#Star Wars 1950 Version

[sidonius5]

ℐ 𝒶𝓂 𝒹𝑜𝓌𝓃 𝒻𝑜𝓇 𝓌𝒶𝓉𝒸𝒽𝒾𝓃𝑔 𝓉𝒽𝒾𝓈 1950'𝓈 𝓋𝑒𝓇𝓈𝒾𝑜𝓃 𝑜𝒻 𝐒𝐭𝐚𝐫 𝐖𝐚𝐫𝐬...

[hotvintagepoll]

Propaganda

Yvonne De Carlo (Frontier Gal, The Ten Commandments, Casbah)— Although most famous for playing Lily Munster in The Munsters, Yvonne De Carlo had a successful movie career throughout the 1940s and 1950s, appearing in such films as “The Ten Commandments”, “Sea Devils” and two Munster movies later in life.

Setsuko Hara (Tokyo Story, Late Spring, The Idiot)— "'The only time I saw Susan Sontag cry,' a writer once told me, his voice hushed, 'was at a screening of a Setsuko film.' What Setsuko had wasn’t glamour—she was just too sensible for that—it was glow, one that ebbed away and left you concerned, involved. You got the sense that this glow, like that of dawn, couldn’t be bought. But her smiles were human and held minute-long acts, ones with important intermissions. When she looked away, she absented herself; you felt that she’d dimmed a fire and clapped a lid on something about to spill. Over the last decade, whenever anyone brought up her lips—'Setsuko’s eternal smile,' critics said, that day we learned that she’d died—I thought instead of the thing she made us feel when she let it fall." - Moeko Fujii

This is round 2 of the tournament. All other polls in this bracket can be found here. Please reblog with further support of your beloved hot sexy vintage woman.

[additional propaganda submitted under the cut]

Yvonne de Carlo:

The woman who brought Burt Lancaster to his knees.

Setsuko Hara:

One of the best Japanese actresses of all time; a symbol of the golden era of Japanese cinema of the 1950s After seeing a Setsuko Hara film, the novelist Shūsaku Endō wrote: "We would sigh or let out a great breath from the depths of our hearts, for what we felt was precisely this: Can it be possible that there is such a woman in this world?"

One of the greatest Japanese actresses of all time!! Best known for acting in many of Yasujiro Ozu's films of the 40s and 50s. Also she has a stunning smile and beautiful charm!

Linked gifset

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She's considered by some to be the greatest Japanese actress of all time! In Kurosawa's The Idiot she haunts the screen, and TOTALLY steals the show from Mifune every time she appears.

"No other actor has ever mastered the art of the smile to the same extent as Setsuko Hara (1920–2015), a celebrated star and highly regarded idol who was one of the outstanding actors of 40s and 50s Japanese cinema. Her radiant smile floods whole scenes and at times cautiously undermines the expectations made of her in coy, ironic fashion. Yet her smile's impressive range also encompasses its darker shades: Hara's delicate, dignified, melancholy smile with which she responds to disappointments, papers over the emotions churning under the surface, and flanks life's sobering realizations. Her smiles don't just function as a condensed version of her ever-precise, expressive, yet understated acting ability, they also allow the very essence of the films they appear in to shine through for a brief moment, often studies of the everyday, post-war dramas which revolve around the break-up of family structures or the failure of marriages. Her performances tread a fine line between social expectation and personal desire in post-war Japan, as Hara attempts to lay claim to the autonomy of the female characters she plays – frequently with a smile." [link]

Leading lady of classic Japanese cinema with a million dollar smile

Maybe the most iconic Japanese actress ever? She rose to fame making films with Yasujiro Ozu, becoming one of the most well-known and beloved actresses in Japan, working from the 30s through the 60s in over 100 hundred. She is still considered one of the greatest Japanese actresses ever, and in my opinion, just one of the greatest actresses of all time. And she was HOT! Satoshi Kon's film Millennium Actress was largely based on her life and her career.

[cesarescabinet]

(this is spacekrakens lmao) dude idk anything about like 1950s Japanese cinema, do you have any recommendations? looking for stuff to toss on the watchlist now that I'm a bit burned out on horror (unless you have some horror recs)

Hey! If you’re curious about Japanese cinema (particularly 1950s), there’s a lot of avenues to explore! Musicals, crime, horror, historical—it all depends on what mood you’re in. (Putting this under a read more because I'm DEFINITELY going to be long posting about this!!!) Hope this is useful to you lol.

(Also noting if anybody wants to add to this list with their own recommendations feel free!!)

With old school Japanese cinema, I’ll always recommend Akira Kurosawa (obviously). He’s made some of the best Japanese movies (and arguably, the best movies of all time imo) and I feel like his work is a good gateway. It’s readily available on physical media/streaming too.

Specifically ‘50s stuff; Hidden Fortress (1958) is a good adventure flick whose structure was swiped for Star Wars, Throne of Blood (1957) is Japanese Macbeth if you like Shakespeare, and if you don’t mind a longer movie Seven Samurai (1954) includes Toshiro Mifune acting like this;

Gotta admit, though—my personal favorites from Kurosawa don’t come from the 1950s; Drunken Angel (1948) and Yojimbo (1961). One has a pathetic gangster as the main lead, the other is just a solid, breezy proto-action film (also has my beloved Unosuke but that's besides the point)

Some personal favorites of mine from the 1950s:

Life of a Horse Trader (1951) is a bittersweet story about a man trying to be a good single father to his son in the backdrop of Hokkaido. He tends not to be great at it. Stars Toshiro Mifune, the most famous face of Japanese cinema and for good reason!

Conflagration/Enjo (1958) is a single Buddhist acolyte’s fall into quiet insanity. Raizo Ichikawa is another amazing actor who I love! Also includes Tatsuya Nakadai who is the GOAT (in my heart).

Godzilla (1954) is AMAZING! If you liked Gozilla Minus One, it took a lot of familiar cues from this movie. It also technically counts as horror, depending on your definition.

Japanese horror from the 1950s:

Ugetsu (1951) (Not one I’ve seen personally, but it’s on Criterion)

The Beast Shall Die (1958) (American Psycho, but in Showa Japan. Tatsuya Nakadai is terrifying in this and absolutely despicable—stylish movie tho!)

Ghost of Yotsuya (1959) (Old-school Japanese ghost story. Honestly, there are so many different versions of this story on film that you can pick which version to watch and go from there—I’m partial to the 1965 version myself, because of the rubber rats and Tatsuya Nakadai playing a crazy person).

The Lady Vampire (1959) is the OG western-style vampire movie from Japan. Plays around with the mythos a lot, but hey our Dracula looks like this;

Misc movies that I think are neat or good gateway movies:

The Samurai Trilogy by Hiroshi Inagaki, which stars Toshiro Mifune as Miyamoto Musashi. Found that people otherwise uninterested in Japanese cinema really enjoyed this!

You Can Succeed, Too (1964) is one of my favorites from the ‘60s, also directed by Eizō Sugawa. A fun satire on the corporate world that's super colorful with catchy songs.

The Sword of Doom (1966) is also another favorite of mine, starring my beloved Tatsuya Nakadai as another bastard man (seriously though Ryunosuke is FASCINATING to me--). Fun gore effects and action scenes!

Kwaidan (1964) is an anthology of Japanese folk tales, labeled a horror film but in that kinda sorta old-school way. Beautifully shot by my favorite Japanese director Masaki Kobayashi (who, if you like this you should seriously check out his other work!)

[idkjustlemmedrownlikerab]

Midnights (Marauder's Version)

Welcome back to the new series by @marsmarauders and I. Obviously we got carried away again but here you have every single song from Midnights related to the Marauders characters :D

So we present to you... Midnights (Marauder's Version)

Lavender Haze

“The 1950s shit they want from me, I just wanna stay in that Lavender haze"

Like this song is very obviously Jily falling hopelessly in love with each other I don’t think it needs to be further elaborated

Maroon

“When the silence came, we were shaking, blind and hazy, How the hell did we lose sight of us again?"

Wolfstar, but specifically like… November 1981. The vinyl reference, "the lips I used to call home," "laughing with my feet in your lap," and "the rust that grew between telephones" signifying how they weren’t communicating well and hiding things from each other "I see you everyday now" cause Remus sees the sky and what just so happens to be in the sky? Stars. Sirius also sees the sky from his prison cell and what does he see? Oh that’s right the moon!

Anti-Hero

“When my depression works the graveyard shift, All of the people I've ghosted stand there in the room”

We had two theories for this one first being Regulus bcoz of the self deprecating vibe and “I'll stare directly at the sun (James) but never in the mirror”

But we could also see it as Mary post-war? It's hard to describe why, but everyone sees her as the Anti-Hero cause she saved herself even tho she had full right to do that

Snow on the Beach

For this one I was utterly confused and absolutely useless and Marls came up with this interpretation herself

"Can this be a real thing? Can it? Are we falling like snow at the beach?"

This song is Sirius's perspective specifically during the wolfstar forgiveness phase after the prank. "You wanting me tonight feels impossible".

You're On Your Own, Kid

"You're on your own, kid, You always have been"

Both of us agree that this song screams all the Black children because none of them chose this town (family) and dreamt of getting out, I mean the whole song recounts a young person who longs for love but eventually understands that they are on their own and always have been afterall whatever you do you can never escape the black family curse can you?

Midnight Rain

“He was sunshine, I was midnight rain”

I mean do I even need to say anything? Its jegulus bcoz they r the literal definition of opposites attract even tho they loved each other they were born on two different sides of a war which inevitably became the reason of their end.

Question…?

"Can I ask you a question? Did you ever have someone kiss you in a crowded room"

Dorlene. That’s it, like we have no explanation, just vibes.

Vigilante Shit

"I don't start it but I can tell you how it ends, Don't get sad, get even"

Both of us agree it could be both Regulus or Dorcas because canonically Regulus knew about the horcruxes, and died while deceiving the dark lord and on the way to kill him (also bonus bcoz the final blow which made him take this decision was bcoz Voldemort exploited Kreature so Reg decided to get even) Dorcas on the other hand canonically had to be killed by Voldemort himself because she was posing as too big a threat to his empire

Bejeweled

"Baby love, I think I've been a little too kind, Didn't notice you walking all over my peace of mind"

Lily about Severus and how even tho she  mourns and misses her friendship with him, it will never be worth more than her self respect and how she won’t let him walk all over her, a diamond’s gotta shine afterall ;)

Labyrinth

"Uh oh, I'm falling in love, Oh no, I'm falling in love again, Oh, I'm falling in love"

To me this song is sooo obviously jegulus coz of the chorus alone, its James realizing that he’s falling in love again, this time with Regulus after pining after Lily for years. Just how when he thought he was “unlovable” and it was all doomed this sickly, victorian looking, snarky slytherin boy swoops in and steals his heart right out of his chest

Marls has her own hc for Emmary tho where basically Mary was in love with Lily but it was unrequited and then she had a situationship with Emmaline but ended up catching feelings which is so perfect for this song

Karma

"And I keep my side of the street clean, You wouldn't know what I mean"

Again I had no opinion on this song coz it felt like too happy and too upbeat a song for any of these miserable sods (I still love them ) but Marls swooped in with a brilliant interpretation which was that its from Dorcas’ pov to the slytherin trio basically throwing shade at them for choosing to stay and join the death eaters instead of leaving and fighting for the “right” side like her

Sweet Nothing

"They said the end is comin', everyone's up to somethin' I find myself runnin' home to your sweet nothings"

Now for this song we had differing views with me being a jegulus girlie while Marls being a jily girlie (we still love both the ships tho, we just have a preference)

To me the song is jegulus coz I see it as them expecting the inevitable end of their relationship and doom due to the impending war and their family’s differing views and them just trying to tune everything out to spend their limited time together and in love.

On the other hand Marls interpreted is as to when the Potters were in hiding with only each other and Harry for company. How they could see that the war was on full ride and they were at the centre of it while still trying to create some sweet and happy memories with their son

Mastermind

"I laid the groundwork, and then, Just like clockwork, The dominos cascaded in a line, What if I told you I'm a mastermind?"

(Try and tell me the whole bridge doesn’t scream Regulus Arcturus Black.) To me the song is about Regulus because the man literally was a mastermind, while being a death eater he planned to betray Voldemort by destroying a horcrux and he was actually successful in retrieving it tho maybe I’m a little biased due to his characterization in the fic only the brave (Marls also thinks the song could be about James bcoz of the bridge "To make them love me and make it seem effortless")

The Great War       

"I vowed I would always be yours, 'Cause we survived the Great War"

Marls didn’t really have an opinion on this one but for me it was very clearly wolfstar. First reason obviously being the fact that they are pretty much the only couple who actually survived the war (the first one that is, we all remember how the second one went). "Somewhere in the haze, got a sense I'd been betrayed" being how they both thought the other was the spy and the prank

Bigger Than The Whole Sky

"Every single thing I touch becomes sick with sadness, 'Cause it's all over now, all out to sea"

Now this could go two ways one being the black brothers,

"Goodbye, goodbye, goodbye, You were bigger than the whole sky"

Basically how Sirius feels when Regulus gets the dark mark. Because his brother is too far gone

Bonus since Regulus dies literally all out at sea

The other being marylily bcoz of

"What could've been, would've been, What should've been you"

"And I've got a lot to pine about, I've got a lot to live without"

Obviously from Mary’s pov since Lily is dead

Paris

Now Marls had no idea about and I suggested rosekiller just coz of vibes and coz

"I wanna brainwash you, Into loving me forever"

This seems like something Barty would definitely say

High Infidelity

"You know there's many different ways that you can kill the one you love, The slowest way is never loving them enough"

To me this song is bartylus coded (don’t worry they then get together with Evan and James and have a happy relationship) especially coz of this one specific rosekiller microfic I’d seen if I find it I’ll reblog it with this post

Glitch

"In search of glorious happenings of happenstance on someone else's playground, But it's been two thousand one hundred and 90 days of our love blackout"

We agreed this song gives off wolfstar vibes tho we are open to suggestions

Also 2190 days is six years which is around the same amount of time wolfstar dated if we hc that they got together around their 5th year :D

Would've, Could've, Should've

"If clarity's in death, then why won't this die?, Years of tearing down our banners, you and I, Living for the thrill of hitting you where it hurts, Give me back my girlhood, it was mine first"

Now this track could be taken in many contexts I like the interpretation of it being from the Black children’s perspective to their parents

And another one being from Remus to Greyback

"And if I was a child, did it matter, If you got to wash your hands?"

Marls also suggested it being from Narcissa’s pov to Lucius or Bellatrix, regretting not going with Andromeda which also fits wonderfully

(Since it in itself is talking about the person suffering due to a relationship when they were young and it even now haunts them I feel like this song could be interpreted many many ways bcoz all of the marauders era characters dealt with a lot of trauma at a young age)

Well obviously since most of them didn’t even reach their twenties

Dear Reader

"Dear Reader, if it feels like a trap, You're already in one"

 Peter Pettigrew. Need I see anything more?

Hits Different

"In the good in the world, you once believed in me, And I felt you and I held you for a while"

Lily without Snape in her life especially when she starts falling for James

You're Losing Me

"How can you say that you love someone you can't tell is dyin'?, I sent you signals and bit my nails down to the quick, My face was gray, but you wouldn't admit that we were sick"

For this one there wasn’t even a discussion needed it is wolfstar during the first war and we won’t hear otherwise. How even tho Sirius and Remus loved each other, the pressure of the war itself was too much on them especially coz they were so young and also coz of how Peter was manipulating them against the other ("Was it because I'm a werewolf?" "Was it because I'm a Black?" I’m sorry). They could see their relationship was straining, they kept waiting for the other to take a risk, a step to fix it and how even through their suspicions, they loved each other regardless

AAAAND THAT'S A WRAP!! THANK YOU FOR READING THIS!!

Make sure to come back to see Evermore, coming soon! (To a theater near you.)

[whencyclopedia]

Black Elk on the Battle of the Little Bighorn

Black Elk (l. 1863-1950) of the Oglala Lakota Sioux was twelve years old at the Battle of the Little Bighorn on 25 June 1876. He gives his account of the famous conflict in the work Black Elk Speaks (1932), and, even at a distance from the event, his memory is supported by earlier narratives.

The Battle of the Little Bighorn (also known as the Battle of the Greasy Grass/Fight of the Greasy Grass, 25-26 June 1876) is the most famous engagement of the Great Sioux War (1876-1877) and is commonly referred to as Custer's Last Stand as the Civil War hero and Indian fighter Lt. Colonel George Armstrong Custer (l. 1839-1876) was defeated and killed there by opposing forces led by Sioux warriors Crazy Horse (l. c. 1840-1877) and Sitting Bull (l. c. 1837-1890). The engagement was a decisive victory for the Sioux but would be their last in the war as, afterwards, the US military sought retaliation.

Black Elk would be 13 on 1 December of 1876, but, according to his own account, he was still considered a "boy" in June of 1876 as he had not yet faced an enemy in battle or taken his first scalp. This would all change at the Battle of the Little Bighorn when he was forced to engage with the hostile forces of the US military and was commanded by an older warrior to take an enemy's scalp.

His narrative of the chaos and confusion of the battle, given to the American poet and writer John G. Neihardt (l. 1881-1973) in 1932, is supported by the account given by the Sioux warrior Rain-in-the-Face (l. c. 1835-1905) to the Sioux physician and author Charles A. Eastman (also known as Ohiyesa, l. 1858-1939) as given in Indian Heroes and Great Chieftains (1916). Rain-in-the-Face, according to Eastman's account, notes:

In that fight, the excitement was so great that we scarcely recognized our nearest friends! Everything was done like lightning. (137)

This version of the battle is also given by others, including the Northern Cheyenne warrior Wooden Leg (l. c. 1858-1940) and Sioux war chief Gall (l.c. 1840-1894). Gall is referenced by Black Elk below in rallying the warriors against the charge of Major Marcus Reno (l. 1834-1889), who was the first to assault the camp of the Sioux and their Cheyenne-Arapaho allies on 25 June 1876.

The significance of Black Elk's account, aside from what it has to say about the confusion of the battle, is widely recognized as an accurate depiction of how the Plains Indians, specifically the Sioux, felt about the westward expansion of the United States onto their ancestral lands. The Sioux, as Black Elk says, regarded the lands as theirs, not only according to their own traditions but through the Fort Laramie Treaty of 1868, and yet the soldiers of the US government kept coming to attack and drive them from it.

Text

The following passage comes from Black Elk Speaks, pp. 65-70, from the 2014 Bison Books edition of the work. The first two paragraphs reference the Battle of the Rosebud (17 June 1876) and the Battle of Powder River (17 March 1876), the latter recognized as the first engagement of the Great Sioux War.

Crazy Horse whipped Three Stars on the Rosebud that day, and I think he could have rubbed the soldiers out there. He could have called many more warriors from the villages, and he could have rubbed the soldiers out at daybreak, for they camped there in the dark after the fight.

He whipped the cavalry of Three Stars when they attacked his village on the Powder River that cold morning in the Moon of the Snowblind . We were in our own country all the time and we only wanted to be let alone. The soldiers came there to kill us, and many got rubbed out. It was our country, and we did not want to have trouble.

We camped there in the valley along the south side of the Greasy Grass before the sun was straight above; and this was, I think, two days before the battle. It was a very big village, and you could hardly count the teepees. Farthest up the stream toward the south were the Hunkpapa and the Oglala were next. Then came the Miniconjou, the San Arcs, the Blackfeet, the Shyelas; and last, the farthest toward the north, were the Santee and Yankton. Along the side towards the east was the Greasy Grass, with some timber along it, and it was running full from the melting snow in the Bighorn Mountains. If you stood on a hill, you could see the mountains off to the south and west. On the other side of the river, there were bluffs and hills beyond. Some gullies came down through the bluffs. On the westward side of us were lower hills, and there we grazed our ponies and guarded them. There were so many they could not be counted.

There was a man by the name of Rattling Hawk who was shot through the hip in the fight on the Rosebud, and people thought he could not get well. But there was a medicine man by the name of Hairy Chin who cured him.

The day before the battle, I had greased myself and was going to swim with some boys when Hairy Chin called me over to Rattling Hawk's teepee and told me he wanted me to help him. There were five other boys there and he needed us for bears in the curing ceremony because he had his power from a dream of the bear. He painted my body yellow, and my face too, and put a black stripe on either side of my nose from the eyes down. Then he tied my hair up to look like bear's ears and put some eagle feathers on my head.

While he was doing this, I thought of my vision, and suddenly I seemed to be lifted clear off the ground; and while I was that way, I knew more things than I could tell, and I felt sure something terrible was going to happen in a short time. I was frightened.

The other boys were painted all red and had real bear's ears on their heads.

Hairy Chin, who wore a real bear skin with the head on it, began to sing a song that went like this:

"At the doorway, the sacred herbs are rejoicing."

And while he sang, two girls came in and stood one on either side of the wounded man; one had a cup of water and one some kind of herb. I tried to see if the cup had all the sky in it, as it was in my vision, but I could not see it. They gave the cup and the herb to Rattling Hawk while Hairy Chin was singing. Then they gave him a red cane and, right away, he stood up with it.

The girls then started out of the teepee, and the wounded man followed, leaning on the sacred red stick; and we boys, who were the little bears, had to jump around him and make growling noises toward the man. And, when we did this, you could see something like feathers of all colors coming out of our mouths. Then Hairy Chin came out on all fours, and he looked just like a bear to me. Then Rattling Hawk began to walk better. He was not able to fight the next day, but he got well in a little while.

After the ceremony, we boys went swimming to wash the paint off, and when we got back, the people were dancing and having kill talks all over the village, remembering brave deeds done in the fight with Three Stars on the Rosebud.

When it was about sundown, we boys had to bring the ponies in close, and when this was done it was dark and the people were still dancing around fires all over the village. We boys went around from one dance to another, until we got too sleepy to stay up anymore.

My father woke me at daybreak and told me to go with him to take our horses out to graze and, when we were out there, he said, "We must have a long rope on one of them so that it will be easy to catch; then we can get the others. If anything happens, you must bring the horses back as fast as you can – and keep your eyes on the camp."

Several of us boys watched our horses together until the sun was straight above and it was getting very hot. Then we thought we would go swimming, and my cousin said he would stay with our horses till we got back. When I was greasing myself, I did not feel well; I felt queer. It seemed that something terrible was going to happen. But I went with the boys anyway. Many people were in the water now and many of the women were out west of the village digging turnips. We had been in the water quite a while when my cousin came down there with the horses to give them a drink, for it was very hot now.

Just then we heard the crier shouting in the Hunkpapa camp, which was not very far from us, "The chargers are coming! They are charging! The chargers are coming!" Then the crier of the Oglala shouted the same words, and we could hear the cry going from camp to camp northward clear to the Santee and Yankton.

Everybody was running now to catch the horses. We were lucky to have ours right there just at that time. My older brother had a sorrel, and he rode away fast toward the Hunkpapa. I had a buckskin. My father came running and said, "Your brother has gone to the Hunkpapa without his gun. Catch him and give it to him. Then come right back to me." He had my six-shooter too – the one my aunt gave me. I took the guns, jumped on my pony, and caught my brother. I could see a big dust rising just beyond the Hunkpapa camp and all the Hunkpapa were running around and yelling, and many were running wet from the river.

Then out of the dust came the soldiers on their big horses. They looked big and strong and tall and they were all shooting. My brother took his gun and yelled for me to go back. There was brushy timber just on the other side of the Hunkpapa and some warriors were gathering there. He made for that place, and I followed him. By now, women and children were running in a crowd downstream. I looked back and saw them all running and scattering up a hillside down yonder.

When we got into the timber, a good many Hunkpapa were there already, and the soldiers were shooting above us so that leaves were falling from the trees where the bullets struck. By now, I could not see what was happening in the village below. It was all dust and cries and thunder; for the women and children were running there, and the warriors were coming on their ponies.

Among us there in the brush and out in the Hunkpapa camp, a cry went up, "Take courage! Don't be a woman! The helpless are out of breath!" I think this was when Gall stopped the Hunkpapa, who had been running away, and turned them back.

I stayed there in the woods a little while and thought of my vision. It made me feel stronger and it seemed that my people were all thunder beings and that the soldiers would be rubbed out.

Then another great cry went up out of the dust: "Crazy Horse is coming! Crazy Horse is coming!" Off toward the west and north they were yelling, "Hoka Hey!" like a big wind roaring, and making the tremolo and you could hear eagle bone whistles screaming. The valley went darker with dust and smoke and there were only shadows and a big noise of many cries and hoofs and guns.

On the left of where I was, I could hear the shod hoofs of the soldiers' horses going back into the brush and there was shooting everywhere. Then the hoofs came out of the brush, and I came out and was in among men and horses weaving in and out and going up-stream and everybody was yelling, "Hurry! Hurry!" The soldiers were running upstream, and we were all mixed there in the twilight and the great noise.

I did not see much, but once I saw a Lakota charge at a soldier who stayed behind and fought and was a very brave man. The Lakota took the soldier's horse by the bridle, but the soldier killed him with a six-shooter. I was small and could not crowd in to where the soldiers were, so I did not kill anybody. There were so many ahead of me and it was all dark and mixed up.

Soon, the soldiers were all crowded into the river, and many Lakota too, and I was in the water a while. Men and horses were all mixed up and fighting in the water and it was like hail falling in the river. Then we were out of the river and people were stripping the dead soldiers and putting the clothes on themselves. There was a soldier on the ground, and he was still kicking. A Lakota rode up and said to me, "Boy, get off and scalp him!" I got off and started to do it. He had short hair and my knife was not very sharp. He ground his teeth. Then I shot him in the forehead and got his scalp.

Many of our warriors were following the soldiers up a hill on the other side of the river. Everybody else was turning back down stream, and on a hill away down yonder, above the Santee camp, there was a big dust, and our warriors whirling around in and out of it just like swallows, and many guns were going off.

I thought I would show my mother my scalp and so I rode over toward the hill where there was a crowd of women and children. On the way down there, I saw a very pretty young woman among a band of warriors about to go up to the battle on the hill and she was singing like this:

"Brothers, now your friends have come! Be brave! Be Brave! Would you see me taken captive?"

When I rode through the Oglala camp, I saw Rattling Hawk sitting up in his teepee with a gun in his hands and he was all alone there, singing a song of regret that went like this:

"Brothers, what are you doing that I cannot do?"

When I got to the women on the hill, they were all singing and making the tremolo to cheer the men fighting across the river in the dust on the hill. My mother gave a big tremolo just for me when she saw my first scalp.

I stayed there a while with my mother and watched the big dust whirling on the hill across the river, and the horses were coming out of it with empty saddles.

Continue reading...

[georgefairbrother]

This is another in our occasional series featuring luminaries of stage and screen with a strong personal and/or professional connection with Northeast England, inspired with thanks by @robbielewis. The most recent previous instalment was on brother and sister acting duo Malcolm and Catherine Terris. This time, James Garbutt.

As with some of our previous subjects, there is an unsatisfying lack of biographical information available; James Garbutt seems to have built a solid career over decades without a high public or media profile.

He was born in Houghton-le-Spring, County Durham, in 1925. In World War Two he was an RAF pilot serving in Africa, subsequently worked as an art teacher and became a leading member of the socialist theatre company, Newcastle People’s Theatre, throughout the 1950s and 60s.

He was active in British television between 1969 and 2002, with his breakthrough role in the 1970s BBC blockbuster, The Onedin Line, replacing Brian Rawlinson for season three (only) as Robert Onedin. (It appears that Rawlinson did not want to continue in the role, but for whatever reason returned for season four and remained until they eventually killed off the character).

James Garbutt is perhaps best remembered for his intense performance as Bill Seaton, the prickly patriarch of the Seaton family and veteran pitman who is paralysed in an underground accident, in 39 episodes of the Tyneside social realism drama, When the Boat Comes In (1976-77).

Amongst over 60 recorded screen credits, his other television appearances include three episodes of Doctor Who (Genesis of the Daleks, 1975), Z Cars, Whatever Happened to the Likely Lads, Middlemarch, The Bill, the political drama Bill Brand, and three separate characters over eight episodes of Coronation Street between 1970 and 1997. He also appeared in the Superman: The Movie (1978), starring Christopher Reeve.

About to bite the dust courtesy of the Daleks in Doctor Who

In addition to his work for the Newcastle People’s Theatre, his stage appearances include several productions for the Royal Shakespeare Company, including the stage version of Our Friends in the North which preceded the hit televisions series, for the Leeds Theatre Trust, Alexandra Theatre (Birmingham) and Tyneside Theatre Company.

He passed away in 2020, aged 94.

[theoutcastrogue]

8 Fancy Pocket Knives

Etched pocket knife from Eskilstuna, Sweden

Silver / mother of pearl Victorian fruit knife, England

Damascene Toledo knife, Spain

Inlaid Toledo knife, Germany

Silver-plated fruit knife, USA

Damascene Toledo knife, Spain

Etched pocket knife from Eskilstuna, Sweden

Mother of pearl pocket knife from Eskilstuna, Sweden

@victoriansword [details after the cut]

1) Swedish pocket knife by EKA (Eskilstuna Kniffabriks AB), c. 1980-2000. Model 6 GS (1967-2010), with main blade, bottle opener/screwdriver, pen blade, and nail file. Tang stamp "EKA / SWEDEN" (from 1967), etched handle, 7 cm closed.

These were very popular in the 2nd half of the 20th century as gift knives or advertising knives. They were manufactured by many cutlers in Eskilstuna, and widely exported. The decorative pattern appears, with variations, on Swedish knives from at least the 19th century, and is inspired by Norse / Viking art, which often features twisted serpents/dragons. The interlacing perhaps also borrows from Celtic knots.

2) English fruit knife by Martin Bros & Co, 1848. Silver blade with 4 hallmarks (for Queen Victoria, the year, sterling silver, and Sheffield) and maker's mark, mother of pearl scales, 9.5 cm closed.

This is the posh version of what used to be an incredibly useful tool, a knife (and sometimes a multi-tool knife and fork) for eating on the road. The fancier ones were also status symbols, and very popular gifts – millions of silver fruit knives were manufactured in Britain from the 18th to the 20th century, mostly in Sheffield, Birmingham, and Edinburgh.

3) Spanish Toledo knife, as it's sometimes called, a damascened penknife of recent manufacture. Two pen blades, tang stamp "TOLEDO", 6.7 cm closed.

Not to be confused with Damascus blades! The handle is damascened – decorated with gold inlaid into oxidized steel (see here for details). Reminder that gold is a highly ductile metal (you can stretch it real thin before it breaks), so that impressive aesthetic result comes from a tiny amount of gold. It's a cheap knife, is what I'm saying, for tourists basically.

4) German pocket knife, confusingly also called Toledo, by Hartkopf. With main blade, pen blade and nail file. Brass handle inlaid with oxidised steel. Tang stamp "Hartkopf&Co / Solingen", 8cm closed.

It's "damascened" in the broad sense of inlaying, hence the name "Toledo": it supposedly emulates the Spanish style, and perhaps pretends to be Spanish, but both the metals and the geometric patterns are different. Knives of this type were popular in Germany all through the 20th century as gifts and advertising knives.

5) American fruit knife by William Rogers Mfg, made in Hartford, Connecticut c.1865-1898. Main blade, seedpick [also called nut-pick or nut-picker *snickers*], silver-plated nickel silver, decorated with flowers and apples. Tang stamp: an anchor logo and "Wm ROGERS & SON AA", 8.2 cm closed.

Sometimes fruit knives like this were bought by fruit shops/groceries (relatively fancy ones, presumably) in bulk, and sold or given to customers as gifts.

6) Spanish Toledo penknife (another one). With pen blade and damascened handle, different pattern, probably a bit older. Tang stamp again "TOLEDO", 6.8 cm closed.

7) Swedish pocket knife by Emil Olsson, c. 1920-1950. Blade, pen blade and corkscrew. Tang stamp "EMIL OLSSON / [star logo] / ESKILSTUNA", 9.2 cm closed.

Another etched serpent pattern on the handle, though by now you have to squint to see it. This knife has seen some shit. Until ~1940, pocket knives were widely sold and used in Sweden because they came with corkscrews, and all the bottles had corks, and everyone needed to open bottles. After the war, bottle caps replaced corks for everything except wine, and the pocket knife's utility plummeted, and cutleries started closing. There used to be hundreds, and by now only EKA's left. So statistically, if it's from before ~1950 it saw a lot of use, and if it's after ~1950 it did not, it was a gift or something.

8) Swedish pocket knife by EKA, c.1935-1965. Model 38 PB, with blade, pen blade, flat screwdriver, and corkscrew. Handle with mother of pearl scales and nickel silver bolsters, tang stamp "E.K.A. / ESKILSTUNA / SWEDEN", 8.3 cm closed.

The corkscrew is a quirky one, known as Gottlieb Hammesfahr patent: it pivots on the pin and opens perpendicular to the handle, not pulled downwards as in most pocket knives.

[fredandginger64]

A newspaper article I found about a man named James Allerdyce, who wrote the Broadway play, 'At War With The Army' which as we know Dean and Jerry starred in the film version. He says he was hired by them in 1950 to help write several of their films. And when he heard of the split,

"They were personally so close, he found it difficult to understand why"

Just another clue that affirms my belief that these two did not really want to split. They had so much working against them and so many people pulling them apart. Once they went to Hollywood, it was the beginning of the end. I think it's one of the reasons Jerry was in control of every aspect of his film career. He knew what they did to him and Dean.

The Daily Report, Ontario, California

June 30, 1959

[scifigeneration]

ChatGPT and the movie ‘Her’ are just the latest example of the ‘sci-fi feedback loop’

by Rizwan Virk, Faculty Associate and PhD Candidate in Human and Social Dimensions of Science and Technology at Arizona State University

In May 2024, OpenAI CEO Sam Altman sparked a firestorm by referencing the 2013 movie “Her” to highlight the novelty of the latest iteration of ChatGPT.

Within days, actor Scarlett Johansson, who played the voice of Samantha, the AI girlfriend of the protagonist in the movie “Her,” accused the company of improperly using her voice after she had spurned their offer to make her the voice of ChatGPT’s new virtual assistant. Johansson ended up suing OpenAI and has been invited to testify before Congress.

This tiff highlights a broader interchange between Hollywood and Silicon Valley that’s called the “sci-fi feedback loop.” The subject of my doctoral research, the sci-fi feedback loop explores how science fiction and technological innovation feed off each other. This dynamic is bidirectional and can sometimes play out over many decades, resulting in an ongoing loop.

Fiction sparks dreams of Moon travel

One of the most famous examples of this loop is Moon travel.

Jules Verne’s 1865 novel “From the Earth to the Moon” and the fiction of H.G. Wells inspired one of the first films to visualize such a journey, 1902’s “A Trip to the Moon.”

The fiction of Verne and Wells also influenced future rocket scientists such as Robert Goddard, Hermann Oberth and Oberth’s better-known protégé, Wernher von Braun. The innovations of these men – including the V-2 rocket built by von Braun during World War II – inspired works of science fiction, such as the 1950 film “Destination Moon,” which included a rocket that looked just like the V-2.

Films like “Destination Moon” would then go on to bolster public support for lavish government spending on the space program.

Creative symbiosis

The sci-fi feedback loop generally follows the same cycle.

First, the technological climate of a given era will shape that period’s science fiction. For example, the personal computing revolution of the 1970s and 1980s directly inspired the works of cyberpunk writers Neal Stephenson and William Gibson.

Then the sci-fi that emerges will go on to inspire real-world technological innovation. In his 1992 classic “Snow Crash,” Stephenson coined the term “metaverse” to describe a 3-D, video game-like world accessed through virtual reality goggles.

Silicon Valley entrepreneurs and innovators have been trying to build a version of this metaverse ever since. The virtual world of the video game Second Life, released in 2003, took a stab at this: Players lived in virtual homes, went to virtual dance clubs and virtual concerts with virtual girlfriends and boyfriends, and were even paid virtual dollars for showing up at virtual jobs.

This technology seeded yet more fiction; in my research, I discovered that sci-fi novelist Ernest Cline had spent a lot of time playing Second Life, and it inspired the metaverse of his bestselling novel “Ready Player One.”

The cycle continued: Employees of Oculus VR – now known as Meta Reality Labs – were given copies of “Ready Player One” to read as they developed the company’s virtual reality headsets. When Facebook changed its name to Meta in 2021, it did so in the hopes of being at the forefront of building the metaverse, though the company’s grand ambitions have tempered somewhat.

Another sci-fi franchise that has its fingerprints all over this loop is “Star Trek,” which first aired in 1966, right in the middle of the space race.

Steve Perlman, the inventor of Apple’s QuickTime media format and player, said he was inspired by an episode of “Star Trek: The Next Generation,” in which Lt. Commander Data, an android, sifts through multiple streams of audio and video files. And Rob Haitani, the designer of the Palm Pilot’s operating system, has said that the bridge on the Enterprise influenced its interface.

In my research, I also discovered that the show’s Holodeck – a room that could simulate any environment – influenced both the name and the development of Microsoft’s HoloLens augmented reality glasses.

From ALICE to ‘Her’

Which brings us back to OpenAI and “Her.”

In the movie, the protagonist, Theodore, played by Joaquin Phoenix, acquires an AI assistant, “Samantha,” voiced by Johansson. He begins to develop feelings for Samantha – so much so that he starts to consider her his girlfriend.

ChatGPT-4o, the latest version of the generative AI software, seems to be able to cultivate a similar relationship between user and machine. Not only can ChatGPT-4o speak to you and “understand” you, but it can also do so sympathetically, as a romantic partner would.

There’s little doubt that the depiction of AI in “Her” influenced OpenAI’s developers. In addition to Altman’s tweet, the company’s promotional videos for ChatGPT-4o feature a chatbot speaking with a job candidate before his interview, propping him up and encouraging him – as, well, an AI girlfriend would. The AI featured in the clips, Ars Technica observed, was “disarmingly lifelike,” and willing “to laugh at your jokes and your dumb hat.”

But you might be surprised to learn that a previous generation of chatbots inspired Spike Jonze, the director and screenwriter of “Her,” to write the screenplay in the first place. Nearly a decade before the film’s release, Jonze had interacted with a version of the ALICE chatbot, which was one of the first chatbots to have a defined personality – in ALICE’s case, that of a young woman.

The ALICE chatbot won the Loebner Prize three times, which was awarded annually until 2019 to the AI software that came closest to passing the Turing Test, long seen as a threshold for determining whether artificial intelligence has become indistinguishable from human intelligence.

The sci-fi feedback loop has no expiration date. AI’s ability to form relationships with humans is a theme that continues to be explored in fiction and real life.

A few years after “Her,” “Blade Runner 2049” featured a virtual girlfriend, Joi, with a holographic body. Well before the latest drama with OpenAI, companies had started developing and pitching virtual girlfriends, a process that will no doubt continue. As science fiction writer and social media critic Cory Doctorow wrote in 2017, “Science fiction does something better than predict the future: It influences it.”

[your-resident-boat-person]

what are some underrated boats that you dont think get enough love or appreciation and why?

sincerely,

#1 sailboat fan ⛵

For me, I'd say White Star Lines SS Germanic. She was 455 feet long and 5,008 Gross Registered Tons. She was delivered to the White Star Line in 1875 as the sister of the SS Britannic. These ships were largely considered to be a scaled up version of the Oceanic class from 1870, but her career is what makes her interesting to me. She had 1 propeller powered by compound steam engines, and a service speed of 16 knots (30 km/h, or 18 mph). At this speed, she and her sister won back the Blue Ribband for the White Star Line. Like the Oceanic class, she was rigged as a barque with sails in case of emergency, which came in handy when in January of 1883 her propeller shaft sheared at sea, and she had to make the rest of the journey by sail. She was the last White Star liner to be constructed primarily out of iron. After her, all of their ships were made from steel. In April of 1885, she encountered a rogue wave, which struck her and caused substantial damage. Six lifeboats had been torn away, the skylights to her engine rooms were smashed, and her pilot house was crushed. Water flooded into the boiler and engine rooms, a hole was torn into the side of the reading room, which quickly flooded (followed by the saloon and staterooms), and 13 people were injured, with one sailor being washed overboard. On 13th of February 1899, she was caught in a massive blizzard at her pier in New York. An estimated 1,800 Tons of snow and ice fell atop her superstructure. This added weight was enough to make her list enough that water could enter her open Coaling ports. She sank at her pier. She was refloated, repaired, and resumed service three months later. Starting around 1904, she changed hands numerous times, until finally landing in the Ottoman empire, and being renamed Gul Djemal / Gülcemal. She served as a troop transport until 1920, when she became a passenger ship again. She was retired from service in 1937, but wasn't scrapped until 1950. There were plans to convert her into a floating hotel (like the Queen Mary would be in 1970) but this never came to fruition. Having been in service for 75 years, she is the second longest serving ocean liner, behind Cunard Line's SS Parthia. She survived both World Wars (even though she played no part in the second World War). Her sister ship Britannic was scrapped in 1904, after serving in the Second Boer War as a troop ship.

[usafphantom2]

Of course the Sabre was the most important Cold War aircraft, here’s why

Hush KitSeptember 27, 2022

The Cold War took a brief rest between the early 1990s and the 2010s, but serious tension between the largest former Soviet nation and the West has now returned. At the forefront of the original Cold War was air power, and this fearful age sired a multitude of incredible and often long-lived warplanes. In the second of a series of articles written by pilots and subject experts, we consider the question of which Cold War military aircraft was the most important. Let us turn start to Peter E Davies case for the F-86 Sabre.

In 1954 the massive Nellis Air Force Base in Nevada, later to host Red Flag and other spectacular USAF training activities and projects, was already an exciting place for new pilots. It hosted the F-86 Sabre, the world’s premier fighter at the time and one which became a seminal influence on most subsequent fighter designs. Sabre pilots had roundly defeated communist MiG-15s over North Korea, and many of those wartime pilots (including seventeen aces) were now instructors at Nellis. For new trainees the chance to join that exclusive fraternity was compelling. The Sabre’s reputation as the West’s first true jet dogfighter was well established. Before technology took over the combat cockpit it was also the last fighter in the tradition of the Spitfire and Mustang in which the pilot had full manual control. During the Cold War the Sabre and its pilots kept alive the dogfighting tradition at a time when caution and cost-cutting in training programs actually prevented many trainee pilots from indulging in realistic air combat manoeuvres. That continuity paved the route for a later generation of versatile air-fighters including the F-15 Eagle and F-16 Fighting Falcon. Conventional late-1950s wisdom advocated aerial combat with large aircraft firing missiles from long distances.

The Sabre’s outstanding combat record was founded in its design’s many technical advances at a time when most designers were still simply adding jet engines to WW II-style airframes. In 1943 North American Aviation (NAA), decided to avoid direct competition with Lockheed’s straight-winged F-80 Shooting Star, the USAF’s first successful jet fighter. The company initiated a new German-inspired wing in 1945, swept at 35 degrees. It was a bold step as the few previous swept-wing designs had exhibited instability problems. Large, automatic wing slats and hydraulically boosted ailerons were the innovative NAA solution, giving superb transonic handling. A unique blown plastic cockpit canopy gave all-round vision unequalled in fighters until the advent of the F-15 Eagle. NAA developed manufacturing techniques for a thin wing with machined-plate, double layer skins. The F-86E version introduced the now-universal powered, ‘all-flying’ tailplane.

Sabres retained gun armament, either the standard six .50 calibre machine gun fit or (in later Sabres) 20mm cannon. Guns disappeared from many other Cold War fighters in favour of missiles, but the Vietnam war showed that to be a mistake. However, the Sabre also pioneered the use of air-to-air missiles in the radar-equipped, all weather, rocket firing F-86D version (added in 1949). It included an early afterburner and a complex Hughes E-4 fire-control system. It became the most prolific Sabre variant with over 2,500 manufactured, pioneering radar-based interception in many air forces of the Cold War era.

Early jet engines of the time were often unreliable, but NAA designers chose the best available option, the Allison J35 in the F-86 prototype which first flew on October 1, 1947 and achieved supersonic flight in a shallow dive the following year as the first service-capable fighter to achieve that speed safely. The engine was replaced by the General Electric J47, also selected for the B-47 Stratojet bomber. It became an outstanding powerplant in Korean combat and effectively proved that jet fighters could be as effective and reliable as their prop-driven predecessors – and a lot faster. Cold War fighter designers throughout the world benefited from that bonus.

When the Korean War began in June, 1950 the small Allied air forces in South Korea relied on WW II propeller-driven aircraft and early, straight-winged F-80 and F-84 jets. None matched the Soviet MiG-15, a broadly similar swept-wing jet to the Sabre. F-86As were urgently deployed to counter this unanticipated threat. Despite the MiG-15’s altitude advantage and its pilots’ proximity to their home bases the outnumbered, but better-trained Sabre pilots soon regained air superiority. It was a scenario to be repeated in many respects in Vietnam over a decade later.

The Sabre’s success and influence are demonstrated by its unusually widespread use. Overall production ran to almost 9,000 aircraft, with licence production in Canada, Japan, Italy and Australia. No fewer than 35 air forces used Sabres, making it the most numerous Western Cold War jet fighter and giving many of those users entry to the jet age. It equipped many NATO nations, including Great Britain, to face the growing Soviet threat following the Berlin crisis in 1949. Some continued in service, and occasional combat until the mid-1980s.The US Navy’s used F-86 derivatives, culminating in the very capable, long-range FJ-4B fighter-bomber. They equipped 22 USN and USMC squadrons up to 1962. In US Navy training sessions a well-flown F-86 regularly beat F-4 Phantom and F-8 Crusader pilots in dogfighting practices.

An F-86 pilot allegedly achieved supersonic flight shortly before Chuck Yeager’s official sound barrier-smashing flight in 1947, but it was the success rate of twelve-to-one against MiG-15s (later to be scaled down to a still creditable 4:1) that lent the Sabre an almost legendary status and reminded future fighter designers that manoeuvrability, ease of operation and gunfighting capability were still relevant in the supersonic era. While some might champion aircraft like the Hawker Hunter, F-4 Phantom or MiG-21 as the most influential Cold War fighters there is no doubt that the F-86’s wide range of ground-breaking achievements in design and worldwide service easily give it that accolade.

Peter E Davies. September 2022, Peter Davies is based in Bristol and has written or co-written 16 books on modern American combat aircraft, including four previous Osprey titles and the standard reference work on US Navy and Marine Corps Phantom II operations, Gray Ghosts.

[mariacallous]

Forty-seven years ago today, everything changed. True believers might already know what it was: On May 25, 1977, Star Wars hit movie theaters and irrevocably altered nearly everything pertaining to the act of moviegoing. Lines around the block, overly excited nerds, an appetite for action figures. Star Wars taught Hollywood that certain genres—sci-fi, fantasy, anything that percolated in the offbeat TV shows, books, and comics of the 1950s and ’60s—had fans, and those fandoms would show up. Star Wars made a meager $1.6 million in the US in its opening weekend. But people kept coming back, and by the end of its initial run it had made more than $300 million. Hollywood’s Next Big Thing had arrived.

Common wisdom dictates that Jaws, which came out in 1975 and made some $260 million, was the first summer blockbuster. That’s true, but it was Star Wars that shifted the idea of what kind of film future popcorn flicks tried to be. In the years after its release, a trove of sci-fi and genre films landed in theaters: Blade Runner, Alien, E.T., the Mad Max sequel The Road Warrior. By the ’90s, the summer movie energy had shifted to action fare—Twister, Speed, Jurassic Park, Independence Day—but nerd stuff still ruled. For every Forrest Gump there was a Batman Returns or Terminator 2: Judgment Day.

Then came a little juggernaut called Marvel. By the time Sam Raimi’s Spider-Man movies started clearing nine-figure opening weekends in the aughts, it was obvious that comic book heroes’ true superpowers involved making your money disappear. The Avengers opened in early May 2012 and nearly recouped its $200-million-plus production budget in three days. Suddenly, there were at least two superhero movies every year, if not every summer, and some new Star Wars flicks at the holidays.

The one-two punch of Covid-19 theater closures and streaming pretty much kneecapped this entire process. The summer of 2020 had virtually no blockbusters, and by the time moviegoers returned to multiplexes in 2021 and 2022, there had been a vibe shift. Movies like Black Widow and Doctor Strange in the Multiverse of Madness did well, but they weren’t events. Rushing to Fandango for tickets didn’t feel as urgent as it once did. Last summer, Barbenheimer was the buzziest thing in movies. Spider-Man: Across the Spider-Verse and Guardians of the Galaxy Vol. 3 made money, but they still got beat by Barbie’s might.

Overall, this year could be a wake-up call for studios that superhero fatigue has fully set in, says Chris Nashawaty, author of The Future Was Now, a new book out in July about how the movies of 1982—Blade Runner, E.T., Star Trek: The Wrath of Khan, among others—ushered in the current blockbuster era. That epoch, he says, “was always going to be something that couldn’t last forever; I’m frankly surprised that it lasted as long as it did.”

Nashawaty says the success of Barbenheimer—both movies—indicates that audiences are hungry for smart films, but Hollywood’s risk aversion likely means studios will greenlight more projects based on toys and games like Monopoly rather than movies about physicists. “This is a real existential moment in Hollywood right now,” he adds, and studios need to be bold to stay relevant.

Summer 2024, which unofficially begins this weekend, promises a move away from the formula that has been in play for decades. There are only a handful of big popcorn-ready movies coming, and they’re decidedly less family-friendly than the blockbusters of yore. Furiosa: A Mad Max Saga, which dropped on Friday, is a teeth-chatteringly gritty prequel about a kidnapped woman (Anya Taylor-Joy playing the younger version of Charlize Theron’s character from Mad Max: Fury Road) who ends up in a war between two overlords and has to fight her way out. Deadpool & Wolverine is a Marvel movie, yes, but it’s apparently a paean to pegging and cocaine so hard-R that Ryan Reynolds won’t shut up about it.

The series of weird indies coming in the next few months—the thriller Cuckoo, Ti West’s latest horror flick MaXXXine, a new collab from Poor Things pals Emma Stone and Yorgos Lanthimos called Kinds of Kindness—finally have some room to get into the summer movie conversation.

Make no mistake: I am typing these things with glee and admiration. Glossy family movies have their place, but they’ve grown awfully predictable. Safe—not necessarily in their plots, but in their substance. No matter how fun last year’s barn-burner The Super Mario Bros. Movie was, you can’t say anything about it was surprising, much less new. No one walked into the theater for Guardians of the Galaxy Vol. 3 and walked out as gobsmacked as they were when they saw Star Wars, or even Speed.

This is not a “Hollywood is so homogenized” argument. Rather, it’s a reminder that Tinseltown wasn’t always this way. Its influence used to introduce people to the future. What’s happening now has the potential to mark a return to the kind of startlingly original movies that used to be hits. Between the pandemic, streaming, and the Hollywood strikes of last summer, a lot of old habits got broken, and there’s a sense that a renaissance is afoot.

This revitalization won’t come easy, if it comes at all. Summer 2024 still has its share of redos and sequels—a new Inside Out movie, reboots of ’90s summer staples The Crow and Twister. (The latter is the aptly-named Twisters; there are more tornadoes this time, apparently.) But even those movies at least feel like they’re grasping for the prefranchise days, even if they’re birthing franchises in the process.

Furiosa is currently projected to bring in more than $40 million at the US box office this weekend, a figure that would bring it close to Fury Road’s tally but may not convince Hollywood execs that it should bankroll more R-rated, original shockbusters. It would, presumably, best The Garfield Movie, which is also out this weekend and has the makings of a more surefire hit: well-known IP, animated, PG-rated. (For the record, though: Critics seem to think it sucks.) Early ticket sales for Deadpool & Wolverine are already breaking records for an R-rated movie. Should it dominate the conversation for a couple weeks while also raking in money, that embrace of a very not-Disney Disney movie—coupled with Furiosa and Hot Barbenheimer Summer—could signal a tipping point.

Look, nothing will ever completely derail Hollywood’s reliance on sure things. Video game adaptations remain poised to take the crown long held by superhero flicks. (Borderlands, starring Cate Blanchett, is coming to theaters this August.) But if this summer’s ever-sprawling slate turns up just enough weird hits, maybe we’ll once again know the feeling of walking out of Star Wars for the first time.

[hotvintagepoll]

Propaganda

Barbara Stanwyck (Ball of Fire, The Lady Eve, Double Indemnity)—I hope someone else has submitted better propaganda than I because I don't want my girl's prospects to rest on me just yelling PLEASE VOTE FOR MY TERRIBLE HOT GIRLFRIEND. She is a delight in everything! She is often a sexy jerk! (It's most of the plot of Baby Face!) Even when she plays a "good girl" (as an example, Christmas in Connecticut, which more people should see) she's still kind of a jerk and I love her for it! She won't take men's shit and she sure wouldn't take mine!

Setsuko Hara (Tokyo Story, Late Spring, The Idiot)— "'The only time I saw Susan Sontag cry,' a writer once told me, his voice hushed, 'was at a screening of a Setsuko film.' What Setsuko had wasn’t glamour—she was just too sensible for that—it was glow, one that ebbed away and left you concerned, involved. You got the sense that this glow, like that of dawn, couldn’t be bought. But her smiles were human and held minute-long acts, ones with important intermissions. When she looked away, she absented herself; you felt that she’d dimmed a fire and clapped a lid on something about to spill. Over the last decade, whenever anyone brought up her lips—'Setsuko’s eternal smile,' critics said, that day we learned that she’d died—I thought instead of the thing she made us feel when she let it fall." - Moeko Fujii

This is round 4 of the tournament. All other polls in this bracket can be found here. Please reblog with further support of your beloved hot sexy vintage woman.

[additional propaganda submitted under the cut.]

Setsuko Hara:

One of the best Japanese actresses of all time; a symbol of the golden era of Japanese cinema of the 1950s After seeing a Setsuko Hara film, the novelist Shūsaku Endō wrote: "We would sigh or let out a great breath from the depths of our hearts, for what we felt was precisely this: Can it be possible that there is such a woman in this world?"

One of the greatest Japanese actresses of all time!! Best known for acting in many of Yasujiro Ozu's films of the 40s and 50s. Also she has a stunning smile and beautiful charm!

Linked gifset

Linked gifset 2

She's considered by some to be the greatest Japanese actress of all time! In Kurosawa's The Idiot she haunts the screen, and TOTALLY steals the show from Mifune every time she appears.

She's considered by some to be the greatest Japanese actress of all time! In Kurosawa's The Idiot she haunts the screen, and TOTALLY steals the show from Mifune every time she appears.

"No other actor has ever mastered the art of the smile to the same extent as Setsuko Hara (1920–2015), a celebrated star and highly regarded idol who was one of the outstanding actors of 40s and 50s Japanese cinema. Her radiant smile floods whole scenes and at times cautiously undermines the expectations made of her in coy, ironic fashion. Yet her smile's impressive range also encompasses its darker shades: Hara's delicate, dignified, melancholy smile with which she responds to disappointments, papers over the emotions churning under the surface, and flanks life's sobering realizations. Her smiles don't just function as a condensed version of her ever-precise, expressive, yet understated acting ability, they also allow the very essence of the films they appear in to shine through for a brief moment, often studies of the everyday, post-war dramas which revolve around the break-up of family structures or the failure of marriages. Her performances tread a fine line between social expectation and personal desire in post-war Japan, as Hara attempts to lay claim to the autonomy of the female characters she plays – frequently with a smile." [link]

Leading lady of classic Japanese cinema with a million dollar smile

Maybe the most iconic Japanese actress ever? She rose to fame making films with Yasujiro Ozu, becoming one of the most well-known and beloved actresses in Japan, working from the 30s through the 60s in over 100 hundred. She is still considered one of the greatest Japanese actresses ever, and in my opinion, just one of the greatest actresses of all time. And she was HOT! Satoshi Kon's film Millennium Actress was largely based on her life and her career.

Barbara Stanwyck:

"THE leading lady of the golden age of hollywood. One of the only actresses to work independent of a studio, making short-term contracts that enabled her to make movies wherever she wanted. She had so much range, and could act in basically any genre. She's been rumored to be a lesbian literally since she was active in Hollywood; most notable is the rumor that she had a long time on-and-off relationship with famously bi Joan Crawford, her "best friend" for decades (They lived right next door to one another). She also lived with Helen Ferguson, her "live-in publicist" for many years. She was the quintessential femme fatale in Double Indemnity, and really pushed sexual boundaries in her pre-code films like Baby Face, and the famous screwball The Lady Eve, where she plays basically a downlow domme. Allegedly, when a journalist asked her if she was a lesbian, she straight up threw him out of her house. She even played a lesbian in Walk on the Wild Side"

"THE queen of screwball comedies. I adore her, I'd kill for her, I will cry if she's not gonna win this poll."

"listen ok she had awful politics she was a mccarthyist right wing wacko BUT she's so incredibly hot that i've deluded myself into believing i could fix her. if you see her onscreen she carries herself in a way that's just so effortlessly sexy AND she has just a stunning face. imo she was at her hottest in the 1940s but even as early as the late 1920s she had a rly captivating screen presence and just a beautiful face, and then post-1950 she was just irresistibly milfy so really she was just always incredibly hot. she was also an incredibly talented actress who was equally stellar in melodrama, film noir, and unhinged screwball comedy. the blonde wig they made her wear in double indemnity is notoriously silly looking but she still looks sexy in it so that's gotta count for something. i've watched so many terrible movies just for a chance at seeing her that i think her estate should be paying me damages."

"Not often thought of for her sultriness, Barbara Stanwyck was incredible in that she could actually choose to be hot if the role called for it, and then have a glow-down to look ordinary for another role. She wasn't the most beautiful or effervescent, but damn did she have rizz. Watch her with Gary Cooper in Ball of Fire teaching him about "yum-yum" or with Henry Fonda in The Lady Eve whispering huskily into his ear."

"She is always the smartest woman in the room. Watching her play Henry Fonda like a befuddled fiddle in The Lady Eve was a highlight of my life. Femme fatale in Double Indemnity, comedy queen in Ball of Fire. She can do anything."

"She was part of my gay awakening"

"SHE'S A PRE-CODE QUEEN. She did everything, drama, comedy. The most beautiful woman in the world to watch weep. Beg for to step on you with those legs. Fun Babs story: Ginger Rogers was offered the role in Ball of Fire but said, “Oh, I would never play that part, she’s too common.” So they called Barbara Stanwyck and they said “We offered this to Ginger Rogers but she’s turned it down, would you be interested?” And she read the script and she said; “You bet! I LOVE playing common broads. [link]"

[sunkissedfawn]

Movie Ask Game.

A list of years.

1950

1960

1970

1980

1990

2000

My IMDB list coming in clutch 😂

While scrolling through my list, I noticed some years have a lot listed. So I'm going to list ones I like, then try and pick out a favorite.

1950 Cinderella ✨ (it's the only movie I have in this year so, 😂)

1960 The ones that stuck out to me for this year are The Apartment, Psycho, Inherit the Wind, and The Magnificent Seven. I think my favorite one within this year is Inherit the Wind.

1970 The Aristocats (like Cinderella, it's the only one in this year I have 😅 but I do enjoy this movie)

1980 Omg, the iconic Star Wars: Episode V - The Empire Strikes Back. There's also The Blues Brothers, Airplane!, Superman II, and Popeye (Christopher Reeve and Robin Williams, God rest them). It's a close tie between Star Wars, The Blues Brothers, Airplane! and Popeye. Star Wars is the icon, but The Blue Brothers and Airplane! leave me on the floor in tears. And as someone who grew up watching some Popeye the Sailor episodes, I remember Popeye being enjoyable to watch, and thinking it was a good live action version.

1990 Here there is Tremors, The Hunt for Red October, Pretty Woman, Dances with Wolves, Home Alone, The Rescuers Down Under, The Prince and the Pauper, Edward Scissorhands, and Awakenings. Half of these left a mark on me as a child. The dramas were real heavy and intense on my little brain, but I knew they were really good films. Now that I'm older, they still hold up to be really good films to me. There's something about them that strikes me. However, I don't know why yet, but Home Alone makes me uncomfortable, and every year I want to watch it during the holidays, but can't bring myself to sit through certain scenes lol but it's so good because it's such a simple story. But my favorites would have to be The Prince and the Pauper and Awakenings. Although, Tremors is so funny, and enjoyable to me as well.

2000 There's so many from this year. There's An Extremely Goofy Movie, Life-Size, Erin Brockovich, The Road to El Dorado, The Flinstones in Viva Rock Vegas, Gladiator, O Brother, Where Art Thou? , Dinosaur, Crouching Tiger, Hidden Dragon , In the Mood for Love, Gone in 60 Seconds, Titan A.E., Chicken Run, Scary Movie, X-Men, Coyote Ugly, Bring It On, Men of Honor, Remember the Titans, Meet the Parents, Pay It Forward, Charlie's Angels, Little Nicky, Rugrats in Paris, How the Grinch Stole Christmas, Phantom of the Megaplex, Unbreakable, The Emperor's New Groove, Cast Away, Dude, Where's My Car? , Miss Congeniality, and Chocolat.

Life-Size, The Road to El Dorado, Gladiator, Dinosaur, Gone in 60 Seconds, Titan A.E., Bring It On, How the Grinch Stole Christmas, and The Emperor's New Groove are up there and are my favorites. The rest of the movies mentioned also made an impact on me and hold a lot of precious memories with loved ones.

While I'm at it, I'll share what I remember with some of these movies. I remember being blown away by the Dinosaur trailer when our teacher popped in a VHS of a movie in the tv with an attached VHS player at the bottom of it lol then I later learned they filmed real places and input the CGI/animated dinosaurs after, and it was all mind-blowing and fascinating to me, and became one of the reasons why I grew to love film even more, and wanting to be a part of it. Crouching Tiger, Hidden Dragon was talked about a lot in school, and some classmates would try and reenact some scenes lol In the Mood for Love is a classic. And I remember seeing The Emperor's New Groove in theaters when it first released, and the theater not being crowded, and realizing in my gut, within that moment, Walt Disney Studios was on it's last great movie streak for my generation, and times were changing, and things in animation weren't going to be the same again, partly because of Pixar turning heads for Toy Story, A Bug's Life, and Toy Story 2 hence not a lot of people being that interested in certain animated stories/movies. It was a bittersweet moment I had, and I'll never forget the ones who were in the theater laughing at the beginning of The Emperor's New Groove 🥲🥹

[scotianostra]

On February 1st 1918 the author of The Prime of Miss Jean Brodie, Muriel Spark was born in Edinburgh.

Spark did not publish her first novel until she was almost 40, but she quickly gained admirers for her taut, comically disturbing works that often depicted odd, malevolent forces insinuating their way into the lives of ordinary people. She was best known for "The Prime of Miss Jean Brodie," her 1961 novel about a charismatic schoolmistress.

Originally Muriel Sarah Camberg, she attended the James Gillespie's High School for Girls. There she met educator Christina Kay who became the inspiration for one of Spark's most famous characters.

At the age of 19, she married Sydney Oswald "Ossie" Spark. The couple sailed to Africa soon after they wed. The union proved to be a brief and turbulent one. She had a son, Robin, with her husband before the pair split up. For a time, Spark supported herself doing odd jobs. She returned home during World War II, leaving her son in Africa in the care of some nuns.

Back home, Spark became involved in London's literary world. She served as editor of the Poetry Review from 1947 to 1949, and published poetry, short stories and critical biographies of figures like William Wordsworth, Mary Shelley and Emily Brontë. In the 1950s, Spark suffered a nervous breakdown and converted to Catholicism. Her first novel, The Comforters in 1957, earned critical acclaim from such established British writers as Graham Greene and Evelyn Waugh.

While she largely considered herself a poet, Spark built up an impressive career for herself as a novelist. After The Comforters, two more novels soon followed —Memento Mori and The Ballad of Peckham Rye . But it was her tale of a teacher at a girls school that really brought her widespread commercial success. The Prime of Miss Jean Brodie became a best seller when it was published in 1961. The book began the basis of a successful London play starring Vanessa Redgrave in 1964. This production later moved to Broadway with Zoe Caldwell as the title character. In 1969, Maggie Smith starred in the film version, which earned Smith an Academy Award for best actress.

By the end of the 1960s, Spark moved to Italy. She lived in Rome for many years. There Spark met artist Penelope Jardine. The pair became inseparable, eventually setting up house together in Tuscany. Jardine acted as Spark's aide and companion. While some have speculated that their relationship was a romantic one, Spark told reporters that it was an "old-fashioned friendship," according to The New York Times.

As her career progressed, Spark continued to explore both the dark and light sides of life in her work. Not everyone knew what to do with this odd balance of the comic and tragic. Scottish writer, Allan Massie (Who I met several times at a writers workshop when at school) described her as "a comic writer with a sense of evil, a metaphysical in all sense of that difficult word" in the Spectator. Another critic for New Criterion wrote that "what first seems like caricature often passes, on closer reading, as unvarnished reportage."

Spark turned her mighty pen on her own life with the 1992 memoir Curriculum Vitae. In 2004, Spark published The Finishing School, which proved to be her final novel.

Muriel Spark died, aged 88, on April 13,th 2006, in Florence, Italy and is buried in the cemetery of Sant'Andrea Apostolo in Oliveto.

[pandoramsbox]

Sci-Fi Saturday: The Man in the White Suit

Week 30:

Film(s): The Man in the White Suit (Dir. Alexander Mackendrick, 1951, UK)

Viewing Format: Streaming - Kanopy

Date Watched: 2022-02-18

Rationale for Inclusion:

Given that Ewan McGregor has been playing Obi-Won Kenobi in live-action Star Wars media off and on since 1999, would anyone under 30 years-old be able to place Alec Guinness by me saying, "You know, Obi-Won Kenobi in Star Wars?" To Millennials and older geeks this lack of cultural touchstone would hurt our brains, but the knighted, most accomplished character and dramatic actor himself would be relieved that Star Wars (Star Wars: Episode IV: A New Hope, Dir. George Lucas, 1977, USA) may not be what he is remembered most for in 2024, as it was not his favorite role despite the financial stability it enabled for him. Granted, I don't know what other example of Guinness' filmography I would use for someone under 30 who doesn't attend classic cinema film festivals. Star Wars is still better known than Lawrence of Arabia (Dir. David Lean, 1962, UK) or Kind Hearts and Coronets (Dir. Robert Hamer, 1949, UK) by the mainstream populus of the United States.

I begin on this note because this week's film, The Man in the White Suit (Dir. Alexander Mackendrick, 1951, UK), stars Sir Alec Guinness in a comedic role, which while not unusual for him, especially in the 1950s, is not the work for which the mainstream consciousness most remembers him. A chance to witness more of Guinness' incredible range was part of the reason for selecting this film, as was the fact that the last British sci-fi satire that we watched for the survey, Once in a New Moon (Dir. Anthony Kimmins, 1935, UK), has been one of the great discoveries by my partner and I on this cinematic journey thus far. Plus, according to the British Film Institute, The Man in the White Suit is the 58th greatest film to come out of its country.

Reactions:

Being familiar with Guinness' dramatic work, it came as no surprise to me or my partner that the actor turned in a brilliant performance as Sidney Stratton, a research chemist bent on creating an indestructible fiber. The number of lab explosions and subterfuge Stratton undertakes gives his comedic timing ample opportunities to shine.

The emphasis on chemistry led to the inclusion of the "Guggle Glub Gurgle" song to accompany the chemicals burbling, moving and bubbling. My partner and I assumed that it must have been the work of the BBC Radiophonic Workshop, who created the music and sound effects for Doctor Who and both the radio and television versions of The Hitchhiker's Guide to the Galaxy. To our surprise, the experimental and pioneering electronic music and sound production company was not formed until 1958; 7 years after the release of The Man in the White Suit. Instead, the creative composition was created by sampling sounds made by actual equipment, which may make it the most widely heard example of musique concrète.

The slapstick humor transitions more into satire when Stratton successfully completes the first batch of his indestructible, radioactive fiber, and makes it into the suit of the title. The viability of cloth that does not stain or wear out causes a panic amongst everyone from capitalists, to textile workers, to little old ladies who take in others' washing for a bit of money. The economy and culture would be upended by it in a way that was too massive for people to handle. Luckily for the conservative minded, a flaw in the formula causes the cloth to gradually break down over a few weeks. With Stratton's firing, the threat seems to be neutralized. Except, Stratton has a revelation whilst looking at his formula notes, and at the end strides off, presumably to seek out a means of creating a second version of the indestructible cloth.

Stratton continues the tradition of the mad scientist, but instead of upending morals and religion like his predecessors, he upends capitalism and commerce. Given the post-World War II industrial boom many countries experienced, and the Cold War being configured on communist versus capitalist lines, it's an evolution keeping with the times in which the film was created. He is nevertheless just as antisocial and obsessive as his predecessors Henry Jekyll and Victor Frankenstein.

He also carries on the mad scientist tradition of experimenting on himself by wearing a suit made of his indestructible fiber. Stratton is not merely daily driving his cloth, the way new products are tested for their practicality, because the fiber includes radioactive elements. The long term damage of radiation exposure through patent medicines containing radioactive elements and working with radioluminescent paints was known by the 1930s. It is entirely possible that Stratton could have developed a version of the formula where the cloth would not deteriorate, but the person wearing it would do so horrifically. At that point his cloth would not only be a direct economic threat, but a direct threat to public health.

My speculating and interpreting of the invention central to the film aside, The Man with the White Suit is a fun piece of sci-fi and satire, managing to be equal measures funny, smart, and thought provoking. It's widely available on streaming and home media formats, and definitely worth a watch.