putney had queued for three days in the hope that he would be able to get his hands on one of these prized tickets. Of the six million seats at these Olympics, tens of thousands still remain for sale on the organisers' official website, many in the high-end price range.
But most of the British public are queuing up outside box office booths set up in strategic areas in the capital for tickets sold by other nations whose allocation from the IOC hasn't been snapped up by their own public. These tickets have to be sold at face value.
One fan has witnessed the most Games in its history - 90-year-old American Harry Nelson who is at his 18th Olympics. The California resident first witnessed the Games in 1932 as a child in Los Angeles. Apart from Berlin, the following year, he has been to every Summer Games since. He was among the few US citizens in Moscow in 1980, defying a presidential order for Americans not to attend.
Asked if he would be going to Rio, Nelson answered: 'At 90 you don't know what tomorrow will bring. I tell youngsters, you've got to make the most of every day.'


text:
Coming off a Sweet 16 appearance in the NCAA Tournament last March, the 2011-12 Marquette men's basketball team is poised, hyped, and ready for the start of a new season. Buzz Williams is entering his fourth season as head coach of the Golden Eagles and there is a lot of optimism from both players and fans that this squad has the potential to accomplish great things. With the season fast approaching, blue and gold shirts and basketball jerseys are being worn more then ever on campus. It's only a matter of time before The Bradley Center reopens its doors to the Marquette faithful as the "We Are Marquette" cheers will echo the arena in hopes for another great Golden Eagles' run to postseason glory.
My BOLD Season Predictions:
- Finish 5th in BIG EAST regular season standings
- Advance to 3rd round quarterfinal of BIG EAST Tournament
- Advance to Elite 8 round of NCAA Tournament
Regular Season Non-conference
11/11/11 vs. Mount St. Mary's – 8:00 p.m.
- WIN: Marquette will tip-off the season and get off on the right foot with a blowout win over the Mountaineers. This should be a fun game to watch because the entire Golden Eagles' squad should see plenty of minutes. The road begins tonight and will not end until the Elite 8 round in late March.
11/14/11 vs. Norfolk State – 6:00 p.m.
- WIN: The only challenge Marquette will face in this game is if they can draw enough fans to this Monday weeknight showdown against the Spartans to see yet another win in blowout fashion.
Paradise Jam (U.S. Virgin Islands)
11/18/11 vs. Winthrop – 7:30 p.m.
- WIN : The first game overseas and on a neutral court for the Golden Eagles but they adjust to the different arena and take care of business to win game one.
11/19/11 vs. Mississippi/Drake – TBA
- WIN: Marquette continues to roll in game two of the tournament and advances. By this game, we should begin to see which players Buzz consistently starts and the rotations that will be used most often.
- WIN: Marquette will likely match-up with Virginia in the championship game of Paradise Jam if the favorites can pull through. Virginia has received a few votes in the pre-season polls, but have no where near the potential that the Golden Eagles have.
Regular Season Non-conference
11/28/11 vs. Jacksonville – 7:00 p.m.
- WIN: Marquette returns home to The Bradley Center to beat up on the Dolphins before facing their two toughest non-conference opponents in a four day stretch.
12/03/11 @ Wisconsin – 3:30 p.m.
- LOSS: Simply put, the Badgers just do not lose at home in The Kohl Center where head coach Bo Ryan is 152-11 in his tenure. The Golden Eagles won't go down without a fight and will be in the game right down to the wire. Good senior leadership from Jordan Taylor, who was named to the AP Pre-Season All-America Team, will be the difference maker as Marquette will suffer their first loss of the season.
Jimmy V Classic (New York)
12/06/11 vs. Washington 8:00 p.m.
- WIN: Washington eliminated Marquette from the 2010 NCAA Tournament after coming back and winning on a last second shot for the upset. Marquette this time around is the much better team and will bounce back from losing to in-state rival Wisconsin with an impressive victory over the Huskies, who begin the season as the 29th best team in college basketball.
Regular Season Non-conference
12/10/11 vs. Green Bay – 1:00 p.m.
- WIN: Last year, UWGB was the victim of a Darius Johnson-Odom dunk on SportsCenter that came in as the #1 top play. Luckily, that same domination will continue into this year too. Phoenix coach Brian Wardle returns to coach against his alma mater where he was the third-leading scorer in Marquette history.
12/17/11 vs. Northern Colorado – 1:00 p.m.
- WIN: Winners of the Big Sky regular-season and tournament titles last season, the Bears recent success may come to an end unless their underclassmen can step up. The 16 total players on Northern Colorado's roster consist of eight freshmen, five sophomores, two juniors, and one lone senior. Look for Marquette to exploit the Bears' youth and lack of height by dominating down low in the post.
12/19/11 @ LSU – 8:00 p.m.
- WIN: An interesting match-up against a SEC team in the Tigers doesn't catch Marquette off guard as LSU is looking for a breakthrough season although they return their four leading scorers from a year ago. Marquette will have to play on their heels in this game and not take anything for granted.
12/22/11 vs. Milwaukee – 8:00 p.m.
- WIN: Marquette is a perfect 38-0 against UWM and remained undefeated last year in narrowly beating the Panthers by just three points. UWM shared last season's regular-season Horizon League championship and lost in the championship game at home to the eventual runner up in the NCAA National Championship game, Butler. The Panthers' Kaylon Williams was selected to the preseason all-league first team, but Marquette should still cruise to victory in their final tune up non-conference game before BIG EAST play.
12/29/11 vs. Vanderbilt – 8:00 p.m.
- LOSS: One point is all that separated these two teams last season as Marquette fell to the Commodores 77-76 at Vanderbilt. This year though, Marquette hosts the 7th ranked Commodores. I anticipate this game to come down to the wire with Vanderbilt pulling it out by hitting a buzzer-beating shot at the end of regulation, possibly overtime. This Vanderbilt team may be the best in school history as they return John Jenkins who led the SEC last year averaging 19.5 points-per-game.
BIG EAST Conference
01/01/12 vs. Villanova – 12:00 p.m.
- WIN: The Wildcats are one of Marquette's three repeat opponents this year. Marquette will grab the New Year's Day victory at home over Villanova to start the 2012 year 1-0 in the BIG EAST. The Wildcats don't have a single senior on their roster so this will be a rebuilding year for head coach Jay Wright.
01/04/12 @ Georgetown – 6:00 p.m.
- WIN: The loss of Austin Freeman and Chris Wright from last year's team will be too much for the Hoyas to overcome early on in BIG EAST play. Jason Clark will be the guard to lead Georgetown with an average of 12 points a game last season and is the focal point on defense for Marquette to defend against.
01/07/12 @ Syracuse – 3:00 p.m.
- LOSS: The Orange come into the season ranked 5th in the nation and coach Jim Boeheim has a plethora of talent returning on his team. Scoop Jardine's 12.5 points and 5.9 assists per game at point guard along with big man Kris Joseph adding 14.3 points and 5.2 rebounds per game last season will make Syracuse a likely Final Four and national championship contender along with UConn in the BIG EAST.
01/11/12 vs. St. John's (Al's Night) – 6:00 p.m.
- WIN: The St. John's Red Storm will be one of the youngest teams in college basketball this season welcoming nine new players to their roster. Marquette will pounce on this inexperienced team and counter with their experience depth at all positions.
01/14/12 vs. Pittsburgh (95th Anniversary) – 1:00 p.m.
- WIN: Mark my words, Marquette will get their first quality BIG EAST win of the season over the Pittsburgh Panthers on the 95th anniversary of the program as many former basketball players are expected to be in attendance cheering on the Golden Eagles in The Bradley Center so Marquette should have that 6th Man advantage. Pitt is an exceptional team, but I'm feeling a Marquette upset on this particular day.
01/16/12 vs. Louisville (MLK Day) – 2:30 p.m.
- LOSS: The Golden Eagles still can't get over the fact that they collapsed and allowed a 24-5 Louisville run over the final six minutes in last year's devastating loss on the road. The Cardinals have a tough non-conference schedule so they will be more than ready to take center stage in Milwaukee and steal one from the blue and gold on the road. Head coach Rick Pitino will have his guys and exceptional back-court ready to play.
01/21/12 @ Providence – 6:00 p.m.
- WIN: ESPN's latest recruiting rankings for the class of 2012 ranks Providence as the second highest team from the BIG EAST at 7th in the nation. Surprisingly, the Friars may have a bright future ahead of them even though they haven't made the NCAA Tournament since 2004. But for now, it is Marquette's game to win.
01/24/12 vs. USF – 7:00 p.m.
- WIN: The South Florida Bulls have some height on their roster that can both rebound and score, pondering the question, how much improvement will we see from Marquette's Otule and Gardner as the season goes on. This could be a big test to see if our frontcourt can match up with the best of them and be effective come tournament time.
01/28/12 @ Villanova – 11:00 a.m.
- LOSS: Learning from their mistakes in their first matchup of the season will allow Villanova to upset Marquette as their younger players get experience and learn their roles on the team. The Wildcats' frontcourt and 2-3 zone on defense will frustrate the Golden Eagles coming off easy wins over Providence and USF.
01/31/12 vs. Seton Hall – 7:00 p.m.
- WIN: Marquette should win this game versus Seton Hall with ease because in my opinion, the Pirates will most likely finish dead last in the conference this season. It's always nice to play a cupcake opponent like Seton Hall in the middle of the season to boost team moral and try some new rotations and shuffle playing time options for the Marquette players.
02/04/12 @ Notre Dame – 12:00 p.m.
- WIN: Fanatics will be glad to know that one of our biggest rivals in the BIG EAST will be defeated this year as the Golden Eagles will take down the Fighting Irish for a big road W. Tim Abromaitis of Notre Dame will be asked to carry the load for his team this year and his 15.4 points and 6.1 rebounds along with a 42.9 percentage from beyond the arc will surely help. Notre Dame's biggest downfall is that its bench lacks a lot of talent and depth.:
02/06/12 @ DePaul – 8:00 p.m.
- WIN: The DePaul Blue Devils were able to muster only one BIG EAST win last season as they went 1-17 in the conference. Although they return four starters, Marquette fans are bred in Illinois too and thus will travel well and will enjoy a Golden Eagles blowout on the road.
02/11/12 vs. Cincinnati (National Marquette Day) – 2:00 p.m.
- WIN: Last season, Cincinnati finally saw its program put together a very successful season with 26 wins and a trip to the NCAA Tournament where they even won a game. The Bearcats start the season narrowly cracking the top 25 in the polls and unfortunately for Marquette, the Golden Eagles will draw the Bearcats twice this upcoming year. Marquette prevails on National Marquette Day at home in game one.
02/18/12 @ Connecticut – 11:00 a.m.
- LOSS: The 2011 national champion UConn Huskies will begin their 2011-12 campaign as the top dog in the BIG EAST and ranked 4th nationally. The Huskies have four starters returning and will miss the clutch Kemba Walker dearly. Jeremy Lamb and Andre Drummond will lead the way for UConn and are both future NBA prospects. Head coach Jim Calhoun got into some big recruiting troubles this offseason causing him to be penalized by missing the first three BIG EAST games along with scholarship reductions.
02/22/12 vs. Rutgers – 7:00 p.m.
- WIN: The goal of second-year Rutgers' head coach Mike Rice is to finish the season .500 and it will be very difficult to do so as six incoming freshmen join the Scarlet Knights' roster. Rutgers will eventually reach that mark but for the time being, a Rutgers' win sure won't come against Marquette as they battle back at home and recover from the UConn defeat.
02/24/12 @ West Virginia – 8:00 p.m.
- WIN: The Mountaineers will also welcome six freshmen to their team as they look to rebuild with youth like many teams in the BIG EAST this season. Bob Huggins is a stellar head coach and will have his men ready to play at West Virginia where I think Marquette could be given a run for their money.
02/29/12 @ Cincinnati – 6:00 p.m.
- LOSS: Mick Cronin has done too good of a job as head coach at Louisville to not get a quality win and it will come at the expense of Marquette. Yancy Gates, a Preseason All-BIG EAST Second Team selection, led the Bearcats with 11.9 points, 6.9 rebounds, and 1.3 blocks last year and he will be counted on to have another good season and game in the Louisville win over these two evenly matched teams.
03/03/12 vs. Georgetown (Senior Night) – TBA
- LOSS: Marquette has lost its past three Senior Night games dating back to the 2007-08 season and this loss to Georgetown will make it four. I have a feeling Marquette will be struggling and the fatigue will start to set in come the end of the regular season. The Hoyas youth surprises the Golden Eagles tonight.
BIG EAST Tournament
Finishing 5th in the BIG EAST would provide Marquette with a first round bye in the BIG EAST Tournament before drawing a No. 12 or 13 seed opponent in the second round which should make for an easy victory. I believe Marquette will also win their round three quarterfinal game against either Louisville or Pittsburgh before falling in the semifinal round of the BIG EAST Tournament to likely favorites Syracuse or UConn. That being said, the Golden Eagles will still carry with them a great deal of momentum heading into the grand daddy of them all, March Madness and the NCAA Tournament.
NCAA Tournament
If the Golden Eagles can manage to stay healthy and have good productive senior seasons from Darius Johnson-Odom and Jae Crowder, I expect Marquette to grab a 5-seed in the 2012 NCAA Tournament and make it all the way to the Elite 8. Excellent recruiting classes year after year and the ability to win close games under Buzz Williams have been big factors in the rapid rise of the program that is ascending up there with the best of them in college basketball today. Marquette being ranked in the pre-season poll and having Darius Johnson-Odom being selected on the All-BIG EAST First Team gives this team some great national recognition in hopes that they can do some damage come tournament time. The 2011-12 Marquette men's basketball team is Elite 8 bound and their hard-work, dedication, and determination endured during bootcamp will help them achieve that goal.
by Ryan Ellerbusch
[email protected]


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Explore the Possibilities
The Interop ITX Conference offers five days of world-class education, compelling speakers, and unlimited networking opportunities to help technology leaders keep up with the challenges and drive their businesses forward. Check out our agenda here.
The technology landscape has dramatically changed, requiring new skills, platforms, and services to achieve technology excellence. Attendees will benefit from strategic insight, hands-on technical resources, and an inside look at the emerging technologies affecting today's IT organizations.
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The 2017 Conference is organized by six major tracks that are crucial to tech leaders and IT professionals at all points in their careers:
Infrastructure | Security | Cloud | Data & Analytics | DevOps | Leadership & Professional Development
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Be inspired by industry luminaries forging new paths with technology. The 2017 Keynote lineup includes leaders from VMware, FireEye, Mastercard and more.
Organized and hosted by well-known industry experts, Summits provide attendees with a broad perspective from an array of speakers who explore multiple aspects of a topic in a one-day or two-day format.
Get immersive, hands-on education in a wide range of topics with half-day Workshops.
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Accelerate your career and learn from other IT pros in lecture, panel, and hands-on sessions in six Conference Tracks.
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We partner with (ISC)2 to provide credits for Interop ITX. 1 credit is awarded per 1 hour of security-themed sessions attended.
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It's simple. Enter your CISSP number in your profile during registration or provide it on-site. Following the event, we share badge scans for those that provided their CISSP number to (ISC)2.


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Full profile →'">
The author is a Forbes contributor. The opinions expressed are those of the writer.
Tesla Motors did not disappoint investors as it delivered yet another set of solid results. During the quarter, the company's revenues stood at $769 million, up from $620.5 million in the first quarter of fiscal 2015. The net income stood at -$62 million, or a loss of 50 cents a share. The automaker produced 8,763 Model S vehicles and delivered a total of 7,579 vehicles, outpacing its own guidance by a small margin. This means that Tesla is on course to meet the 35,000 deliveries target for the full-year of 2014, which is in line with the previous guidance.
Tesla had introduced a new lease program earlier in 2013. GAAP requires Tesla to spread out the revenues of the cars sold through this program over the lease tenure (i.e. treating these revenues as deferred revenues). Therefore, a better method to gauge the automaker's performance is to analyze the non-GAAP figures. On a non-GAAP basis, Tesla's revenues were $858 million, up 55% compared to a year ago. The net income stood at $16 million, or 11 cents a share.
We have a price estimate of $150 for Tesla, which is about 33% below the current market price. We are in the process of revising our estimates to incorporate the latest earnings.
Positive Outlook
In 2014, the automaker expects to sell 35,000 Model S cars, helped by higher production rates and expansion into new markets. The second quarter's 8,763 vehicles produced means that Tesla has upped its average weekly production rate to 730 and the full-year guidance of 35,000 corresponds to a weekly production rate of ~700. Meanwhile, the company has also been working on making its assembly line efficient enough to be able to improve the production rate to 1,000 vehicles a week.
Tesla plans on producing 9,000 vehicles in the third quarter, representing an increase of 2-3% over the second quarter. The Silicon Valley based company increased its production rate by about 16% over the second quarter but will not be able to continue accelerating at the same rate because of a planned two-week shutdown of its factory to allow the transition of the manufacturing process to a new assembly line. According to the company, without the shutdown, it would have been able to forecast a production rate of 11,000 vehicles for the quarter. The company expects to deliver about 7,800 Model S vehicles in the same period. Without the retooling, the company said it would have been able to forecast 9,500 deliveries for the quarter. Since, just under 1,200 cars produced in the second quarter are only expected to be delivered by the beginning of the third quarter, this means that of the 9,000 cars produced in the next quarter, the company expects only 6,600 to be produced in time to be delivered in the consequent quarter. The company said that it expects the quarterly gap between vehicles produced and vehicles delivered to decline in the future quarters. This is important as some customers, especially in China, have expressed disappointment at the time lag between time of order and time of delivery.
Average Revenue Per Vehicle Corrects
During the quarter, the average revenue per vehicle stood at ~$101,465, implying a drop of 8.3% compared to the first quarter. During the first quarter of 2013, the average revenue per vehicle went as high as $115,000, buoyed by sales of ZEV credits, to the tune of $60 million. Another reason why the figure was higher during the start of 2013 was because Tesla had primarily delivered its high-end versions first. As the automaker eventually delivered its lower priced options, the average revenue per vehicle witnessed a correction.
The revenue during the second quarter included the $23 million generated from the sales of power trains to Daimler and Toyota. Tesla has signed a deal with Daimler for the supply of power trains to be used in the production of Mercedes-Benz B Class Electric Drive. During the quarter, it also winded down the agreement for the supply of power trains for Toyota's RAV4 Electric Vehicle, as Toyota gets set to transition from electric vehicles to hydrogen-powered fuel-cell vehicles. During the quarter, Tesla also started leasing out cars to business ventures. Tesla's revenue recognition for this leasing program differs from that of other car companies: it will recognize revenue generated from leasing only over the term of the lease unlike other companies which record the full value of the car as revenue because they sell their cars to independent dealers, who in turn lease these cars out to commercial ventures. Tesla sells its cars directly to end customers and hence bears the risk of defaults on these loans directly.
See full analysis for Tesla Motors
Impressive Margin Expansion
The automaker's gross margins increased by 140 basis points to 26.9% compared to 25.5% on account of an increase in the percentage of vehicles sold via Tesla's lease program over the quarter. On a non-GAAP basis, gross margins improved to 26.8%. Tesla's gross margins have improved from 17.1% in the first quarter of 2013 to 26.9% in the latest quarter, helped by higher volumes and operational efficiencies. However, the company thinks there is room to further improve margins. Tesla is targeting gross margins of 28% by Q4 2014. Auto companies, in their definition of cost of goods, usually include some fixed cost components like labor costs, plant operational expenses etc. Therefore, as volumes increase, the additional revenues often result in improved gross margins.
However, Tesla also cautioned that administrative and capital expenses will rise significantly as the company scales up its customer support to keep pace with the growing global demand for its products. The company stated that it plans to accelerate the rate at which it opens stores and service centers. The plan is to increase the number of company operated stores to about 300. Additionally, the company plans to install more than 200 superchargers globally by then end of this year. Superchargers are charging stations installed by Tesla for its customers to charge their car batteries for free.
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Knight Rider Shirts
Knight Rider ran from 1982 through 1986 starring David Hasselhoff as Michael Knight, an ex-cop that was still fighting crime with the help of an advanced, artificially intelligent and nearly indestructible car called KITT. Billionaire Wilton Knight rescued undercover Las Vegas police detective Michael Long after Long was shot in the face. With plastic surgery and a new identity ... View More


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Newly obtained video which is released by NIST after a lawsuit by the International Center for Sept. 11 Studies shows 2 firefighters on 9/11 discussing how secondary explosions occurred before the collapse of the twin towers.
September 11 Gets Political at Ground Zero
For the first time in nine years, the anniversary of the September 11 (9/11) terrorist attacks became a day of protest, as a circus-like clash of demonstrations – ostensibly over the Cordoba House mosque – filled the streets of lower Manhattan on Saturday for several hours following the somber reading of the litany of the […]
Have You Forgotten Lyrics and YouTube Video
September 11 is the most remarkable day in the world. Today we remember the lives lost in the September 11 attack. Here is a timely song for today "Have You Forgotten" by Worley Darryl.
9/11 Conspiracy Theories and 9 11 Truth Movement – September 11th
9/11 conspiracy theories allege that the September 11 attacks in 2001 were either intentionally allowed to happen or were a false flag operation orchestrated by an organization with elements inside the United States government.
World Trade Center – Twin Towers Youtube Video
The World Trade Center (WTC) was a complex of seven buildings in Lower Manhattan in New York City that were destroyed in the September 11, 2001 terrorist attacks. The site is currently being rebuilt with six new skyscrapers and a memorial to the casualties of the attacks.


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Finally saw this episode -- did anyone else think it was kind of epically awesome to hear all that "Vizsla!" chanting on TV? I mean, that's like the Falleens from last week. Tor almost had his posthumous revenge. So cool. Also, this episode has another really random Open Seasons connection: Clancy Brown. Who's played two characters now: Savage and Montross. Montross... onetime enemy of Tor Vizsla. Odd. Clancy Brown probably has a very skewed opinion of Star Wars right now. "What is Star Wars about? Jedi, Sith, and Death Watch."
My thoughts: Spoiler (Move your mouse to the spoiler area to reveal the content) Show Spoiler Hide Spoiler They threw in a couple swerves from the book. First Bo being Satine's sister was new, as was Palpatine saying he had a use for Maul. In the book he says he has no use for him as he zaps him with lighting. And the guy we thought was Maul in Mandalorian armor wasn't. He was just a normal Mauldalorian. I suspect they developed that head mold with the thought of using him as Maul and backed out for whatever reason. Probably for the best. Overall I feel like these episodes would have worked better intermingled with the rest of the season. It would have made it seem like Maul ruled Mandalore for more than a week Duel was fun, though having Maul beg for mercy I feel is really a negative for his character. Vizsla didn't cry and beg but the big tough Sith Lord does, lol. Cry sissy boy, cry Your the laughing stock of Sith Lords everywhere. Loser. It almost makes bringing him back from the dead worthwhile just to hear him beg.
So I was browsing through the excerpt of The Last Jedi when I came across the word TCW and Last Jedi spoilers (Move your mouse to reveal the content) TCW and Last Jedi spoilers (open) TCW and Last Jedi spoilers (close) 'Mandalore'. It looks as if this novel has been used to tie-in to TCW. The browsing function of the book is weird (the pages are out of order and apparently from throughout the whole novel), so I screen-shoted what I could: Note: "...the old Mandalorian capital of Keldabe..." Interesting stuff. And to think they wouldn't handle a Piell retcon but they'll delve into this.
Talk about a twist at the end. However, I think we can all agree that this episode was a fitting tribute to Ian Abercombie. This is the first time since ROTS that we've seen Palpatine/Sidious fight in a battle, and it was spectacular. Now I'm left wondering if Palpatine will make an appearance in future episodes with a
Spoiler (Move your mouse to the spoiler area to reveal the content) Show Spoiler Hide Spoiler Sidious moonwalked Savage to death. The duel was better than even the book portrayed. Maul DID use the Darksaber, as well as his own. And they changed the last line. Oops. I am satisfied. That is all. Ian will be missed. Bring on the ORIGINAL Ian, perhaps?
If Force-zapping people counts- there's the Star Wars: Empire comic book series- specifically, Betrayal: the one with Grand Moff Trachta:
I cannot believe the most awesome moment of the past twelve months has been forgotten... for shame on you all! FOR SHAME!
Continuity aside, I am ok with watching Palpatine display a wicked use of the Dark Side to knock the crap out of the spike twins. Also, the music was perfect. The use of the Imperial March, the Emperor's theme, and the general tone set the mood perfectly. --Adm. Nick
Thats because a Piell retcon was pointless. Better to just close ones eyes, scream LA, LA, LA and move along.
I didn't like Sidious using two lightsabers. H taught against using lightsabers let alone two. Anyways.. whatever
Maybe it's because he's got at least two? Though one was inside a statue- which he got out immediately before Mace Windu & co arrived to arrest him in Revenge of the Sith, in the book. He loses that one in the fight, and uses a backup lightsaber against Yoda in the next fight.
Yeah... I haven't seen the episode, but that seems damaging for both of their characters. I've always pictured Maul as the type that enjoys pain, that would die without a whimper. Was he not trained feeling pain every day? I'm sure Sidious shocked him thousands of times, even if it wasn't at full power. I do like that they're making Sidious so powerful, though. I was afraid they'd really runaway with Mace Windu beating Palpatine thing (which I still maintain was Vaapad reacting strongly to Anakin, via the novel). You're going to tell me what comic that image is from. It's just a matter of how much you want it to hurt. EDIT: Wait, wait, never mind, it's from Ghost Prison. Anyway, on Sidious fighting... he also fought in The Force Unleashed. I know many prefer not to remember that, but Sidious was devastatingly powerful in that one. I really like the ending where Palpatine practically kills the all mighty Starkiller like a fly.


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Spanish Bodega Profile – Sierra Salinas, DO Alicante
D.O./D.O.C/D.O.Ca: D.O. Alicante
Dirección: Paraje del Puerto s/n. 034000 Villena, Alicante, Spain
Teléfono Fijo: +34 968 79 12 71
Fax: +34 968 79 19 00
Correo Electrónico: [email protected]
Pagina Web: www.sierrasalinas.com (warning FLASH based site)
Fecha de Fundación de la Bodega: 2000
Hectáreas de Viñas: 50 hectares
Grape Varieties Grown: Monastrell, Cabernet Sauvignon, Garnacha Tintorerra, Petit Verdot
Producción en Litros:
Vinos Elaborados:Mira Salinas, Puerto Salinas, Mo
Importers:USA: Eric Solomon
Approximately two weeks ago, I had the privilege of visiting a new winery in the DO Alicante called, Bodega Sierra Salinas. A project of the Castaño family winery, Sierra Salinas hopes to produce wines of high quality in an area of Alicante that is truly amazing to visit. Nestled in a rolling valley of hills between the tree lined ridges of the Sierra Salina Mountains, the bodega's setting is reminiscent of Napa Valley for those California wine lovers. Unfortunately, my trip was short, and to be in such a beautiful place, I was very sad to go.
The winery itself was designed by Josè M Abellan, an architect from Yecla. The whole installation was built on the idea of gravity and integration with the surrounding landscape. From the moment the grapes enter the winery until the moment they are bottled, minimal pumping to preserve the essence of the juice extracted from the regional grapes.
Currently, they make three wines, all made from Monastrell. In the coming vintages, they will be releasing a "Prestige" wine called, 1237, the name derived from the altitude of the highest point on the property. All of the wines will be offered for export; although, the first vintages to be exported are just now being bottled.
During my visit, I had the opportunity to taste through a series of wines in their state of the art tasting room overlooking absolutely breathtaking landscape with Ramon Castaño and the Export Director, Robert Weighill. What follows are my notes from that first tasting:
- 2004 Bodegas Sierra Salinas Alicante Mira Salinas – Spain, Valencia, Alicante (6/7/2007)
Monastrell, Cabernet Sauvignon, and Granacha Tintorerra
Very restrained nose at first this wine really needed time to develop. With about 2 minutes of vigorous swirling in my glass the wine began to reveal shades of wild berries, dark spices, rich chocolate and earthen aromas. WOW, really opens up nicely and I look forward to tasting again with proper decantation. Dark cherry flavors, rich pepper, raspberry, tobacco, and chocolate. Great wine with a bright future. - 2004 Bodegas Sierra Salinas Alicante Puerto Salinas – Spain, Valencia, Alicante (6/7/2007)
Actually a blend of Monastrell, Cabernet and Granacha Tintorerra
Rich fat nose of vanilla, cherry, wood and raspberries. Somewhat one dimensional at first. In the mouth, the wine really comes alive as the wood fades and fat raspberry flavors mix with a myriad spices. Really a fun wine to drink and though the wood is a bit heavy, I look forward to future vintages. - 2004 Bodegas Sierra Salinas Mo – Spain (6/7/2007)
75%Monastrell 25% Garnacha Tintorera
Ryan: Deep cherry red color, with a nose that shows raspberry, rich wood notes, and as it opens black and white pepper. In the mouth, big and rich with strong acidity and tannins with a bit of bitterness on the finish. Well made but still needs some refinement. - 2006 Bodegas Sierra Salinas Alicante Mo – Spain, Valencia, Alicante (6/25/2007)
This wine is DO Alicante.Rich color of deep marroonish purple. Weird nose of black fruits cumin and Moroccan spices, exotic and fun. Nice overall mouthfeel very full and a strong acidity that seems to keep the strong tannins from showing too much. Plum, cassia, spices, and deep cherry flavors develop in the mouth with a slight touch off wood at the finish. Really a fun wine, and after a day open the wine softens nicely to allow for more complexity to show through. 3/5
- 2006 Bodegas Sierra Salinas Mo – Spain (6/26/2007)
Gabriella: Dark rich deep pomegranate lacking brilliance but made up in color density. This is a bizarre and interesting wine in that the aromas make you doubt the first words that roll of your tongue as you describe the wine: apricots, orange zest, dark plum and spices that remind me of Ethiopian food – which is not a complaint considering it is one of my absolute favorite cuisines. However upon drinking it on the first day…it lost me. The acidity takes over and hides tannin. Not ideal, but on the second day, it relaxed allowing for the cassis, black cherries, ash and chocolate to come alive. Not bad, but not spectacular.
While these wines are not yet in the export markets, they will be soon. No one has rated them outside of Spain as of yet (to my knowledge) and therefore, consider this your wake up call to look for these soon to be star wines from an already well known family! One last note, Sierra Salinas has plans in the future to offer a full gamut of tourism options. If you are coming to the region and want a tour of this winery, I HIGHLY recommend visiting them. Only an hour's drive from the beaches of Alicante, a day spent here would be a journey you would not likely forget.
Ryan Opaz
Summary provided by the winery(standard press release):
Mediterranean Essence
There is no better way to express the beauty of such a place as Sierra Salinas than by Azorin's well-known novel, which described in the opening chapters the Mediterranean essence evoked by the melancholic landscape. The allure of Bodegas Sierra Salinas is in its enclave; it faces the shaded side of the Sierra Salinas's mountains near Villena; perhaps one of the most picturesque parts of this landscape.
The valley where the winery and the vineyard are settled is of limestone in nature with certain streaks of clay, which combined with the altitude (between 600-680 metres above sea level) and the constant flow of air, makes for perfectly healthy vines; a privileged site to develop great wines.
The building which contains the winery is a quiet and peaceful balcony overlooking the vineyard. The wines are born as observers of these amazing surroundings. The Castaño family, soon realized the potential of the Monastrell vineyards in this soil and started this high quality wine project.
The estate consists of 85 hectares of land where almond and olive trees share the land with the vineyards. At present, there are 42 hectares of old bush Monastrell vines, the indigenous Mediterranean variety.
The remaining hectares devoted to vineyards are planted with three varieties in irrigated trellises; Cabernet Sauvignon, Garnacha Tintorera and Petit Verdot.
There is new planting of vines planned for the near future, with the clear purpose of making the best of this poor stony earth on the slopes of the northern side of Sierra Salinas.
As a young project, Bodegas Sierra Salinas is still seeking its own identity through its ideal terroir and facilities. We aim to make our wines with a unique perspective. Perhaps the place that inspired Azorín's wonderful stories directs our efforts step by step.
A perfect blend
The winery is located in an ultra modern building, where both the Castaño family's 50-years of wine making experience and the latest technological advances come together. Two main premises were taken into account when conceiving and developing its design; thermal isolation and the use of gravity to minimize the harmful effects of oxygen on the wine.
Thermal isolation and temperature control has been achieved in the following ways. The winery is located in the centre of the vineyards to avoid the grapes heating up once harvested. The winery protects the vats by being orientated due south into the sun, so that the wine making can be done on the opposite cooler side of the building. The grapes are placed immediately into a large cooling room which drops their temperature down to around 4ºC – 5ºC, to maintain the integrity of each berry. Each vat is temperature controlled. Finally, the barrel room is located under ground which ensures a constant cool temperature. Control is the key advantage.
The building has been designed using a top down system that takes advantage of gravity to move the wine from one stage to another reducing dramatically the harmful effects of oxygen. The grapes enter the winery on the first and highest floor, where they are vinified. The resulting must is then dropped down to the ground floor where it stabilizes and the press wine is produced. Finally the wine drops down into the cellar where it is barreled and bottle aged.
The winery contains "chapeau flotant" split tanks. The top half of the tanks – located on the first floor – is dedicated to cool maceration and alcoholic fermentation. Following our philosophy of respecting the grapes, a modern system called "pigeage" is used. This facilitates the mixing of the cap (skins and seeds) with the must, in a non aggressive way, avoiding the undesirable oxidation that pump-overs can cause. Instead, the technique gently stirs the cap mixing it into the must.
The bottom half of the tanks, which are accessed from the ground floor, are used for stabilizing and storing the wines. The press wine which is produced at this stage is produced with the use of bladder presses that reduce over pressing and therefore avoid non-desirable aromas and flavors. The press wine is stored separately and is only used if the wine maker sees fit. This is yet another point of control provided by the technology.
In the cellar, 500 French oak barrels – from the Allier region – are used to give the wines their characteristic aromatic notes. The barrels are either medium toasted or medium plus toasted. At no point are the wines filtered. In bottle the wines are aged depending on each wine's needs.
When an ideal block of vineyards was found on the slopes of the mountain range Sierra Salinas in D.O. Alicante, the Castaño family didn't hesitate in recognizing its potential and initiated the building project which has provided such a unique winery. The official inauguration was in September 2006. The high quality produced so far is due to the wealth of experience and knowledge possessed by the Castaño family, and the control that the winery provides over the wine making process.