#dan considine

[lindseymcdonaldseyelashes]

Leverage 2x5 - "The Three Days of the Hunter Job"

The Librarians 4x9 - "And a Town Called Feud"

[ourflagmeansgayrights]

what was the ableist joke?

(we're talking about this post and the guy who asked stede to sell him parts of the hostage before getting chased off by geraldo)

the whole character is the ableist joke, imo. altho idk if ableist is the right word for it but putting an actor with a facial deformity for a quick little "stede is a fish out of water in a gruesome and violent world" bit is... a choice they made for sure. he's only there for one scene that serves purely as quick comedy (you could cut his bit out entirely and skip straight to geraldo approaching stede, it adds nothing to the plot), so his visual deformity becomes that guy's defining character trait and also part of the comedy of that scene.

i know that scene would play out the same if they cast a different person in that role, and all the guy is doing is just delivering his lines, but when you have disabled or physically deformed actors, putting them in certain roles changes the portrayal of their disability/deformity. casting that actor changed the scene so it wasn't only, "stede is out of his depth, pirates are incredibly violent," but there was also, "and look at this guy with the weird face! he's weird and violent!"

like, if they put matthew maher (black pete) in that role, the scene wouldve read like "isn't it funny that this creepy and violent guy who wants to 'disassemble' the hostage has a lisp?" but because black pete is a recurring background character who has his own plotline and character development, and because his lisp is never commented on or made a joke of, matthew maher's lisp is never the butt of the joke.

also the actor (Dan Considine) is literally credited on imdb as "Ghoulish Man" so like, yeah, the guy's facial deformity is part of the gag here. not a great look to describe a man with a facial deformity as ghoulish

[emmadarcyextra]

"Matt Smith and Milly Alcock receive Critics Choice Nominations (while Paddy Considine and Emma D’Arcy are snubbed)," Dan Selcke from Winter is coming dot net.

Both Paddy Considine and Emma D’Arcy should have received the nomination nod for best actor. Both actors acted superbly. For Paddy it was necessary because he will not reappear next season.

This snobbery from these organizations and critics need to stop. Favoritism has no place and only outstanding acting needs consideration. I'm peeved to the max.

[dankusner]

Dallas-based alternative to Uber launches EV fleet

CONSIDINE

Ride-hailing service Alto launches first EV fleet

Dallas-based ride-hailing startup Alto Experience Inc. has launched a small electric vehicle fleet, which it plans to quickly grow.

Alto has partnered with Kia America Inc. to put 12 2024 Kia EV-9s on the streets of Dallas.

The fleet launched April 22, the company confirmed. It could grow the fleet to more than 100 by the end of 2024.

Not much information was disclosed about the Kia partnership but Alto CEO Will Coleman said his company has a "long history of working with [original equipment manufacturers] to obtain favorable rates for vehicles given our fleet scale across the U.S."

In July 2022, Coleman told the Dallas Business Journal that Alto was investing in EV charging infrastructure in hopes of converting its fleet to electric vehicles. At the time, the company had not yet found the right EV to fit its needs.

Alto offers a service is similar to Uber and Lyft, but the Dallas company uses a membership model that generates upfront revenue. Another major difference is that instead of using contract drivers, Alto employs them as W2 workers and provides safety and driving training. Alto also owns its fleet of SUVs, which can be found around Dallas-Fort Worth, including as the exclusive ride-hailing service at Dallas Love Field Airport.

Founded in 2018, Alto has raised $127.6 million, with a $22 million series C round in September 2023. The company also brought in nearly $2.8 million in a crowdfunding campaign through StartEngine Capital LLC, a round that closed April 29, the company said.

After expanding into the San Francisco and Palo Alto markets in 2022, Alto exited those areas in 2023 to "reallocate resources to higher growth markets." Alto said it's seen strong demand and growth in Los Angeles, Miami, Dallas, Houston and Washington, D.C.

Alto also offers concierge services such as a courier services, food delivery and shopping delivery.RankPrior RankBusiness Name

Washington Post

In public transmissions on a radio channel used by local EMS workers, someone said at 11:53 a.m. that a lieutenant had requested a response to the area of the school. As the response was discussed, one official was heard telling first responders: “Please, just stay back.”

The Post reviewed recordings of the channel that were published on the website Broadcastify. The public channel for EMS did not capture the transmissions for all law enforcement at the scene but indicated when information was relayed to local EMS crews.

When the attacker crashed the truck, it prompted a 911 call from a resident who added that the driver apparently had a rifle, said Travis Considine, spokesman for the Texas Department of Public Safety. The gunman encountered a school police officer and “they exchange gunfire,” Considine said, with the shooter wounding the officer and heading inside. 

On Thursday, Victor Escalon Jr., the Department of Public Safety’s South Texas regional director, said there was no encounter outside the school between the shooter and a school police officer. “He walked in unobstructed initially,” Escalon said.

UVALDE SCHOOL SHOOTING Lawmaker challenges DPS’ audit of actions

State senator asks lieutenant governor to ensure oversight

By PHILIP JANKOWSKI

Austin Bureau

philip.jankowski@dallasnews.com

AUSTIN — The Texas state senator who represents Uvalde questioned Tuesday whether the Texas Department of Public Safety can be trusted to review its own officers’ actions during the Robb Elementary School shooting.

DPS announced an internal review Monday into the actions of the 91 state police officers who responded to the May 24 shooting. In a letter to Lt. Gov Dan Patrick on Monday, Sen. Roland Gutierrez called for the Texas Senate to take control of the DPS review.

“First, why has DPS decided to conduct this internal audit now, 55 days after the attack on Robb Elementary School? Secondly, can this entity be trusted to review its own inaction and failures on May 24, 2022?” Gutierrez said in a letter to Lt. Gov. Dan Patrick.

DPS spokeswoman Ericka Miller said in an email that the Texas Rangers’ ongoing criminal investigation has included reviewing the actions of all law enforcement who responded to the shooting “from the very beginning.”

“The criminal investigation always takes precedent but is typically followed by a comprehensive administrative review of this nature,” Miller said in an email.

Gutierrez wants the Senate Committee on Criminal Justice to oversee the DPS probe. He said doing so would ensure that DPS conducts a thorough investigation.

“We owe the families in Uvalde nothing short of complete honesty and accountability,” Gutierrez said in a letter to Patrick. “To date, we have failed these families and my constituents are demanding a full accounting of the horrors of that day.

“It is our duty to ensure that the families receive answers and that every Texan never has to worry about this kind of public safety failure again,” he said.

DPS launched an internal review of its response to the shooting last week as a special investigative committee in the Texas House prepared to release its findings.

DPS Director Steven McGraw described the police response to the shooting as an “abject failure.” Most blame has been laid at the feet of local law enforcement, with local residents demanding the firing of Pete Arredondo, the Uvalde schools police chief. Arredondo and the city of Uvalde’s acting police chief have been placed on leave while numerous investigations into the police response continue.

But in the aftermath of the report, more focus is being directed at state and federal police, who outnumbered local police at the scene. Gutierrez has questioned why no one from state law enforcement took command of a response that the report described as chaotic and disorganized.

“You got 91 troopers on the scene. You got all the equipment you could possibly want, and you’re listening to the local school cop?” Gutierrez told The Associated Press on Monday.

The DPS review is being headed by Deputy Director Jeoff Williams. The committee is reviewing the actions of every DPS officer who responded to the school shooting, according to a spokeswoman.

• "DPS Director Steve McCraw said last fall that the Rangers’ investigation would be completed by the end of December. “The initial report is what the Director was referring to and that was made available to the DA’s team last week,” agency spokesperson Travis Considine wrote in an email this week."— JAN. 10, 2023. Texas Tribune

Uber pauses Dallas hiring, postpones some construction until 2021 because of coronavirus

The company doesn’t expect the moves to affect its long-term strategy for a Dallas hub.

Ongoing construction on Uber's new corporate office seen from the company's current Deep Ellum office on Jan. 27, 2020 in Dallas.

Uber is pausing hiring for its highly touted Dallas hub and delaying some construction at its Deep Ellum location until 2021, the technology company said Tuesday.

The San Francisco-based company originally said it was halting all construction until next year but later indicated that work on an office tower under construction would continue as planned. Uber is postponing improvements to a single floor of a nearby 16-story tower that it’s now leasing, said spokesman Travis Considine.

“In the long-term, we don’t anticipate any changes to our strategy or expectations regarding growth in the state," Considine said in a statement.

Construction on the 25-story high-rise that will eventually house Uber’s Dallas employees is still expected to be completed by May 2022, Westdale Real Estate managing partner Dennis Trimarchi told The Dallas Morning News.

Uber’s hiring freeze is unique to the tech giant’s Dallas operations, the company said. It didn’t say when hiring might resume.

“Uber is grateful for the responsible leadership [state and local officials] have shown throughout this difficult time, and we look forward to getting back on track creating jobs and continuing to make Texas a hub of innovation when this is all over,” Considine said.

Uber had wanted to staff its Dallas office with up to 400 employees by the end of 2019 and 3,000 by the end of 2023. The company was already behind on its hiring goals. Uber said it had hired about 200 workers, who support the company’s transportation-related businesses, including ride-hailing, food-delivery and the development of urban air taxis.

The August announcement that Uber would develop a corporate hub in Dallas was heralded by local leaders as a win for the city after Dallas came up short in the race for Amazon’s second headquarters, or HQ2. Uber was offered $36 million in grants and tax abatements by city, county and state officials.

Those incentives — $24 million of which would come from the state’s deal-closing fund used to lure business development to Texas — depend on the company’s ability to hit job-creation targets.

Related:Uber makes it official: It will set up major hub in downtown Dallas by end of year

Uber will ultimately move into a new tower that will be built at The Epic, an 8-acre development in Deep Ellum. Aug 20, 2019

As expected, the ride-sharing giant will establish a new U.S. General and Administrative Hub with a project that will create 3,000 new jobs and includes a more than $75 million in capital investment in Deep Ellum.

Uber to face questions concerning diversity as it seeks tax breaks Related: Uber to face questions concerning diversity as it seeks tax breaks

Uber could invest $125 million for potential office in Deep Ellum Related: Uber could invest $125 million for potential office in Deep Ellum

Mar 12, 2021, at 2:35 PM, McGaughy, Lauren wrote:

Dear Mr. Kusner, Thank you for the kind note. Travis actually has a bigger footprint than even just Uber and DPS! He also used to work for Rick Perry! Austin is a very revolving door kind of town. Have a great weekend.

Lauren Thank you for the kind note. Travis actually has a bigger footprint than even just Uber and DPS! He also used to work for Rick Perry! Austin is a very revolving door kind of town. Have a great weekend.

Lauren

[news24fr]

Le Celtic a fait jouer ses muscles à St Johnstone pour s'assurer que son avance de neuf points sur les Rangers au sommet de la Premiership reste intacte.Les Light Blues poursuivants ont battu le comté de Ross 2-1 à Ibrox samedi, mais les champions ont bien géré la pression à McDiarmid Park, enregistrant une victoire convaincante 4-1.Premiership écossaise: les Rangers remportent une victoire serrée et Aberdeen rebonditEn savoir plusLe défenseur des Saints Andrew Considine a transformé un centre de Kyogo Furuhashi dans son propre filet à la 13e minute et l'attaquant japonais s'est marqué au milieu de la première mi-temps, avant que l'ailier Drey Wright ne retire un but trois minutes plus tard.Le milieu de terrain Aaron Mooy a rétabli l'avance de deux buts du Celtic à la 38e minute avec Considine - apparaissant dans son 600e match de club - expulsé par l'arbitre David Dickinson dans le temps additionnel pour un tir sur Oh Hyeon-gyu, avec son compatriote remplaçant David Turnbull ajoutant le quatrième de le coup franc qui en résulte.Les champions d'Ange Postecoglou ont perdu une fois en 25 matches de championnat cette saison et ont de nouveau semblé être une équipe formidable.La victoire 2-0 de St Johnstone en milieu de semaine à Motherwell était leur première victoire en huit matchs, mais peu de choses étaient attendues contre les hommes de Parkhead.James Brown, Tony Gallacher, Graham Carey et Connor McLennan sont entrés dans la formation de l'équipe locale tandis que Postecoglou n'a fait qu'un seul changement, Mooy remplaçant Matt O'Riley au milieu de terrain pour le coup d'envoi de midi.L'équipe locale s'est battue pour prendre pied tôt dans le match, mais les Hoops ont lentement pris le contrôle et ont pris la tête lorsque Furuhashi a couru sur une passe de Mooy. Dès la signature, sa tentative de balle vers ses coéquipiers japonais Daizen Maeda et Reo Hatate a été transformée dans son propre filet à bout portant par l'impuissant Considine.Le premier coup porté à la conviction de l'équipe de Perth a été aggravé à la 22e minute lorsque Furuhashi a tiré haut devant Remi Matthews après une longue passe de Mooy – qui avait un bon match – et un centre de Jota.ignorer la promotion de la newsletterInscrivez-vous pour Football QuotidienNewsletter quotidienne gratuiteCommencez vos soirées avec le regard du Guardian sur le monde du football

[majesticrosegraph]

Paddy Considine est Viserys Targaryen dans House of the dragon.

Avatars également sur @fcressourcesrp

[scenesandscreens]

The Bourne Ultimatum (2007)

Director - Paul Greengrass, Cinematography - Oliver Wood

“Listen, people - do you have any idea who you’re dealing with? This is Jason Bourne. You are nine hours behind the toughest target you have ever tracked. Now I want everyone to sit down, strap in, and turn on all you’ve got. That would mean now.”

[issela-santina]

Gobshite Viserys is real and quite the singer

if you've listened to Paddy's band Riding The Low before, it's good to blast it again

Riding the Low. Left to right: Dan “Skelegog” Baker, Chris “Butch Mystique” Baldwin, Paddy “Gobshite Rambo” Considine, Justin “J-Rock” Chambers, Richard “Tactile Sasquatch” Eaton.

[ghostcultmagazine]

Rolling Stone Ranks The Top 100 Metal Albums of All-Time

Rolling Stone Ranks The Top 100 Metal Albums of All-Time

Rolling Stone has released its list of the top 100 Metal Albums of all time, and it will surely spark some ire among fans. Curated by a list of the who’s who of proper rock and metal journalists such as Christopher R. Weingarten, Tom Beaujour, Hank Shteamer, Kim Kelly, Steve Smith, Brittany Spanos, Suzy Exposito, Richard Bienstock, Kory Grow, Dan Epstein, J.D. Considine, Andy Greene, Rob…

[miguelmarias]

Under Capricorn (Alfred Hitchcock, 1949)

Antaño reputada una de las mejores películas de Hitchcock —la que Cahiers du Cinéma incluye en 1958 entre las doce más importantes de la Historia del Cine— y una de las más citadas. Under capricorn (1949) es hoy una película olvidada hasta por los más entusiastas hitchcockianos. El propio Hitchcock —sin duda el cineasta que más trabajo ha ahorrado a sus detractores, y no, como su más directo competidor en este sentido, Jean-Luc Godard, por afán de provocar, sino por una autoexigencia y un sentido crítico realmente excesivos— se ocupó de enfriar el entusiasmo que Truffaut —como Rohmer, Chabrol, Rivette y tantos otros— sentía por el film antes de su célebre entrevista.

Hay que reconocer, aunque sólo sea por una vez, que el autor se acercó más a la verdad que sus admiradores, que fue mejor crítico que los críticos más sensibles de la época, y que Under Capricorn es uno de los honrosos fracasos que puntúan la carrera de Hitchcock entre 1941 y 1956 —como Recuerda, El proceso Paradine o Yo confieso, por ejemplo—, films ambiciosos y a menudo audaces, con secuencias magistrales o conmovedoras, pero fallidos, menos satisfactorios en conjunto que otros más modestos, decididamente «menores» incluso —como Pánico en la escena—, pero más conseguidos, a su nivel, menos perjudicados por ciertos errores que malogran obras que pudieron o debieron ser magníficas.

El primer obstáculo que el propio Hitchcock interpuso al éxito de Atormentada es un guión excesivamente difuso e inseguro a partir de un argumento que sin duda encerraba posibilidades y no carente de atractivo —un poco en la línea de Cumbres borrascosas, y por tanto de Rebeca, con algunos elementos de Gaslight (Luz que agoniza, 1944) de Cukor, entre ellos la actriz principal—, que enlaza —si no las recuerda mal— con The Ring, Downhill (1927) y The Manxman (1929), además de los otros dos films en que dirigió a Ingrid Bergman, y anuncia I confess (1953), Hitchcock y sus colaboradores parecen haber sido incapaces de concentrar la acción suficientemente y de exponerla con la necesaria fuerza dramática. Los personajes permanecen demasiado tiempo envueltos en la confusión, sujetos a voluntades ajenas de inexplicable poderío o víctimas de malentendidos que nadie intenta aclarar, por lo que Lady Henrietta Considine (Ingrid Bergman, más bella cuando está enferma que cuando recobra la salud y el juicio) parece demasiado crédula y pasiva. Sam Flusky (Joseph Cotten) un marido excesivamente tosco y derrotista, el ama de llaves Milly (Margaret Leighton) una grotesca encarnación de la maldad gratuita y Charles Adare (Michael Wilding) un estúpido petimetre sin gracia ni inteligencia que puedan hacerle digno de la función que el guión le asigna.

El segundo error, mayúsculo, no hace sino agravar el primero: la elección de actores —salvo Ingrid Bergman, por supuesto, y tal vez Margaret Leighton, aunque ésta intente en exceso emular a Judith Anderson en Rebeca, sin resultar ni la mitad de amenazadora— es singularmente desafortunada: ni Joseph Cotten —demasiado soso y bovino, merece que las cosas le salgan mal, como en El cuarto mandamiento, Duelo al sol, Niágara, El último atardecer— ni Michael Wilding —débil y superficial, gesticulando como ningún otro intérprete de Hitchcock, sin asomo del humor de que hace gala en Pánico en la escena (1949)— dan la talla necesaria para hacer creíbles y emocionantes a dos personajes de melodrama como los que les ha tocado encarnar, y que hubieran requerido el talento, la ambigüedad y la presencia de, respectivamente, James Mason —pienso en su actuación en The Reckless Moment de Max Ophuls— y Cary Grant —en la línea de pícaro vago que tan brillantemente reveló en Sospecha (1941), con un poco de la dureza cruel que Hitch supo extraer de él en Encadenados (1946) para las escenas en que el personaje de Adare anuncia el de Sean Connery en Marnie (1964)—, por ejemplo.

Tercera equivocación, causa probable de la primera: la desmedida afición de Hitchcock —tal vez producto de culpables lecturas juveniles y de su formación en los jesuitas, primero, y en el cine mudo, después— al melodrama victoriano de amores imposibles entre aristócratas y mozos de cuadra, que sin duda le impulsó, consciente de que tales conflictos se habían hecho anacrónicos, a abordar —por tercera, si no me equivoco, y desde luego última vez en su carrera— algo que le pega tan poco como el «film de época». No es que Hitchcock afloje el ritmo narrativo en aras de una amorosa recreación del ambiente decimonónico o preste excesiva atención al decorado y el vestuario, pero situar la acción de un film de «suspense» en 1831 no contribuye a acercarnos a unos personajes que además de vivir en Australia, eran de por sí bastante inverosímiles sobre el papel, sin que los actores logren hacérnoslos más próximos o comprensibles.

Estos tres fallos imposibilitarían ya, de entrada, la identificación del espectador con cualquiera de los protagonistas del drama que parece no sólo una de las características del cine hitchcockiano sino un requisito casi indispensable para que se produzca esa forma de tensión que se ha dado en llamar «suspense». Por si fuera poco, Hitchcock se dejó llevar de su entusiasmo por el plano-secuencia, con el que acababa de experimentar en Rope (1948), y cometió un cuarto error, tal vez el más inexplicable e imperdonable de los que impiden que Under Capricorn llegue a ser la gran película que pudo ser y a ratos es: subordinó los movimientos —o la absurda falta de ellos— de los actores a los —con frecuencia prodigiosos, hasta sublimes en sí mismos— de la cámara, con lo que a menudo echamos de menos a un personaje, que está en la escena pero fuera de cuadro, cuyas reacciones desearíamos conocer, y cuya ausencia sólo sirve para que Hitchcock no tenga que interrumpir el largo plano que está haciendo con un contraplano. Triste ejemplo —único en la obra de Hitchcock— de lo que sucede cuando los medios se convierten en un fin y, por ello, no conducen a nada.

Pero si la maestría, la autoexigencia y la lucidez habituales en Hitchcock incitan a la severidad y no invitan a la indulgencia ante la decepción, sería también injusto no señalar más que los defectos de un film en el que están inextricablemente unidos a otros tantos aciertos.

Resulta, así, que cuando la cámara se cierne implacablemente —durante seis u ocho minutos— sobre el rostro angustiado de Ingrid Bergman para acosarla hasta extraer de ella una penosa confesión, nada importa que se nos oculte forzadamente a Michael Wilding— que nos tiene sin cuidado, a fin de cuentas—, y sí que se roce la intensidad y el impudor con que Rossellini sondeó la mirada de esa misma actriz en Stromboli, terra di Dio (1949), Europa' 51 (1952), Viaggio in Italia (1953) y Die Angst/La paura/Non credo piú all'amore (1954); que la primera aparición de Lady Henrietta —pálida, ajada, descalza, con algo de cadáver recién exhumado— es escalofriante; que a veces nos creemos efectivamente transportados a un mundo de amor fou y pasiones reprimidas digno de Emily Brontë o el George Du Maurier de Peter Ibbetson y Trilby, como cuando Hitchcock se decide, por fin, a poner todas sus cartas sobre el tapete y nos arrastra con sus personajes en un furioso torbellino de confesiones, mentiras, sacrificios y celos asesinos que hace, durante los quince o veinte minutos finales, que por fin nos creamos unos amores que hasta entonces no existían más que en la mente de los autores o en las páginas del guión, pero que ahora, en virtud de la fuerza misma de la narración, llevada a un ritmo vertiginoso y sepultada definitivamente en las arenas movedizas de la paradoja, se nos antojan evidentes... qué digo evidentes, ¡ardientes!

Miguel Marías

Dirigido por 76 (Octubre 1980)

  • ────── ✾ ────── • • ────── ✾ ────── • • ────── ✾ ────── •

Para quien piensa, como yo, que Alfred Hitchcock es (como cineasta, no me refiero al individuo así llamado en la vida real; por eso empleo el presente) uno de los grandes románticos, Under Capricorn ha de ser, por fuerza, una de sus películas más características y logradas; lo cierto es que nunca —ni en su estreno ni en reposiciones ulteriores— ha tenido éxito, pero en los últimos tiempos no goza siquiera del prestigio que tuvo en los años 50 entre los entonces muy contados, todavía incipientes, defensores del cineasta, considerados por lo general como unos locos (Truffaut, Rohmer, Chabrol, Rivette, Godard, Resnais eran sus nombres).

Cierto es que por entonces Hitchcock no había realizado su asombrosa serie de obras maestras consecutivas (desde Rear Window en 1954 hasta... ahí cada cual tiene su criterio: para unos, la "racha" termina con Psycho, otros la prolongan una, dos, tres, hasta cuatro películas más), y por tanto estaba por hacer alguna de las mejores, pero creo que, más que eso, lo que sucede es que quienes han visto Under Capricorn muerto Hitchcock tienen una imagen de su obra más cerrada que quienes la pudieron contemplar antes de su periodo Paramount y su periodo Universal. En 1949 Hitchcock tenía no muy lejanas varias películas "de época", sin ir más lejos la fallida Jamaica Inn (1939), mientras que para 1976 (la fecha de su último largometraje, Family Plot) había descartado por completo tal tentación desde hacía casi treinta años, es decir, desde Under Capricorn precisamente... escarmentado por su fracaso.

El caso es que en 1949 Under Capricorn era una película algo insólita, inusual, en la filmografía hitchcockiana; hoy parece una absoluta rareza, al menos para el que desconozca su etapa muda, y por tanto ignore que sus primeras películas no tenían nada de policiacas, ni siquiera crímenes o culpables (falsos o verdaderos), sino que eran, puestos a ubicarlas en algún género, melodramas, historias de amor, de pasión y celos, de deseo frustrado y obstinado. Por tanto, Under Capricorn representa algo así como un retorno a los orígenes, una última tentativa de casi prescindir del marco, el contexto o el ingrediente, como se quiera llamar, policiaco-criminal, es decir, el nicho genérico del thriller en el que había descubierto, casi por casualidad, la fórmula mágica, la receta del éxito, la clave de su supervivencia como autor cinematográfico. He tratado de mostrar esa raíz y su evolución en términos de lo que ha venido a llamarse suspense en el artículo más largo que he escrito en mi vida acerca de Hitchcock, incluido en un volumen colectivo publicado por la Fundación Municipal de Oviedo en 1989 y que supongo será hoy inencontrable. No puedo, pues, ni tratar de sintetizarlo aquí, pero Under Capricorn es, junto con Vertigo y Marnie, la última gran historia de amor (aunque, marginalmente, también lo sean North by Northwest y Topaz) que logró llevar Hitchcock a la pantalla sin apenas disimuladoras apoyaturas externas, es decir con una intriga de misterio menos importante que la afectiva.

Under Capricorn es la incursión más profunda (y ambigua o ambivalente) de Hitchcock en la figura del triángulo (y en eso prolonga su anterior película con Ingrid Bergman, Notorious), jugando con las apariencias en el enfrentamiento entre el rudo y rústico Joseph Cotten y el refinado y educado Michael Wilding. Contiene uno de los mayores "sustos" de toda su filmografía, y no faltan tensiones psicológicas ni elementos macabros, que sería injusto mencionar ante quien no la haya visto, pero el suspense básico es de carácter predominantemente amoroso, sentimental. Quizá sea la obra de Hitchcock más emparentable con el melodrama, y no faltan puntos de contacto con uno de los últimos rodados en Alemania por Detlef Sierck (más conocido como Douglas Sirk), también situado, curiosamente, en Australia, Zu neuen Ufern (1937).

La idea de una nueva vida —a veces una nueva personalidad, un nombre cambiado— en los antípodas implica siempre un pasado latente, que se trata de olvidar o, al menos, ocultar a los demás, pero que, como todo lo reprimido, pugna por reflotar a la superficie o corre el riesgo de ser deliberada o involuntariamente revelado. Esta tensión entre presente y pasado, entre traumas y deseo de felicidad, entre protección y libertad, es la clave de la variante del suspense que rige la dramaturgia y la narración en Under Capricorn, también experiencia o experimento final de Alfred Hitchcock en el terreno de los planos de larga duración con complicados movimientos de cámara, que yo tiendo a interpretar como un rebrote de su admiración por el Murnau mudo reactivado por los planos-secuencia de las primeras películas de Orson Welles (1941-1942) y otras dos que seguramente contempló con fascinación y algo de envidia quizá, Laura (1944) de Otto Preminger y Letter From An Unknown Woman (1948) de Max Ophuls. El primer ensayo fue, evidentemente, Notorious; el segundo, Rope; el tercero, Under Capricorn. Ni que decir tiene que su sistema habitual de fragmentación del espacio y el tiempo en multitud de planos breves aplicando el desarrollo hitchcockiano del "efecto Kuleshov" es más adecuado para el cine de intriga, misterio y suspense generalmente practicado por Hitchcock, mientras que el movimiento fluido y continuo de la cámara, a menudo independizado de la acción (que a veces sigue pero otras anticipa, desplazándose la mirada del cineasta en forma aparentemente arbitraria, pero reveladora de un conocimiento casi "divino" de lo que va a suceder) parece más apropiado para un melodrama en el que se debaten cuestiones como el destino, los impulsos irresistibles, la voluntad y el libre albedrío. El uso del color, que Hitchcock abordaba por segunda vez, revela igualmente su cara oculta de gran amante de la pintura, y sienta las bases de su ulterior y complejo empleo de los códigos cromáticos como vehículo subliminal de comunicación.

No es raro, pues, que los futuros cineastas que encabezaron la reivindicación de Hitchcock como algo más que un excelente técnico y un prodigioso artífice de ficciones escasamente preocupadas por la verosimilitud naturalista de lo narrado —lo que, en términos elogiosos pero algo peyorativos, resumía la fórmula "mago del suspense"—, como Rohmer y Chabrol, desde luego, pero también Truffaut, Godard o Rivette, encontraran en Under Capricorn una de sus piezas de convicción más impresionantes, ni que esta película haya ejercido notable influencia en sus obras posteriores (Jules et Jim, L'Histoire d'Adèle H. o Les Deux Anglaises et le Continent en la de Truffaut, La Femme infidèle o Juste avant la nuit en la de Chabrol, L’Anglaise et le Duc o Die Marquise von O... en la de Rohmer).

Miguel Marías

En “El universo de Alfred Hitchcock”. Editado por Notorius en 2006.

[claudia1829things]

"CINDERELLA MAN" (2005) Review

"CINDERELLA MAN" (2005) Review When I had first learned about Ron Howard’s biopic about boxing champion James J. Braddock, I was very reluctant to see the film. In fact, I did not even bother to go see it. Instead, I merely dismissed "CINDERELLA MAN" as a ‘"SEABISCUIT" in the boxing ring’. After I finally saw the movie, I must admit that my original assessment stood.

”CINDERELLA MAN” and the 2003 Oscar nominated film, ”SEABISCUIT” seemed to have a lot in common. Both were released by Universal Pictures. Both films possessed a running time that lasted over two hours, both were sentimental stories that centered around a famous sports figure and both were set during the Great Depression. Unlike ”SEABISCUIT”, ”CINDERELLA MAN” told the story about a man – namely one James J. Braddock, an Irish-American boxer from New York and Bergen, New Jersey. The movie started out with Braddock (portrayed by Russell Crowe) as a boxing heavyweight contender in 1928, who had just won an important bout against another boxer named Tuffy Griffiths. But within five years, Braddock found himself as a has-been struggling to keep his family alive during the depths of the Depression, while working as longshoreman. Thanks to a last minute cancellation by another boxer, Braddock gets a second chance to fight but is put up against the number two contender in the world, Corn Griffin, by the promoters who see Braddock as nothing more than a punching bag. Braddock stuns the boxing experts and fans with a third round knockout of the formidable Griffin. After winning a few more bouts, Braddock ends facing boxing champ, Max Baer (Craig Bierko), for the heavyweight title in 1935. Despite the similarities between ”CINDERELLA MAN” and ”SEABISCUIT”, I must admit that I regret not seeing this film in the theaters. It turned out to be a lot better than I had expected. Director Ron Howard, along with screenwriters Cliff Hollingsworth and Akiva Goldsman, did an excellent job of chronicling Braddock’s boxing career at a time when he had been labeled a has-been by the sports media. The movie also featured some excellent fight sequences that came alive due to Howard’s direction, Crowe, Bierko, and the other actors who portrayed Braddock’s opponents. Although the movie’s main event was the championship fight between Braddock and Baer during the last thirty minutes, I was especially impressed by the sequence that featured Braddock’s fight against Art Lansky (Mark Simmons). In my opinion, most of the praise for these fight sequences belonged to cinematographer Salvatore Totino, and editors Daniel P. Hanley and Mike Hill (who both received Academy Award nominations for their work) for injecting the boxing sequences with rich atmosphere and effective editing. Ironically, the movie’s centerpiece – at least in my opinion – was its deception of the Depression. I understand that Howard had used the city of Toronto to serve as 1930s Manhattan and New Jersey. And judging from the results on the screen, he did an excellent job of utilizing not only the cast led by Crowe, but also the talents of production designer Wynn Thomas, Gordon Sim’s set decorations, Peter Grundy and Dan Yarhi’s art direction and Totino’s photography to send moviegoers back in time. There are certain scenes that really seemed to recapture the desperation and poverty of the Depression’s early years: *Braddock begs for money from the sports promoters and boxing managers at Madison Square Garden *Mae Braddock’s discovery of the gas man turning off the family’s heat *The Braddocks witness the desertion of a man from his wife and family *Braddock’s search for his friend, Mike Wilson (Paddy Considine), at a Hooverville in Central Park Howard and casting agents, Janet Hirshenson and Jane Jenkins, managed to gather an impressive group of cast members for the movie. The ironic thing is that despite the impressive display of talent on screen, hardly anyone gave what I would consider to be a memorable performance – save for one actor. Russell Crowe naturally gave an impressive, yet surprisingly likeable performance as James Braddock. Although I found his performance more than competent, I must say that I would not consider it to be one of his best roles. There was nothing really fascinating or complex about his Braddock. I suspect that screenwriters Hollingsworth and Goldsman could have made Braddock a more interesting character . . . and simply failed to rise to the occasion. I have to say the same about their portrayal of the boxer’s wife, Mae Braddock. Portrayed by Renee Zellweger, her Mae was a loving and supporting spouse, whose only kink in her personality revolved around her dislike of Braddock’s boxing. In fact, Zellweger’s Mae threatened to become a cliché of the countless number of women who end up as wives of men in dangerous professions. Thankfully, Zellweger managed to give an excellent performance and with Crowe, create a strong screen chemistry. Paul Giamatti received an Academy Award nomination for his portrayal of Braddock’s manager, Joe Gould. Many had assumed that Giamatti had received his nomination as a consolation prize for being passed over for his superb performance in ”SIDEWAYS”. After seeing his performance as Gould, I suspect they might be right. I am not saying that Giamatti gave a bad performance. He was excellent as Braddock’s enthusiastic and supportive manager. But there was nothing remarkable about it . . . or worthy of an Oscar nomination. If there is one performance that I found impressive, it was Paddy Considine’s portrayal of Mike Wilson, Braddock’s friend and co-worker at the New York docks. Considine’s Wilson was a former stockbroker ruined by the 1929 Crash, who was forced to become a menial laborer in order to survive. Although his plight seemed bad enough to generate sympathy, Considine did an excellent job of portraying the character’s bitterness and cynicism toward his situation, President Roosevelt’s ability to lead the country out of the Depression and the world itself. I hate to say this, but I feel that the wrong actor had received the Oscar nomination. God knows I am a big fan of Giamatti. But if it had been left up to me, Considine would have received that nomination. We finally come to Craig Bierko’s performance as Max Baer, champion boxer and Braddock’s final opponent in the movie. Baer’s character first makes his appearance in a championship fight against Primo Carnera, following Braddock’s surprising upset over Corn Griffin. From the start, he is portrayed as a brash and aggressive fighter who does not know when to quit. And it gets worse. Before I continue, I want to say that I have nothing against the actor who portrayed Baer. Like Crowe, Zellweger and Giamatti, Bierko had to do the best he could with the material given to him. And he did the best he could. Bierko, being an above-average actor, infused a great deal of energy and charisma into his portrayal of Baer. It seemed a shame that Howard’s direction, along with Hollingsworth and Goldman’s script forced Bierko to portray Baer as some kind of callous thug who felt no remorse for killing two other fighters in the ring and was not above needling Braddock at a Manhattan nightclub by making suggestive remarks about Mae. Baer’s son, Max Baer Jr. (”THE BEVERLY HILLIBILLIES”) had been naturally outraged by what he deemed was the movie’s false portrayal of the boxer. What the movie failed to convey was that Baer had only killed one man in the ring – Frankie Campbell – and had been so shaken up by the other man’s death that it affected his boxing career for several years. Nor did Baer ever make any suggestive remarks toward Mae Braddock. He also hugged and congratulated Braddock following the latter’s June 1935 victory. I really do not know why Howard thought it was necessary to turn Baer into a one-note villain. Someone claimed that the movie needed a nemesis for Braddock that seemed more solid than the vague notion of the Depression. If that is true, I believe that Howard and the movie’s screenwriters turned Baer into a villain for nothing. As far as I am concerned, the Great Depression made an effective and frightening nemesis for Braddock. This was brilliantly conveyed in Braddock’s bout with Art Lasky. At one point in this sequence, the New Jersey boxer seemed to be on the verge of defeat . . . until his memories of his family and how the Depression had affected them . . . urged him to a hard-won victory. Sequences like the Braddock-Lasky fight and Braddock’s search for Mike Wilson in the Central Park Hooverville made the Great Depression a more effective nemesis than the one-dimensional and crude behavior of a falsely portrayed Max Baer ever could. Despite the movie’s badly written portrayal of Baer, and slightly uninteresting major characters like James and Mae Braddock, and Joe Gould; ”CINDERELLA MAN” is still an excellent biopic that featured exciting boxing sequences. More importantly, it is one of the few Hollywood films that revealed an in-depth look into one of the country’s most traumatic periods – namely the Great Depression. Flawed or not, I believe that it is still worth watching.

[siir-sever]

Amaç ve niyet nedir bilmiyorum, ama insanın içini bir umut kaplıyor aşağıdaki şu haberle... Bu virüs birçok şeylere sebep olduğu gibi dünyanın “İslam” ı “İslamafobi” den çok ayrı bir bağlamda tefekkür edip idrak etmesine de zemin hazırlar mı?

İnşaÂllah... 🤲🏻

«Yeni tip koronavirüsün ortaya çıkmasıyla dünya hijyen kurallarını tekrar öğrenmeye başladı. Amerika'da yayın yapan haftalık Newsweek dergisi, bu konu üzerine çok konuşulacak bir haber hazırladı. Dergi, Hz. Muhammed'in (SAV) insanlığa tavsiye ettiği temizlik kurallarını hadisler üzerinden örneklendirerek gündeme getirdi.

Amerika'da yayın yapan haftalık dergi Newsweek, yeni tip koronavirüs ile ilgili bir haber hazırladı.

Amerika'daki Rice Üniversitesi Sosyoloji Bölümü'nde akademisyen olan Dr. Craig Considine imzalı "Yalnızca duanın gücü koronavirüs gibi bir pandemiyi durdurabilir mi? Peygamber Hz. Muhammed bile başka türlü düşündü" adlı başlıklı görüş yazısında, Kovid-19'dan korunmak için hijyenin öneminden bahsedildi.

Haberin büyük bir kısmında Hz. Muhammed'in (SAV) temizlik ile ilgili verdiği tavsiyelere dikkat çekildi.

Hz. Peygamberin (SAV) önerileri, derginin haberinde şu satırlarla dile getirildi;

"İmmünolog Dr. Anthony Fauci ve tıbbi gazetecilik yapan Dr. Sanjay Gupta hijyen, karantina ve sosyal izolasyon kurallarının Kovid-19 ile mücadelede en önemli araçlar olduğunu söylüyor.

Bir salgın sırasında başka kimin hijyen ve karantina önerdiğini biliyor musunuz? 1300 yıl önce İslam Peygamberi Hz. Muhammed...

Ölümcül hastalıklar konusunda uzman olmasa da, Hz. Muhammed yine de Kovid-19 gibi bir gelişmeyi önlemek ve mücadele etmek için sağlam tavsiyelerde bulundu.

Hz. Muhammed dedi ki: "Bir ülkede veba salgını duyarsanız oraya girmeyin; veba sizin bulunduğunuz yerde çıkarsa ise o yeri terk etmeyin."

Ayrıca, "Bulaşıcı hastalıkları olanlar sağlıklı olanlardan uzak tutulmalıdır" dedi.

Hz. Muhammed, insanları enfeksiyondan koruyacak hijyen uygulamalarına uymayı da teşvik etti. Aşağıdaki hadisleri düşünün:

"Temizlik imanın bir parçasıdır.

Uyandıktan sonra ellerinizi yıkayın; uyurken ellerinizin nerelerde hareket ettiğini bilmiyorsunuz.

Yemeğin bereketi; hem yemekten önce, hem de yemekten sonra elleri yıkamaktadır."

Ya biri hastalanırsa? Hz. Muhammed acı çeken insanlara ne tür tavsiyelerde bulunurdu?

İnsanları her zaman ilaç aramaya teşvik ederdi: "Tıbbi tedaviden faydalanın" derdi. Hz. Muhammed dedi ki; "Allah tüm rahatsızlıkların çaresini göndermiştir. Bir tanesinin ilacı yoktur o da yaşlılık (ölüm)."

Belki de en önemlisi, inanç ile mantığı ne zaman dengeleyeceğini biliyordu.

Son haftalarda bazıları, namazın sizi koronavirüsten uzak tutmada, sosyal mesafe ve karantinaya ilişkin temel kurallara uymaktan çok daha iyi koruyacağını ileri sürdü.

Peki Hz. Muhammed buna nasıl tepki verirdi?

Dokuzuncu yüzyılda yaşayan İslam alimi Tırmizi'nin aktardığı şu hadisi düşünün: Peygamber Hz. Muhammed bir gün bedevinin devesini bağlamadan ayrıldığını fark etti. Bedeviye, "Neden devenizi bağlamıyorsunuz?" diye sordu. Bedevi, "Allah'a güveniyorum" dedi. Peygamber Hz. Muhammed "Önce devenizi bağlayın, sonra Allah'a güvenin" dedi.

Hz. Muhammed insanları, dinlerinde rehberlik etmeye teşvik etti. Ancak herkesin istikrarı, güvenliği ve refahı için temel ihtiyati tedbirleri almalarını umuyordu.

Başka bir deyişle, insanların sağduyularını kullanmasını umuyordu."»

[infosurbaines]

House of the Dragon : l'hommage émouvant de Paddy Considine à Viserys

House of the Dragon : l’hommage émouvant de Paddy Considine à Viserys

Dans un long message posté sur son compte Instagram, l’acteur Paddy Considine qui interprète Viserys Targaryen dans “House of the Dragon”, a tenu à rendre un hommage vibrant à ce personnage. Il a également relevé le voile sur les derniers mots prononcés par le roi à la fin de l’épisode 8. Et ils sont très lourds de sens. House of the Dragon : le règne de Paddy Considine L’acteur anglais Paddy…

[houseofthedragon1x08streamingvf]

House of the Dragon 1x08 Saison 1 Episode 8 streaming Série tv français 2022 Complet VF

House of the Dragon 1x08 Saison 1 Episode 8 Regarder Série tv - https://hotd-1x08-vf.blogspot.com/

Dans Fire and Blood de George R.R. Martin, sur lequel la série est basée, Corlis ne meurt pas pendant cette période particulière. De plus, le serpent de mer joue un rôle important dans la danse des dragons, une guerre civile qui n'a pas encore été montrée dans la série House of the Dragon. Il est peu probable que les auteurs de "La Maison du Dragon" aient décidé de changer radicalement l'histoire de Corlis en le tuant si tôt.

Rhaneyra Targaryen est principalement passive et calme dans "La princesse et la reine", car elle passe la majeure partie de l'épisode à se remettre de la naissance de son troisième enfant. La scène, qui ouvre l'épisode, est à la fois réaliste et déchirante, et il y a une tentative claire de centrer visuellement la perspective de Rhaenyra dans un moment qui lui appartient et à personne d'autre. De même, Laena Velaryon a son libre arbitre dans une naissance bien pire. Cet épisode trouve un moyen de centrer l'action des femmes avec des résultats très différents, mettant en avant les personnages importants tout en offrant des nuances à leurs histoires. L'épisode 6 montre de nouveaux acteurs, qui parviennent à capturer l'esprit de Rhaenyra et Alicent, et rapprochent le récit de la guerre. C'est le calme avant la tempête pour eux deux, et l'histoire arrive au point où la seule chose qui a du sens est qu'ils s'unissent, un front uni contre Alicent Hightower et ses enfants : la princesse contre la reine. Avant, cela aurait pu être évité. Les décisions prises dans cet épisode par la reine et son entourage en font désormais une certitude. La balle est désormais dans le camp de la Princesse et s'il y a une chose que l'on peut dire de Rhaenyra c'est qu'elle sait réagir.

Nous venons de passer le milieu de la saison 1 et nos deux protagonistes se sont enfin présentés au travail. Emma D'Arcy et Olivia Cooke assument désormais respectivement les rôles de Rhaenyra et Alicent, et c'est un témoignage du travail solide de Milly Alcock et Emily Carey qu'il faut une partie de cet épisode pour s'habituer au changement. Utilement, le saut dans le temps de dix ans signalé par le changement de distribution n'a vu que la continuation des schémas établis : les deux se sont imposés dans leur rivalité et ont établi une routine de joutes mesquines qui déforme toute la cour.

Nous nous ouvrons à une femme qui se plaint, et pour une fois je ne me plains plus de l'obsession de la série avec les femmes comme outils dynastiques. Eh bien, ça aussi. Rhaenyra de D'Arcy donne naissance à son troisième enfant, un bébé que son mari Laenor (John Macmillan) baptise Joffrey après son amour perdu depuis longtemps. Le cordon ombilical est juste coupé avant que la reine ne demande à voir le bébé : Rhaenyra, têtue jusqu'à la moelle, insiste pour porter elle-même le bébé comme une sorte de résistance passive. Si c'est son plan pour faire honte à Alicent, il échoue : alors qu'il y a un moment de réelle inquiétude dans les yeux d'Alicent, il est rapidement remplacé par le sniper habituel. Ce qui devient clair - et c'est l'un des nombreux avantages de choisir ces acteurs noirs pour les Velaryons - c'est qu'aucun des enfants de Rhaenyra n'est de Laenor, et qu'elle a en fait eu une liaison avec Ser Harwin Strong (Ryan Corr). Alicent le sait évidemment, mais personne ne portera publiquement l'accusation par crainte de trahison - et Viserys (Paddy Considine) est délibérément aveugle à tout cela. Il encourage ses enfants et petits-enfants à jouer ensemble, joyeusement certain qu'il peut les lier en tant qu'alliés afin qu'ils soutiennent tous le gouvernement de Rhaenyra. Fait intéressant, cependant, l'ancienne Alicent aux manières douces est maintenant suffisamment confiante en son propre pouvoir pour défier assez fortement sa vision du monde accueillante.

House of the Dragon 1x08 Saison 1 Episode 8 streaming Série tv français House of the Dragon 1x08 Saison 1 Episode 8 youtube Série tv House of the Dragon 1x08 Saison 1 Episode 8 Série tv en streaming House of the Dragon 1x08 Saison 1 Episode 8 Série tvs House of the Dragon 1x08 Saison 1 Episode 8 Série tv stream House of the Dragon 1x08 Saison 1 Episode 8 Série tvs streaming House of the Dragon 1x08 Saison 1 Episode 8 regarder Série tv House of the Dragon 1x08 Saison 1 Episode 8 megavideo House of the Dragon 1x08 Saison 1 Episode 8 regarder Série tv gratuit français House of the Dragon 1x08 Saison 1 Episode 8 bande annonce House of the Dragon 1x08 Saison 1 Episode 8 movie streaming House of the Dragon 1x08 Saison 1 Episode 8 Série tv torrent français House of the Dragon 1x08 Saison 1 Episode 8 streaming movies House of the Dragon 1x08 Saison 1 Episode 8 regarder Série tv en streaming House of the Dragon 1x08 Saison 1 Episode 8 Série tvz House of the Dragon 1x08 Saison 1 Episode 8 Série tv gratuit House of the Dragon 1x08 Saison 1 Episode 8 Série tvs en streaming français House of the Dragon 1x08 Saison 1 Episode 8 Série tv youtube House of the Dragon 1x08 Saison 1 Episode 8 Série tv hd

[nupati]

Kemenangan Politik 'Ngalah'-nya Nabi

Kemenangan Politik ‘Ngalah’-nya Nabi

Oleh : Maulana Karim Sholikhin* Dalam agama islam, Nabi Muhammad menjadi sosok suci yang sarat teladan. Kehebatan plus kecerdasannya yang multidimensi pun diiyakan banyak kalangan, baik oleh ummatnya sendiri maupun non Islam. Sebut Mahatma Gandhi dan Craig Considine yang bahkan mengagungkan nabinya Ummat Islam lewat pendapat lisan maupun karya tulis dan postingan-postingan di Twitter. Luar…

[alejandrobovino]

New Movies and TV Series to Stream in August 2022