#Luke hrabal

[dinosaursr66]

Left Handed Luke devoted to my son Right Handed Luke.

SONG OF THE DAY - January 25, 2024

[puckingoff]

Hockey East Quarterfinals Preview 2023-24

The 2023-24 Hockey East season was dominated by the Boston College Eagles and Boston University Terriers. After a few down years, what’s old is new. The same goes for the University of Maine; the Black Bears finished in third place after a decade or so in the wilderness. The fourth and fifth-place finishers, Providence College and the University of Massachusetts-Amherst, have been near the top,…

[boxscorehockey]

Seattle Squid Franchise Roster

Seattle- Ian

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Clara Damian Comesso Drew Daccord Joey Daws Nico Dostal Lukas Fowler Jacob Gajan Adam Gardner Evan Gidlof Marcus Greaves Jet Gustavsson Filip Hildeby Dennis Hofer Joel Hrabal Michael Ingram Connor Kokko Niklas Lankinen Kevin Merzlikins Elvis Montembault Samuel Mrazek Petr Portillo Erik Primeau Cayden Reimer James Saarinen Kim Samsonov Ilya Schmid Akira Stolarz Anthony Tarasov Daniil Vejmelka Karel Vinni Eemil Wallstedt Jesper Woll Joseph

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Bedard Connor Beniers Matty Bjorkstrand Oliver Bratt Jesper But Daniil Catton Berkly Celebrini Macklin Chinakhov Yegor Cotter Paul Cowan Easton Crouse Lawson Dach Kirby Doan Josh Domi Max Dufour William Dvorsky Dalibor Edstrom David Evangelista Luke Fisker Molgaard Oscar Garland Conor Gaucher Nathan Gauthier Cutter Gauthier Ethan Goyette David Hage Michael Hagel Brandon Holmstrom Simon Howard Isaac Knies Matthew Lucius Chaz Mangiapane Andrew McCann Jared McMann Bobby Mercer Dawson Merkulov Georgi Miettinen Julius Minten Fraser Musty Quentin Novak Tommy Nyman Jani Protas Aliaksei Raty Aatu Rehkopf Carson Reichel Lukas Robertson Nick Sale Edouard Sherangovich Yegor Stenberg Otto Stone Mark Strome Dylan Tolvanen Eeli Tomasino Philip Villeneuve Nathan Voronkov Dmitry Wood Matthew Wright Shane

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Bertucci Tristan Boqvist Adam Casey Seamus Ceulemans Corson Chychrun Jakob Cormier Lukas Dunn Vince Durzi Sean Ekman Larsson Oliver Evans Ryker Faber Brock Freij Alfons Gavrikov Vladislav Harley Thomas Hughes Luke Kesselring Michael Kiviharju Aron LaCombe Jackson Lundkvist Nils Luneau Tristan Mateychuk Denton Matheson Mike Mews Henry Miromanov Daniil Molendyk Tanner Moser Janis Mukhamadullin Shakir Niemela Topi Pickering Owen Rinzel Sam Romanov Alex Simashev Dmitri Thompson Jack Valimaki Juuso Vlasic Alex Willander Tom Yakemchuk Carter

2024-25 waivers: 8

[auskultu]

The Ten Best Films of 1967

Bosley Crowther, The New York Times, 24 December 1967

THIS was the year in which Hollywood—or the home-grown film, if you please—made a remarkable emergence from the shadow of eclipse into which it had been cast by foreign imports and the weakness of its own energies in the past several years. Suddenly, against a record that showed a consistent decline in numerical representation since 1961, the Hollywood moviemakers have landed on my “10 best" list this year with no less than four solid entries, and with a respectable sprinkling on the honorable mention list.

Unstinting credit for this rebound to critical respectability must be given to those producers and directors who have finally responded to the cry for pregnant themes in the contemporary span of social tensions, rather than drift with a flat escapist tide. But it must also be acknowledged that a certain lessening was evident this year in the quality of foreign-language pictures, punctuated only by the emergence of individual, isolated surprises from young directors scattered from Sweden to Spain.

This was a year marked by ugly explosions of violence and sadism in many films, much of it meritricious and generated merely to shock. There are some elements of violence in films on the forthcoming list. But they are artfully restrained and developed to make valid and socially meaningful points. I am happy to conclude that the entries on this last year-end balance that I’ll draw up are as brilliant in their way and as impressive as those on the first I ever did.

So here they are, put down in the order in which they opened in New York:

La Guerre Est Finie (The War Is Over), screenplay by Jorge Semprun; directed by Alain Resnais; produced by Sofracime of Paris and Eu-ropa-Film of Stockholm; released by Brandon Films. This reflection of two days in the life of an aging Spanish left-wing agitator on a secret trip to Paris to visit his mistress and make contact with the Communist leaders there embraces a complex of emotions, memories, loyalties, and is ono of the finest comprehensions of growing old in today’s world yet filmed. Yves Montand, Ingrid Thulin and Genevieve Bujold play it beautifully.

Ulysses, screenplay by Joseph Strick and Fred Haines, based on the novel by James Joyce; directed by Mr. Strick; a Walter Reade, Jr.-Joseph Strick Production, released by Continental. A faithful and brilliant screen translation of Joyce’s classic novel, done with taste, imagination and cinema artistry. Most notable and commendable are the candor and clarity with which Joyce’s ribald language and erotic images are presented to achieve understanding and the rhythm and ring of poetry. Maurice Roeves as Stephen Dedalus, Milo O’Shea as Leopold Bloom and Barbara Jefford as his wife, Molly, are superior in an excellent cast.

The Hunt, screenplay by Angelino Fons and Carlos Saura; directed by Mr. Saura; an Elias Querejeta Production, released by Trans-Lux. In this brilliantly expanding drama of four men on a seemingly innocent rabbit-hunting trip in a barren area fought over in the Spanish Civil War, Mr. Saura vividly presents us with a bitter and horrifying expose of the spiritual poverty and frustration of middle-aged men who were involved in that war—on the side of the Falangists. One of the rare Spanish films released here, it acquaints us with a strong young directorial talent and new, bold spirit in Spain.

In the Heat of the Night, screenplay by Stirling Silli-phant, based on the novel by John Ball; directed by Norman Jewison; produced by Waller Mirisch of the Mirisch Company for United Artists. The hot surge of racial hate and tension as it has been displayed in many communities this year is fictionally isolated and put forth with realism and point in this strong drama of a Northern Negro detective up against a mystifying murder and an antagonistic white sheriff in the South. Sidney Poitier and Rod Steiger give Oscar-worthy performances.

Father, screenplay by Istvan Szabo; directed by Mr. Szabo and produced by Ma-film Studio III of Budapest, Hungary; released by Continental. Again, an exciting creation from a fresh talent on the European scene is manifest in this study of a young Hungarian's heroic fantasies of his dead father, wherein are reflected his emotional insecurity and his need for a sense of heritage in a changing world. Fine performances by several young people and a fluid, forceful cinematic style distinguish what might be considered a significant achievement of a Hungarian “new wave.”

Elvira Madigan, screenplay by Bo Widerberg; directed by Mr. Widerberg, and produced by Janco/Europa Film; released by Cinema V. A new, young Swedish director swims impressively into our ken with this pictorially exquisite and dramatically absorbing story of a pathetically doomed love affair between a young married Swedish cavalry officer and a beautiful circus girl, all in the serene long ago. Thommy Berggren and Pia Degermark fairly break one’s heart in the principal roles. The creative use of color and of Mozart’s music is memorable.

Closely Watched Trains, screenplay by Bohumil Hrabal and Jiri Menzel, based on a story by Mr. Hrabal; directed by'Mr. Menzel, and produced by Film Studio Bar-randov of Prague, Czechoslovakia; a Sigma III release. In the naturalistic tradition of several recent fine Czechoslovak films, this humorous, revealing and poignant drama of a hopeful, immature young railway-station attendant at a country station in World War II is richly cinematic and full of humanity and tenderness. Vaclav Neckar as the young hero and Jitka Bendova as an older attendant are delightful in a fine cast.

Cool Hand Luke, screenplay by Donn Pearce and Frank R. Pierson, based on a novel by Mr. Pearce; directed by Stuart Rosenberg, and produced by Gordon Carroll for Warner Brothers-Seven Arts. This tough convict-camp melodrama about a cryptic, alienated young chap, caught between the heroization of his fellow prisoners and the ruthless deflating of the guards, is a good, solid chunk of raw meat, cinematically and otherwise, in a year in which films of brutality and violence have too often been overdone. Paul Newman as the hero, George Kennedy as a fellow con and Jo Van Fleet in a small role do especially well.

In Cold Blood, screenplay by Richard Brooks, based on the novel by Truman Capote; directed and produced by Mr. Brooks for Columbia. Here, in this starkly realistic and electrifyingly illuminating film, based on the classic in-depth study of an actual Kansas quadruple murder case, Mr. Brooks brilliantly provides us with a comprehension beyond the scope of this one case of the harrowing hazard of random crime and senseless violence in our communities. Excellent performances by two comparative newcomers, Scott Wilson and Robert Blake, in the roles of the neurotic killers, and a strong, expressive musical-sound score by Quincy Jones are among the several Oscar-worthy efforts in this film.

The Graduate, screenplay by Calder Willingham and Buck Henry, based on a novel by Charles Webb; directed by Mike Nichols, and produced by Lawrence Turman for Embassy Pictures. This sharply incisive and funny picture about the social and amorous problems of a young man fresh out of college is thematically and cinematically one of the best American social satires that has come along in years, and it offers in the title role a new young actor, Dustin Hoffman, who is nothing short of superb. Anne Bancroft as a restless older woman and Katharine Ross as her daughter also shine.

There are my ”10 best” selections. But I would like, as I did last year, to note several films that were contenders for places on this list. They may be classed as Honorable Mentions, with no gradation among them—and here they are:

Persona — Ingmar Bergman’s superb, disturbing study of a clashing dual personality, beautifully played by Bibi Andersson and Liv Uilmann.

Marat/Sade — A brilliant cinematic enactment of the powerful Peter Weiss stage play about insanity and revolution, directed by Peter Brook.

The War Game — A hypothetical study, done in tele-vision-documentary style, of a nuclear bombing of Britain, directed by Peter Watkins.

Up the Down Staircase — The “blackboard jungle” broadened, with particular emphasis upon the devotion of a new high school teacher, played exceedingly well by Sandy Dennis.

Guess Who’s Coming to Dinner — A delightful, icebreaking drawing-room comedy about mixed marriage, charmingly played—and talked—by Spencer Tracy, Katharine Hepburn and Sidney Poitier.

The Battle of Algiers — Here is a scorching example of the old reenacted documentary-type film, directed with new vitality by Gillo Pontecorvo and played by a first-rate cast.

Privilege — What happens when a British “pop” singer is exploited for the benefit of The Establishment; highly suppositional but strong, also by Peter Watkins.

The Jokers — New British director Michael Winner satirizes the impatience and recklessness of younger members of the upper class.

The Tiger Makes Out — Murray Schisgal’s comedy-satire on New York loners, played delightfully by Eli Wallach and Arne Jackson.

There, that’s enough.

Here’s hoping for even better in 1968!