#emeric pres | Explore Tumblr posts and blogs

dweemeister · 2 years ago

Photo

I Know Where I’m Going! (1945)

If not for World War II, Michael Powell and Emeric Pressburger might not have made I Know Where I’m Going! Looking to film a high-concept Technicolor feature that eventually became A Matter of Life and Death (1946; AKA Stairway to Heaven), the duo encountered trouble when they learned that almost every Technicolor camera in non-occupied Western Europe was being used to make Allied military training films. So while biding their time, they looked to film a story that Pressburger pounded out on his typewriter in four days. Originally known as The Misty Island, I Know Where I’m Going! is a poignant romance containing dollops of comedy, Scottish folklore, and traces of adventure. Aided by the misty oceanic landscapes and two subtle (but worthy) central performances, this movie from the Archers (the production company for Powell and Pressburger, but also a nickname for the two) balances its earthiness and mysticism to form an effective romantic drama.

After a narrated prologue/opening credits fast forwarding through the first twenty-five years of her life, the Mancunian woman Joan Webster (Wendy Hiller) departs home to the Hebrides in order to marry industrialist Sir Robert Bellinger (voiced by Norman Shelley). Joan has never met the much older Sir Bellinger, who lives on the fictional Isle of Kiloran. A multipart journey involving trains and boats takes place – all on time, exactly as Sir Bellinger’s travel itinerary has laid out for Joan. Following a fascinating montage travel scene thanks to editor John Seabourne, Sr. (1943’s The Life and Death of Colonel Blimp, 1957’s A King in New York), Joan arrives at her final stop before the boat to Kiloran – the Isle of Mull. There, Joan finally has a delay in her travel schedule. Inclement weather for the next few days will make passage impossible. There, she meets Royal Navy officer Torquil MacNeil (Roger Livesey), who is on leave from the service. The two stay the night at a friend of Torquil’s, Catriona Potts (Pamela Brown), and her overeager Irish Wolfhounds. Joan soon learns that Torquil is the Laird of Kiloran and – with the poor conditions not improving – he gladly shows Joan many of the locals and sights. Gradually, Joan’s emotional walls crumble, leaving her making a choice unanticipated and uncharacteristic.

The colorful cast of supporting actors include C.W.R. Knight as the falconer Colonel Barnstaple, Finlay Currie as the sailor Ruairidh Mhór, George Carney as Joan’s father, Nancy Price as Mrs. Crozier, and Catherine Lacey as the busybody Mrs. Robinson. Thirteen-year-old Petula Clark is Cheril, the Robinsons’ daughter.

youtube

How in the world did Pressburger type out this screenplay (the writing credit also goes to Powell) in a few days? The Archers came into pre-production knowing what sort of story they wished to tell. Intending to carry over the anti-materialist messages from their previous film – 1944’s A Canterbury Tale – they juxtapose constantly the idea of Joan’s idea of marrying a rich husband with the poor and working-class background of the Isle of Mull’s residents. The origins of Joan’s affluent tastes, established in the opening sequence over the opening credits, are never fully explained. Is it a legacy of living in extremely class-conscious early 20th century England? Perhaps a coping mechanism or compensating for some personal shortcoming? Whatever it is, it makes Joan’s progression as a character and the climactic decisions of the film feel less believable than they should be. This is, for me, the glaring hole in an otherwise fine screenplay from the Archers. The superb performances from Hiller and Livesey almost remedy my qualms here.

And what performances they deliver. Wendy Hiller had been primarily a stage actress by the time she made a leap into the movies. The second film she made was the 1938 adaptation of George Bernard Shaw’s Pygmalion, in which she played Eliza Doolittle. She became the first British actress to receive an Academy Award acting nomination in a British movie as a result. With her stock on the rise and looking forward to working with her, Powell and Pressburger signed her up to play the female lead in The Life and Death of Colonel Blimp. But her second pregnancy forced her to step away from the production, leaving that role to Deborah Kerr. In I Know Where I’m Going!, Hiller has to exercise restraint for almost all of this film. As much as I criticized the on-paper believability of the Joan and Torquil’s developing relationship in the preceding paragraph, Hiller does her darndest to sell it. Her initial indifference to Scotland’s charms wears down as she contemplates her situation and begins to accept the slower pace of life far from the comfortable trappings of middle-class Manchester.

It takes a second performance to make all this work, and Roger Livesey does so ably. Livesey is no Laurence Olivier or Leslie Howard in terms of conventional handsomeness, but he terrifically complements Hiller in their moments together. Patient and kind to the Englishwoman who initially thinks little of the people and the places surrounding her, Torquil is no foil to Joan (this is not exactly an attraction of opposites), but their upbringings and views of tradition are markedly different. Livesey portrays this difference well in his vocal inflections and his bemused facial acting. Most viewers might not notice, but despite I Know Where I’m Going! being shot mostly on-location, Livesey never left London during production. Livesey was part of a play in London’s West End, and that production’s producers would not allow him to leave for Scotland to take part in the on-location shooting. So, for any exterior scenes in this film, Hiller is interacting with a body double. Look closer and you will notice that Livesey is always shot in close-up whenever the film’s narrative is outdoors.

By the time Pressburger completed the screenplay and filming began in the second half of 1944, Allied victory in Europe seemed to be drawing near. After several years of war – at times unsure whether the United Kingdom might survive the Axis onslaught – thoughts inevitably turned to what life might be like again once the guns fell silent. British social changes during wartime, whether by popular practice or by Parliamentary law, led the average British person to believe in a postwar society less class-conscious and economically fairer for all. We never see Sir Roger Bellinger in I Know Where I’m Going!, but there are implications he has profited from fueling the Allied war machine. There are other hints that Sir Bellinger is unaware of how his less wealthier neighbors act, that he is lacking the social etiquette and consciousness to interact with anybody outside his stratified circles (see: his manner of speech while speaking over the radio and his overly detailed itinerary for Joan regarding the trip from Manchester to Kiloran).

Meanwhile, the residents on the Isle of Mull are uniformly depicted as free-wheeling, fun-loving, and content with the human companionship and natural beauty – shot beautifully by cinematographer Erwin Hillier, who often was instructed by Powell to suspend shooting if the sky was too clear, and to wait until some clouds dotted the landscape – they have. The war is far from their concerns (the only explicit mention of WWII in the film might be that Torquil is on leave from the Royal Navy), almost as if it was not happening at all. The philosophies driving the violent on continental Europe and those spoken through the halls in Westminster seem as faraway as Shangri-La in Frank Capra’s Lost Horizon (1937). In place of the economics and politics of war, Gaelic dialogue, legends, and song fill the time as the isle’s residents go about their self-sufficient livelihoods.

Though, in terms of chronology, I Know Where I’m Going! takes place during WWII, it feels like the Archers’ first postbellum film. From 49th Parallel (1941) to The Life and Death of Colonel Blimp to the preceding A Canterbury Tale, the duo’s entire filmography by this point was rife with propaganda or propaganda-adjacent work (The Life and Death of Colonel Blimp is an exception, but it is heavily defined by three separate periods of British wartime). Taken in conjunction with Joan’s romantic second-guessing, I Know Where I’m Going! advocates for the needs of the heart from the moment Joan steps foot in Scotland. More broadly, it expresses hope that Britons can hold fast to more egalitarian principles once World War II concludes.

Michael Powell and Emeric Pressburger’s Technicolor expressionism as seen in A Matter of Life and Death, The Red Shoes (1948), and The Tales of Hoffmann (1951) was not yet in evidence. That would come only with greater artistic freedom, British audiences being able to separate their reputations from their earlier wartime work, and greater funds for those later works. The duo’s artistic vision, however, is without question in I Know Where I’m Going! The scene depicting the Corryvreckan whirlpool is stunning visual effects work (inspired by Moses’ parting of the Red Sea in Cecil B. DeMille’s original 1923 silent version of The Ten Commandments), in addition to the expressive lighting and cinematography of the exterior Scottish scenes.

On the other side of the Atlantic, I Know Where I’m Going! was no financial blockbuster, but it was a commercial and critical success in America. Some time after its release, Powell and Pressburger learned that I Know Where I’m Going! was shown to contracted writers at Paramount Pictures to exemplify, “how a perfect screenplay should be constructed.” Now, there might be no such thing as a “perfect” screenplay – and I hardly think I Know Where I’m Going! is close to that conversation if there is one – but it is certainly an inspired choice to teach screenwriters how to structure their narratives, appropriate places for narration, and how to build a relationship between two characters (which still requires some assistance from the actors).

In the years after making I Know Where I’m Going!, Powell deemed the film the “sweetest” he ever made with Pressburger. The down-to-earth humor and affection for the land and its people is always apparent, a quieter work amid the din of a war near its end. Through Joan and Torquil, the Archers express a social ideal unimaginable for many Britons even decades prior to this film’s release. Amid their many other works with war at the forefront, I Know Where I’m Going! lays bare its aspirations of life simply lived, the only sort of life worth living.

My rating: 8/10

^ Based on my personal imdb rating. My interpretation of that ratings system can be found in the “Ratings system” page on my blog (as of July 1, 2020, tumblr is not permitting certain posts with links to appear on tag pages, so I cannot provide the URL).

For more of my reviews tagged “My Movie Odyssey”, check out the tag of the same name on my blog.

#I Know Where I'm Going #I Know Where I'm Going!#Michael Powell #Emeric Pressburger #Powell and Pressburger #The Archers #Wendy Hiller #Roger Livesey #Pamela Brown #Finlay Currie #George Carney #Nancy Price #Catherine Lacey #Erwin Hiller #John Seabourne Sr.#TCM #My Movie Odyssey

21 notes · View notes

progmetol · 4 months ago

Text

Iveri info dump

Iveri’s relationship with her parents is actually kind of interesting, which is somewhat of a first for my characters because she has a more explicitly strained relationship with them, albeit, not entirely a negative one (holy run on sentence). Does she love them? Yes. Do they love her? Yes. But do they sometimes conflict? Yes. It’s not mostly conflict, but the conflict that happens is notable.

Iveri’s parents are Telvanni wizard lords. They’re both probably around 300 years old or so, still looking quite young though due to magic’s effect on aging and lifespan in TES. They’re relatively young for Telvanni wizards but not like Iveri who is still middle aged (172) for a non-magic-practicing elf (relatively speaking. Iveri mentally is very wise, even beyond her years). Of course Iveri does practice magic so she looks younger as well. It’s weird.

That being said Iveri has always been a little bit of an outcast. Nothing crazy though, really it was more she felt isolated because she was a prodigy. Her parents encouraged her though as the Telvanni tend to do. In fact, they were and still are very proud of her in regard to her studies and magical prowess, though they recognized that she was a little weird. If the Telvanni were independent, then Iveri was radically independent and immune to peer pressure.

Really the biggest thing that her parents were like WTF about in regards to pre-murder-sacrifice bullshit was the fact that she WANTED to explore Tamriel instead of staying in a mushroom tower. Sure, mushroom towers are cool, but Iveri got kind of sick of them after a hundred and fifty years or so. Telvanni politics were also somewhat boring when you’ve lived with them your whole life, a random chancellor getting assassinated is just another Tuedas.

Then there is the matter of post-resurrection when Iveri lost her memories… and subsequently regained them, now with a strange twist of her former personality and new developments that she made while an amnesiac. She visited Morrowind to see her family and they were absolutely appalled that she had been assisting the Empire and spying for them within the Ebonheart Pact. Unbelievable. (See my last info dump for… more info… on this).

But then Iveri explained in a half-truth that she was only doing it because the Dominion or King Emeric being in charge of the entire continent sounded like a really bad idea. She left out the fact that she actually had warmed up to the Imperials a bit. Her parents were slightly suspicious, but sure, whatever.

They were rightfully suspicious though, because eventually Iveri shows up on their doorstep again because her Imperial fiancé has to ask them for her hand in marriage. Oh, and he’s also the current de facto ruler of the Empire, considering both the absence of an Emperor or regnant (there is no fucking way that Clivia survived the bullshit in the Imperial City lmao). So of course they weren’t really big fans of that, but what were they going to do? Say no? Killing him would be a REALLY bad idea and they’re smart enough to know that. So they begrudgingly let it happen. They knew it would’ve happened anyway had they said no.

#mp talks #mp ocs #oc: iveri telvayn #the vestige

0 notes

micro961 · 7 months ago

Text

Lorenzo Lombardi Dallamano - “E se Fedez e Tiziano Ferro…”

Fedez e Tiziano Ferro scompaiono al termine di un concerto. Sono stati rapiti, non c'è dubbio, ma ancora non sanno di essere le pedine di un sadico gioco tremendamente reale. Vanessa Cojocaru, appena diventata Ispettore Capo, e la sua squadra si ritrovano al centro di una vicenda terrificante, che risucchia in maniera annichilente lei e tutti i personaggi, da Chiara Ferragni e Victor Allen all'abilissimo tecnico della scientifica Andrea Lucignano. Nelle narici di Vanessa però si insinua un odore che non la convince, che rimanda a tempi passati, e adesso ha troppo da perdere.

“E se...” è una saga composta da 7 thriller di genere hard-boiled, che si snodano in diversi ambienti della socialità comune coinvolgendo un nucleo acclarato di protagonisti di fantasia circondato da personaggi reali che cambiano in ogni romanzo a seconda del mondo narrativo. Questa è la caratteristica principale di ogni libro della saga, assieme allo strumento narrativo che è basato sempre sul numero 7.

“E se Mandzukic e Nainggolan…” La compagna del noto opinionista sportivo Daniele Adani scompare. Non ci sono dubbi: si tratta di rapimento. Parigi, una volta detective di fama, ora in totale disarmo, si ritrova suo malgrado invischiato nella ricerca della donna e, forse, nella ricerca di sé stesso, ma senza davvero volersi ritrovare. Avrà a che fare con il giovane Ispettore della Mobile, Vanessa Cojocaru: guardata in tralice da quasi tutti, perché arrivata da poco, donna, di origine romena, e di aspetto minuto, ora dopo ora fa capire di essere molto determinata e risoluta. Sullo sfondo una città che è tutte le città, persone che si credono chissà chi e non sono nessuno, emeriti Nessuno che si dimostrano cardini. Il tempo narrativo è scandito da un macabro count-down, coincidente con la struttura dei capitoli, che parte dal settimo per scorrere con un'inquietante sequenza sino al primo, che in realtà è il capitolo di chiusura, facendo provare al lettore la reale angoscia dei protagonisti costretti a vivere i 7 giorni che restano da vivere alla rapita. E intanto, i due calciatori Mario Mandzukic e Radja Nainggolan notano qualcosa che è sfuggito a tutti gli altri...

“E se Fedez e Tiziano Ferro…” I due famosi cantanti spariscono, mentre vengono ritrovati i corpi di alcune ragazze lasciati a simboleggiare qualcosa che all'inizio sfugge all'Ispettore Capo Vanessa Cojocaru, ma che non tarderà a terrorizzarla. I buoni diventano cattivi, i vivi sembrano volersi uccidere e i morti faticano a restare tali. Uno straordinario tecnico della scientifica ha un atroce sospetto, che diventerà dubbio e poi orrenda certezza. Dove cercare il colpevole di tutto questo? Solo il passato potrà rispondere.

View this post on Instagram

A post shared by Lorenzo Lombardi Dallamano (@il_rammaricato)

instagram

Lorenzo Lombardi Dallamano

Un master in profiling, sceneggiatore, produttore discografico con 11 Festival di Sanremo all'attivo, influencer di successo col nick social “il_rammaricato”, vive sin dall'infanzia l'ambiente cinematografico, che nel subconscio lo porterà ad ambientazioni narrative da grande schermo. Il germe della scrittura lo accompagna da sempre, nelle decine di ghost books e nei più di 100 testi scritti per artisti italiani e non, segnandone profondamente la percezione stessa della quotidianità. Il grande sogno era però quello del romanzo, che portava in grembo praticamente dall'adolescenza, e che è riuscito a realizzare complice l'isolamento forzato da coronavirus. Data l'ottima accoglienza per il primo romanzo, del quale è in pre produzione un adattamento cinematografico, “E Se...” è diventata una saga, il cui secondo capitolo dal titolo “E se Fedez e Tiziano ferro...” è fuori ora.

www.instagram.com/il_rammaricato/ https://amzn.eu/d/f0SxRJ1

#Libro #News #Lorenzo Lombardi Dallamano #Instagram

0 notes

willpaul229 · 9 months ago

Text

The Future of Restaurant Liquidation Auctions

The future of restaurant liquidation auctions is poised for evolution, shaped by technological advancements, sustainability considerations, and changing consumer behaviors. As the industry continues to adapt to these trends, several key factors will likely define the future landscape of restaurant liquidation auctions.

1. Technological Integration:

Advancements in technology are expected to play a significant role in the future of restaurant liquidation auctions. Artificial intelligence (AI) and machine learning may be employed to enhance the efficiency of auction processes. These technologies can streamline inventory management, optimize pricing strategies, and provide personalized recommendations to buyers, creating a more seamless and user-friendly experience.

Blockchain technology might be integrated to ensure transparency and traceability in transactions. This can build trust among participants by securely recording the provenance of items, reducing the risk of fraud, and providing a verifiable history of each product.

2. Online Platforms and Global Reach:

The future of restaurant liquidation auctions is likely to see a continued shift towards online platforms. The convenience of online bidding has become increasingly prevalent, allowing participants from around the world to access auctions easily. This global reach provides sellers with a broader audience and buyers with a more diverse selection of items, fostering increased competition and market efficiency.

3. Sustainability and Circular Economy:

Sustainability considerations will play a crucial role in shaping the future of restaurant liquidation auctions. As environmental awareness grows, there is a heightened focus on reducing waste and promoting a circular economy. Liquidation auctions offer an avenue for extending the life of restaurant equipment and furnishings, contributing to sustainable practices by giving these items a second chance in the market.

A future trend may involve liquidation platforms actively promoting eco-friendly practices, such as encouraging the resale and repurposing of items, implementing green packaging solutions, and collaborating with sustainable logistics partners.

4. Consumer Trends and Social Commerce:

Changing consumer behaviors will influence the future of restaurant liquidation auctions. The rise of social commerce, where buying and selling are integrated into social media platforms, may become more prevalent. Liquidation platforms could leverage social media channels to engage with buyers, showcase unique items, and facilitate transactions, making the shopping experience more interactive and engaging.

Moreover, as consumers increasingly prioritize sustainability, there may be a growing demand for pre-owned restaurant equipment. Liquidation auctions that emphasize the eco-friendly aspects of repurposing and reusing items are likely to attract environmentally conscious buyers.

5. Integration of Augmented Reality (AR):

The future of restaurant liquidation auctions may see the integration of augmented reality (AR) to enhance the online shopping experience. Buyers could virtually visualize how restaurant equipment and furnishings would fit into their spaces before making a purchase. This technology could bridge the gap between the online and physical aspects of the auction, providing a more immersive and informed buying experience.

6. Enhanced Authentication and Trust-building Measures:

To address concerns about product authenticity and quality, future restaurant liquidation auctions may implement enhanced authentication measures. Technologies such as RFID tags, QR codes, or unique digital identifiers could be used to verify the origin and condition of items. Trust-building measures will be crucial in maintaining the integrity of the auction process and ensuring buyer confidence.

7. Hybrid Auction Models:

A hybrid approach that combines both online and traditional in-person auctions may emerge in the future. This model could provide the benefits of convenience and global reach offered by online platforms while retaining the hands-on experience of inspecting items in person. Hybrid models may cater to a diverse range of buyer preferences, allowing them to choose the format that best suits their needs.

In conclusion, the future of restaurant liquidation auctions is shaped by a combination of technological innovations, sustainability considerations, evolving consumer trends, and the integration of new tools to enhance the overall auction experience. As the industry continues to adapt to these dynamics, restaurant liquidation auctions are likely to become more efficient, transparent, and environmentally conscious.

#auction #online auctions #restaurant auction #restaurant equipment #liquidation auctions

0 notes

sharmablog123 · 10 months ago

Text

Interim Budget 2024: Steady Progress Toward the Future, No Poll Vault

Introduction: The Interim Budget 2024 reflects a measured and forward-looking approach by the government, signaling a commitment to steady progress rather than short-term electoral gains. In contrast to previous years where budgets were often shaped by populist measures, this budget emphasizes continuity, fiscal responsibility, and a vision for sustained economic growth.

Fiscal Responsibility: The Interim Budget prioritizes fiscal responsibility, acknowledging the need for a balanced approach to economic management. By avoiding impulsive spending or populist measures, the government aims to maintain fiscal discipline and ensure long-term economic stability.

Strategic Investments: Rather than succumbing to the temptation of pre-election spending sprees, the budget focuses on strategic investments in key sectors such as infrastructure, healthcare, education, and technology. These investments are designed to lay the foundation for sustainable growth and development, contributing to the nation's progress in the coming years.

Stimulus for Economic Growth: The budget allocates resources to stimulate economic growth through targeted measures such as tax incentives for businesses, support for innovation and entrepreneurship, and initiatives to enhance the ease of doing business. By fostering a conducive environment for economic activities, the government aims to create a resilient and thriving economy.

Social Welfare and Inclusive Policies: While maintaining fiscal prudence, the Interim Budget does not neglect social welfare. It allocates resources to address critical social issues, including healthcare, education, and poverty alleviation. Inclusive policies ensure that the benefits of economic progress are extended to all sections of society.

Infrastructure Development: Recognizing the importance of robust infrastructure for economic growth, the budget allocates significant funds for infrastructure development projects. This includes investments in transportation, energy, and digital infrastructure, laying the groundwork for a more connected and efficient nation.

Global Outlook: The budget reflects a global outlook, acknowledging the interconnectedness of economies. Measures are taken to enhance international trade, attract foreign investments, and strengthen diplomatic and economic ties with other nations. This approach positions the country as a responsible global player in the pursuit of shared prosperity.

No Short-Term Populism: Unlike previous pre-election budgets that often featured populist measures aimed at wooing voters, the Interim Budget 2024 adopts a pragmatic and long-term perspective. The government seems determined to avoid the pitfalls of short-term electoral strategies, focusing instead on policies that will yield lasting benefits for the nation.

Conclusion: The Interim Budget 2024 stands out as a document of fiscal prudence, strategic planning, and a commitment to steady progress. By resisting the allure of poll-driven budgeting, the government sends a clear message that the nation's economic well-being takes precedence over electoral considerations. As citizens and businesses look ahead, the emphasis on sustainable growth and responsible governance positions the country for a future marked by resilience and prosperity

For more information visit us:

0 notes

tvsemeraldluxor · 11 months ago

Text

“Unveiling TVS Emerald Luxor: A Symphony of Luxury in the Heart of Anna Nagar, Chennai!”

⚜️Title: Discover the Epitome of Luxury Living at TVS Emerald Luxor in Anna Nagar, Chennai

Are you ready to elevate your living experience to new heights? TVS Emerald Luxor, nestled in the heart of Anna Nagar, Chennai, is not just a residence; it’s a masterpiece crafted by the esteemed TVS Group, known for its iconic real estate developments.

⚜️Unveiling Luxury Residences:

Imagine owning a 3 or 4 BHK apartment ranging from 1842 to 2665 sq.ft., with a super-built-up area that defines opulence. Starting at ₹2.89 Cr*, TVS Emerald Luxor promises a lifestyle beyond compare. The architecture boasts a B+S+16 structure across 2 towers, comprising a total of 128 units, all 100% Vastu compliant.

⚜️OVERVIEW

✓TVS Emerald Luxor -Anna Nagar, Chennai Configurations 3 & 4 BHK

✓Apartments Ranging From 1842 to 2665 sq.ft. Super-Builtup-Area

✓TNRERA No. 🔰🔰🔰🔰🔰TN/29/BUILDING/0320/2023

✓Price ₹2.89 Cr* Onwards

✓Brochure +918068873499

✓ Total Towers :2

✓ Floors : B+S+16 Structure

✓ Total Units: 128

✓ 100% Vastu Compliant Homes

✓ 20+ Top Notch Amenities

✓ Book Now With 10 Lacs

✓ Pre Launch Benefits For Limited Units

⚜️A Symphony of Amenities:

⚜️TVS Emerald Luxor isn’t just a home; it’s a lavish retreat. With over 20 top-notch amenities, including landscaped gardens, a swimming pool, a gym, recreation rooms, a kids’ play area, and more, every aspect of your lifestyle is catered to. The green spaces connect residents with nature, providing a rejuvenating environment.

▸Separate pools for adults & kids

▸24 — Hour Security

▸Wide variety of retail options

▸Exceptional dine-in choices

▸Kids Playroom

▸Ample parking facilities

▸Gymnasium

▸Lounge Area

⚜️Key Features:

▸Located Behind VR Chennai

▸10 min walk from Kendriya Vidyalaya

▸ Luxury Apartments with Italian Marble Flooring in Living/Dining and Balcony Decks with Glass Railings

▸IGBC Gold Pre-Certified

▸40+ Luxurious Amenities

▸Bali-Themed Clubhouse & Pool Zone

▸Air Conditioners in the Living/Dining and all Bedrooms

▸1 EV Charging Point per Home Send me the details Schedule Site Visit

⚜️Master Plan

⚜️Key Highlights:

2.1 Acres of Luxury Living: This residential gem proudly stands on 2.1 acres of meticulously planned land, offering a sprawling canvas for luxury living in the heart of Anna Nagar.

3 & 4 BHK Luxury Abodes: TVS Emerald Luxor unveils a collection of 3 & 4 BHK luxury abodes, meticulously designed to provide a harmonious blend of comfort and sophistication.

Balinese Clubhouse Elegance: The project boasts a Balinese-themed clubhouse, adding a touch of exotic elegance to the daily lives of residents. It’s not just a residence; it’s a retreat into luxury.

Exceptional Day, Dusk to Dawn: Experience a day like no other at TVS Emerald Luxor, where every moment transcends the ordinary. From sunrise to sunset, the promise is an exceptional day filled with luxury and comfort.

⚜️PROJECT LOCATION-TVS Emerald Luxor -Anna Nagar, Chennai

⚜️Luxury Redefined: TVS Emerald Luxor

Architectural Marvel: Traverse the meticulously designed spaces of TVS Emerald Luxor and step into an awe-inspiring world. The architecture goes beyond expectations, boasting high-quality specifications that set new standards for lavish living.

Opulent Ambiance: The ambiance within exudes regality, providing residents with an unparalleled living experience. Each step taken within this luxurious haven is a journey into opulence and comfort.

Thoughtfully Curated Amenities: The commitment to a life of luxury is evident in the abundance of extravagant amenities. From state-of-the-art facilities to serene green spaces, each element is thoughtfully curated to enhance the resident’s lifestyle.

Sophisticated Design: Fine design elements permeate the space, adding a touch of sophistication to every corner. TVS Emerald Luxor is a testament to meticulous design, creating a living space that resonates with luxury-infused living.

⚜️Lifetime of Luxury:

At TVS Emerald Luxor, it’s not just a home; it’s a lifetime experience. The project encapsulates the essence of opulence, meticulous design, and a firm commitment to providing residents with a living space that goes beyond the ordinary.

⚜️Heart of Prestige:

In the heart of Anna Nagar, TVS Emerald Luxor stands tall as a symbol of prestige and grandeur. It invites you to witness and embrace a lifestyle worth a lifetime. It’s time to elevate your living experience — welcome to TVS Emerald Luxor, where luxury seamlessly meets legacy.

⚜️A Day in the Life:

At TVS Emerald Luxor, every day promises to be extraordinary. From dawn to dusk, residents are treated to a lifestyle that transcends the ordinary, thanks to the thoughtfully designed spaces, exceptional amenities, and the overall aura of opulence that permeates the entire development.

⚜️Your Dream Home Awaits:

TVS Emerald Luxor isn’t just a residence; it’s a statement of luxury living. With its exceptional design, premium amenities, and a location that defines convenience, this is your chance to own a home that transcends the ordinary.

Ready to embark on a journey of luxury and sophistication? Schedule your site visit now and witness the epitome of grandeur at TVS Emerald Luxor. Your dream home awaits you in Anna Nagar, Chennai!

⚜️Click for more details

🌐 View Website 📺 View Video

Call Us Now! Call 📞+918068873499 WhatsApp📱+919940366555

⚜️ Other projects by TVS Emerald

Why Choose ?

Luxury apartments with Italian marble flooring

Bali-themed clubhouse and pool zone

Air conditioners in living/dining and all bedrooms

1 EV charging point per home

Frequently Asked Questions (FAQs)

Certainly! Here are some frequently asked questions (FAQs) for TVS EMERALD LUXOR:

Where is TVS EMERALD LUXOR located?

TVS EMERALD LUXOR is centrally located in Anna Nagar, one of Chennai’s most desirable residential and commercial districts.

2. What configurations are available at TVS EMERALD LUXOR?

The project offers 3 & 4 BHK luxury apartments ranging from 1842 to 2665 sq.ft.

3.How large is the total area of TVS EMERALD LUXOR?

TVS EMERALD LUXOR stands tall on 2.1 acres of land.

4. What are the key amenities provided?

The project boasts 40+ luxurious amenities, including a Balinese-themed clubhouse, swimming pool, gym, recreational rooms, and more.

5. Is TVS EMERALD LUXOR IGBC Gold pre-certified?

Yes, TVS EMERALD LUXOR proudly holds IGBC Gold pre-certification, emphasizing its commitment to eco-friendly living.

6.Who is the developer of TVS EMERALD LUXOR?

TVS EMERALD LUXOR is developed by the prestigious TVS Group, known for its iconic residential and commercial properties.

7.Are the homes Vastu compliant?

Yes, the homes at TVS EMERALD LUXOR are 100% Vastu compliant.

8.How can I schedule a site visit or get more information?

For more details or to schedule a site visit, you can contact the provided brochure number: +918068873499.

These FAQs provide a quick overview for potential buyers or individuals interested in TVS EMERALD LUXOR.

#LuxuryLivin g #TVSEmerald #AnnaNagarHomes #RegalLifestyle #OpulentResidences #ChennaiRealEstate #BalineseClubhouse #PrestigiousLiving #GreenLiving #LifetimeExperience #HighQualityLiving #ExclusiveAmenities #IGBCGoldCertified #ElevateYourLife #LegacyofLuxury

0 notes

noentryfound · 1 year ago

Text

premium (n.)

c. 1600, "reward given for a specific act or a particular line of conduct," from Latin praemium "reward, profit derived from booty," from prae "before" (see pre-) + emere "to buy," originally "to take" (from PIE root *em- "to take, distribute").

0 notes

attitudeacademu4u · 1 year ago

Text

Color Correction and Grading in Video Editing: Tips and Tricks write a blog

Introduction

In the realm of video editing, the art of color correction and grading holds a distinct place. It's the magic wand that can transform your raw footage into a visually stunning masterpiece, setting the mood and atmosphere just right. Whether you're a seasoned videographer or just starting your filmmaking journey, mastering these essential techniques can be a game-changer. In this blog, we'll delve into the world of color correction and grading, unveiling some valuable video editing tips and tricks to help you level up your video post-production game.

Deciphering the Distinction: Color Correction vs. Color Grading Before we dive into the nitty-gritty of tips and tricks, let's establish a clear understanding of the two pillars in question.

Color Correction: This step deals with addressing technical glitches in your footage, such as exposure imbalances, white balance discrepancies, and contrast issues. Its purpose is to ensure your video looks true to life and accurate.

Color Grading: On the other hand, color grading is the artistic process of bestowing a specific color palette or style onto your footage, triggering emotions and setting a unique visual tone for your video.

Guidelines for Effective Color Correction: Invest in a Top-Notch Monitor: The first rule of thumb is to invest in a high-quality monitor that delivers precise color representation. A calibrated monitor guarantees that the colors you see match the final output faithfully.

Begin with the Fundamentals: Kick off your editing journey by fixing exposure woes, tweaking white balance, and addressing any unwanted color tints. This lays down a clean canvas ready for the creative grading phase.

Embrace Scopes: Embrace the power of waveform and vector scope monitors. These handy tools assist in meticulously analyzing and adjusting luminance and color levels for precision.

Achieve Consistency: Ensure uniformity across all shots in your video. Maintain consistent skin tones and key colors, especially in multi-camera setups.

Non-Destructive Editing: Work within layers or adjustment layers, preserving the flexibility to make revisions without altering the original footage.

Crafty Techniques for Creative Color Grading: Setting the Ambience: Handpick a color palette that resonates with the mood or theme of your video. Warm colors like red and orange radiate coziness, while cooler blues evoke serenity or melancholy.

Play with Contrast: Boost visual appeal by introducing complementary colors or creating contrast between subjects and their backgrounds.

Selective Color Manipulation: Zoom in on specific areas or objects within your frame and apply distinct color grades to them, directing the viewer's focus effectively.

Leverage LUTs (Look-Up Tables): LUTs are pre-defined color grading presets that can be a shortcut to achieving a desired look or style. Many video editing tools come equipped with built-in LUTs, and you can also explore or create your own.

Blend It In: Experiment with blending modes such as Overlay or Soft Light to apply subtle yet impactful color effects and intensify the desired mood.

Additional Pro Tips: Subtlety Sells: Refrain from going overboard with color correction and grading. Often, subtlety yields a more professional and visually pleasing outcome.

Narrate Through Colors: Ensure your color choices align with the narrative of your video. Use colors as a storytelling tool, amplifying the emotions and themes at play.

Practice and Innovate: The more you delve into color correction and grading, the better you'll become. Don't shy away from experimentation and exploring new techniques to hone your unique style.

Stay on the Cutting Edge: Technology and software tools evolve, so it's imperative to stay updated with the latest features and plugins in the dynamic world of video editing Techniques.

Conclusion: In the intricate world of video editing, color correction and grading emerge as formidable allies. Whether you're aiming for authenticity or cinematic allure, these tips and tricks are your key to achieving your desired results. Remember, practice and experimentation are your faithful companions on the journey to mastering this art, so embrace the opportunity to explore and refine your video editing skills.

#video editing classes in uttam nagar #video editing course inn yamuna vihar #video editing course in uttam nagar #video editing course in yamuna vihar #attitude academy #enrollnow #learnwithattitudeacademy #bestcourse #attitude tally academy

0 notes

mecainfo · 1 year ago

Text

Technical Bulletin : AUDI (8V1, 8KV)

We are thrilled to introduce the latest technical bulletin tailored exclusively for the AUDI , Model AUDI (8V1, 8KV), Version 1.6 TDI (CRKB) 81 KW 110 CV 1598 Cm3. This comprehensive bulletin has been meticulously crafted to offer you detailed procedures and precise instructions, serving as an indispensable resource for all your maintenance and troubleshooting needs.

SYMPTOMS:

21186 - P189A - Clutch 1. Clearance too small.

10121 - P2789 - Clutch 2. Travel of P4 too small.

P177C - Clutch 2. Tolerance limit reached.

P177D - Dual clutch. Excessive torque.

P189B - Clutch 2. Clearance too small.

P177B - Clutch 1. Tolerance limit reached.

P0810 - Clutch activation. Malfunction.

The vehicle displays one or several of the above-mentioned fault codes.

Fault codes recorded in the gearbox control unit.

The engine jerks or rattles when starting or when automatically shifting from 1st to 2nd speed.

The transmission warning light comes ON sporadically.

The gearbox enters into degraded or emer- gency mode, only the 1st, 3rd, 5th and 7th or 2nd, 4th, 6th, and R gears are switched.

NOTE: One or several symptoms may be reproduced in the workshop.

POSSIBLE CAUSES:

SOLUTION :

Repair procedure:

Retract clutch K1:

Retract clutch K2:

IMPORTANT: The security ring (See image 2 - G) can be reused if it is not damaged.

IMPORTANT: The small security ring (See image 2 - H) must be replaced imperatively.

NOTE: For a correct repair, it is recommended to follow the instructions in the repair manual.

See image 1:

A - K2 pressure plate.

B - Dual clutch.

C - Screw with a washer.

D - Flat-head screwdrivers.

E - Drive ring.

F - Pressure plate.

G - Dual clutch upside down.

H - Adjustment screw of clutch disc K1.

I - Direction.

J - Direction.

K - Flat-head screwdrivers from below.

See image 2:

A - K2 pressure plate.

B - Adjustment ring of clutch disc K2.

C - Direction.

D - Direction.

E - Flat-head screwdrivers from below.

F - Hinge bracket.

IMAGE 1 :

IMAGE 2 :

We urge you to take full advantage of Mecainfo's TSB (Technical Solutions Bulletin). This exceptional resource houses pre-established solutions for commonly faced issues, serving as a valuable knowledge repository to assist you effectively in your maintenance and troubleshooting pursuits.

#audi service center #automotive #technicalbulletin #supercar

0 notes

jromero-pm · 2 years ago

Link

Check out this listing I just added to my Poshmark closet: Emeral Green Fleece Sweatshirt Size XS/S.

0 notes

oscopelabs · 7 years ago

Text

War Starts At Midnight: The Three Wartime Visions of Michael Powell and Emeric Pressburger by Josh Spiegel

Few filmmakers have made films as thematically rich as those from writers/directors Michael Powell and Emeric Pressburger in the 1940s. From 1943 to 1949, Powell and Pressburger, better known as the Archers, made seven superlative films that leapfrog genres with heedless abandon, from wartime epic to fantastical romance to psychosexual thriller to ballet drama. Thanks largely to cinephilic champions such as Martin Scorsese and his longtime editor Thelma Schoonmaker (who married Powell in 1984), as well as home-media ventures like The Criterion Collection, the Archers’ films have received a vital and necessary second life.

While the Archers’ 1940s-era septet have recognizable throughlines as well as a reliable stable of performers, three of those films are cut from the same cloth, despite telling radically different stories with varying tones. The Life and Death of Colonel Blimp, A Canterbury Tale, and A Matter of Life and Death all take place, at least in part, during World War II, and all three films depict a nation at war, as much with other countries as with itself. When we think of British culture, we think of the stiff-upper-lip mentality depicted in popular culture for decades, typified by how Brits acted and reacted in World War II. But the Archers, in this wartime trio, debated the validity of fighting a war with that old-fashioned mentality, offering up films designed to be propagandistic enough to be approved for release but that also asked what it meant to be British in seemingly perpetual wartime.

* * *

“But war starts at midnight!” -- Clive Wynne-Candy

“Oh, yes, you say war starts at midnight. How do you know the enemy says so too?” -- Spud Wilson

The nuance of The Life and Death of Colonel Blimp was likely always going to make it a sore spot for the British government. Colonel Blimp was not original to The Archers; he was a comic-strip character created by David Low in the 1930s, meant to skewer puffed-up elder statesmen of the British military. The stereotype of a fatheaded, pompous fool had pervaded the national consciousness so much that Winston Churchill feared the Archers’ adaptation would revive the public’s critical perception of the military when support was needed the most. But while the title invokes Colonel Blimp, the lead character is never referred to as Blimp, and is much less foolish than he may seem when initially seen attacking a young British soldier in a Turkish bath. Powell and Pressburger used the character and the staid, fusty old notions of British militarism as a jumping-off point for a detailed, poignant character study.

Set over four decades, The Life and Death of Colonel Blimp begins near its finale, as Great Britain struggles to gain a foothold over the Nazis. We first see our Colonel Blimp, the portly, bald, and mustachioed Clive Wynne-Candy (Roger Livesey), beset upon by younger soldiers in the club where he now lives as part of a training exercise. Clive is infuriated because they’ve started hours earlier than planned; before the smug young soldier leading the charge can explain himself, the two get into a tussle that speaks to why Powell and Pressburger wanted to tell this story. In the production of their previous film, One of Our Aircraft is Missing, the directors removed a scene where an elderly character tells a younger one, “You don’t know what it’s like to be old.” (The idea that this could serve as the thematic backbone to an entire feature was provided by the Archers’ then-editor, David Lean.) Clive’s rage at being taken off-guard leads him to thrash young Spud Wilson and teach him a lesson: “You laugh at my big belly, but you don’t know how I got it! You laugh at my mustache, but you don’t know why I grew it!”

And so, The Life and Death of Colonel Blimp flashes back 40 years, a rare instance where a movie indulging in the now-hoary in medias res technique pays dramatic dividends. The rest of the film focuses on three points in the life of the man known first as Clive Candy: his time in the Boer War, the devastating World War I, and his twilight years of service as World War II ramps up. For a war film, The Life and Death of Colonel Blimp offers exceedingly little bloodshed. Powell and Pressburger’s film examines how such gruesome action informs men like Clive away from the battlefield, instead of depicting that action in full. Each section of Blimp shows how his noble efforts make him hardened and intractable over time, even against the tide of a truly tyrannical force. At first, Clive’s militaristic mantra is honorable: “Right is might.” But as the film reaches its third hour, he learns that his theory, one embodied by his nation, has been so cruelly disproven by the Nazi scourge that he and Britain must change their ways.

In the earliest section, Clive steps to the aid of Edith Hunter (a young Deborah Kerr), a British governess in Berlin who’s concerned about a German soldier spreading anti-British lies regarding their treatment of South African women and children in the Boer War. In so doing, and after insulting high-ranking German officers, Clive must duel with a German soldier chosen by lot, Theo Kretschmar-Schuldorff (Anton Walbrook). Watching a Brit face off with a German soldier might’ve felt appropriate, at least to the watchful eye of the British government. But Powell and Pressburger shrewdly show us the build-up to the duel itself, not the actual fight; instead, we see the aftermath, as Clive and Theo both convalesce in the same hospital, become close friends, and fall in love with Edith. Only Theo is lucky enough to win her heart; though Edith has as much love in her heart for Clive as for Theo, Clive only grasps his feelings once she’s left his life.

Portraying Theo, the film’s major German character, as surprisingly decent is one significant way in which the Archers brought nuance to what might have been another propagandistic WWII-era film. His innate humanity becomes heartbreaking as the film progresses. In the second section, Theo is a prisoner of war who’s initially too proud to admit his previous connection to Clive, before they reunite briefly. In the final section, Theo is older and much wiser than his friend, yet no luckier. He’s seen in a British immigration office, attempting to leave Germany on his own: his two sons have become Nazis and Edith has passed away. (“None of my sons came to her funeral. Heil Hitler,” Theo says grimly.) Theo then explains what drew him back to the UK, in a measured yet passionate soliloquy. No matter how many faults Theo sees in the Brits—after he reconnects with Clive post-WWI, Theo tries to point out that regular citizens “can’t be adjusted from war to peace as easily as you”—it is still a far kinder place to live than Germany. That the film’s most impassioned speech, expressing fondness for the British way of life, comes from a German is one of its many welcome surprises.

The film’s most haunting twist revolves around the women in Clive’s life. When Edith joins Theo in Germany, Clive is so shaped by her memory that when he settles down and marries the charming Barbara Wynne, she just so happens to look like Edith’s twin. Barbara, like Edith, passes away before World War II begins, but though Clive has aged, he hasn’t changed; his driver, Angela “Johnny” Cannon, looks just like Barbara and Edith, to the point where he introduces Johnny to Theo, fully aware that both men spot the similarity. Kerr, thus, is playing three strong-willed women, all of whom feel like perfect fits with the men of the film.

Clive, like his country, stays firmly and proudly rooted in the past, much to his detriment. When Theo, as an older man, reasons with Clive about how his way of waging war is outdated, it falls on deaf ears despite being a darkly accurate portrait of how WWII could have been lost: “If you let yourself be defeated by them just because you are too fair to hit back the same way they hit at you, there won’t be any methods but Nazi methods.” Only after Spud Wilson’s gambit to throw oldsters like Clive off their game in the training exercise does Clive begrudgingly realize that time has passed him by. The old-fashioned sportsmanship of battle could no longer apply for the Clive Candys of the world; at least this one realized it.

The Life and Death of Colonel Blimp ends wistfully, as Clive surveys the literal waterlogged wreckage of his life, having lost his house in the Blitz. He, Theo, and Johnny stand by the debris, and he recalls Barbara’s long-ago declaration: “You’ll stay just as you are till the floods come.” As he looks at where his house once lay, he says to himself, “Now here is the lake and I still haven’t changed.” Livesey, one of the very best actors to work with the Archers, imbues that line with a fine blend of pride and heartache, as he does with the salute he gives to the passing, much younger army of his native land. This elder statesman isn’t quite Colonel Blimp, only grasping Theo’s warnings about the Nazis after it’s too late, but he can see complexities of his life where others might not.

It took The Life and Death of Colonel Blimp, like the other films explored here, years to fully get its due in the U.S. While Churchill didn’t bar Blimp from release in the United Kingdom, he enforced an export ban on the feature because he saw it as a less-than-helpful presentation of the military at such a dire period. (Or, as some have wondered, he may well have seen the older Clive Candy as a critique of him. Of course, Churchill reportedly never saw this film, because that would have been too challenging.) A shortened version was released in U.S. theaters in 1945, cutting out the flashback structure. The truncated TV version, which runs just 90 minutes—the original is 163 minutes— was still able to excite a young Scorsese, who helped fund a restoration in 2013 for this classic.

The Life and Death of Colonel Blimp was, perhaps, doomed for failure; its treatment of people perceived as the enemy could gain resonance only with distance from WWII. The British War Office and Churchill stated their antipathy to the production even before it began filming, refusing the Archers’ request to release Laurence Olivier from service to star as Candy. (Livesey, to note, is wonderful in the film, so the Archers’ loss is our gain.) But Clive Candy was able to weather attacks, and so too was Blimp, the beginning of a seven-year period where the Archers upended expectations, strove to break cinematic ground, and stayed true to their artistic principles. Here is the lake, and still, this movie hasn’t changed. It only grows with age.

* * *

“It’s a great thing to sit back in an armchair and watch the world go by in front of you.” – Sgt. Bob Johnson

“The drawback is…that people may get used to looking at life from the sitting position.” – Thomas Colpeper

Fourteen months after The Life and Death of Colonel Blimp, Powell and Pressburger released another film set during World War II, which presented both the natural wonder and beauty of England while calmly displaying the ways in which the war had devastated some of its history. A Canterbury Tale wasn’t a hit with critics or audiences in the late summer of 1944; by the time it was released in the United States, the year was 1949, and a movie about three young strangers who journey towards Canterbury Cathedral in the waning months of World War II needed new, American-focused framing scenes to entice audiences.

Over 70 years after its initial release, what can we make of A Canterbury Tale? The allure of this low-key drama is, like its setting, ineffable and mysterious. The three leads, waylaid in the small English town of Chillingbourne while they wait for another train to Canterbury, ostensibly try to solve a mystery whose solution isn’t that mysterious. Some aspects of this film—whose three protagonists were all newcomers—feel less like drama and more like the Archers trying to make UK citizens turn away from the dark days of World War II and remind them of their land’s own beauty. From the vantage point of the 21st century, A Canterbury Tale is an utterly fascinating and serene look at how small towns tried to maintain a community-wide calm in the midst of terror.

Bob Johnson (Sgt. John Sweet) is an American soldier on his way to Canterbury Cathedral to meet a fellow Yank and do right by his mother back home in Three Sisters Falls, Oregon. Peter Gibbs (Dennis Price) is a British soldier who seems outwardly as arrogant as Blimp’s Spud Wilson, even though his true passion is playing the organ. While he plays it at cinemas back home, he’d rather play the kind of organ in the handsomely appointed Canterbury Cathedral. Alison Smith (Sheila Sim) has been conscripted into the Women’s Land Army; assigned to a farm in Chillingbourne, she has personal memories from her time near Canterbury that she can’t help but unearth. These strangers are brought together one dark Friday night by happenstance: Bob misheard the station stop and got off early, but he and Peter end up helping Alison after she’s beset upon by a mysterious figure who puts, of all things, glue in her hair. Strangest of all, this isn’t the first time a young woman was attacked by “the glue man” in Chillingbourne.

In a more predictable film, this inciting incident would lead our trio down some dark paths in Chillingbourne, a name that portends something terrifying. But while there’s an unquestionably disturbing subtext to a man placing “sticky stuff,” as Alison describes it, in young women’s hair, there’s little in the way of conventional twists in A Canterbury Tale. When our heroes meet Thomas Colpeper (Eric Portman), the magistrate of Chillingbourne who’s coincidentally the farmer to whom Alison has been assigned, it’s immediately obvious that he’s the glue man. Our heroes use the summer weekend, as they wait for the next train to Canterbury, to build up evidence, but as the weekend progresses, Bob and Alison (and eventually Peter) lose interest in solving the case as they fall in love with the British countryside.

Unlike Blimp, A Canterbury Tale has an ensemble of disparate characters who mostly have never seen serious battle. So many of them are average people conscripted into action, trying not to admit how terrified they feel. A Canterbury Tale features no bloodshed, but Powell and Pressburger stuck to the notion of making the film feel like a document of regular civilians by casting few recognizable actors. Portman worked with the Archers on the earlier film 49th Parallel and was, at the time, this film’s most well-known actor. Sweet, on the other end of the spectrum, was the least well-known; this was his first and only role in a film.

Recently, much was made about how Clint Eastwood’s The 15:17 to Paris, in which three young men who foiled a real-life attack, feature those three men playing themselves. When Powell and Pressburger cast their American character, they didn’t change his name to match the actor’s, but they might as well have: John Sweet was an Army Sergeant at the time, and his first-time performing style is always evident. Unlike the performances in The 15:17 to Paris, however, Sweet’s work is oddly charming. Watching him interact with the ensemble allows for the understandable awkwardness of his performance to take on a double meaning; Sweet is the outsider as much because he’s untrained as because he’s American. Bob Johnson is incurably curious and inquisitive, having so little awareness of British traditions, making his languorous journey through Chillingbourne all the more compelling.

By the close of A Canterbury Tale, all three of our heroes receive a blessing in the style of Geoffrey Chaucer’s Canterbury Tales. For Bob, it’s a revival of a romance he presumes is finished. His paramour, who he figured had moved on, has instead joined the Women’s Army Corps in Australia and has responded to the letters he thought had been ignored. Even before that, the people Bob meets in Chillingbourne, from the boys playing soldier to the local mechanics and a fellow military man from Seven Sisters in England, serve as a kind of blessing. When we first meet Bob, he’s all too happy to get his visit to Canterbury out of the way; before the movie ends, he’s taken to running down the sloping hills of Chillingbourne with his new friends, an overgrown boy at play. Stopping in Chillingbourne brings him joy even before his love life is given a new chance.

Alison, too, becomes closer to nature as she explores Chillingbourne. Of all people, she finds herself associating with Colpeper, even after she’s correct in presuming that he’s the culprit. Her blessing arises from memories she has of spending a summer outside Chillingbourne in a caravan with her fiancé, now presumed dead. But before she can receive the happy news that her fiancé is alive and well, she has to almost commune with the Earth to try and move on. By the second half, Alison is so in touch with nature that she hears the sounds of music and voices in the hills, akin to the centuries-old pilgrims Chaucer wrote about.

Alison’s connection is validated and shared by Colpeper, with whom she’s convening in those same hills Bob runs down. Even after Alison confirms Colpeper’s nighttime habits, she admits, “I was very mistaken about you.” Their connection is more emotional than anything else; Colpeper tells her that hearing voices as she does only works “when you believe strongly in something.” Colpeper’s strong belief in respecting Britain’s history is how he became the glue man. After his historical lectures were met with boredom and few attendees, he made it so British soldiers had little choice but to listen about their homeland’s history. By giving the soldiers a bad name (other townspeople, including the young women, presume one of them is the glue man), Colpeper assumed he could make a small encouragement to the British military to learn about the land it defended. As he explains to Peter on the train to Canterbury, “There’s no sin in being a savage, but a missionary who doesn’t try to do his duty is a bad missionary.”

Though Portman’s enigmatic performance turns Colpeper frosty even here, the magistrate receives a blessing from an unlikely source: Peter. Though Peter is the most gung-ho of the three young people to find the glue man, he chooses not to give Colpeper away to the authorities after he receives his blessing: the chance to play the Canterbury Cathedral organ. But Peter’s decision to let Colpeper walk is portended in one of the wonderful flourishes thrown in by the Archers in the film’s lush black-and-white cinematography. While on the train to Canterbury, Peter scoffs in response to the magistrate asking him if he is an instrument of judgment and says, “I’ll believe that when I get a halo over my head.” Cue the train light creating a halo effect over him.

There is no action-heavy setpiece in A Canterbury Tale, which instead features plenty of images of the main characters taking in the beauty of Chillingbourne. Through Colpeper, we see how hard it is for regular people to both support the military in wartime and forgive soldiers their vices. Through Peter, we see how soldiers didn’t quite grasp that their presence in small towns threw other people’s lives into upheaval. You could argue that very little happens to the characters in A Canterbury Tale; all that does happen is that Powell and Pressburger let the audience watch these people’s unremarkable yet compelling lives, and that they each secretly want to find some purpose when they arrive in Canterbury. The heroes appreciate what it meant to be British in decades gone by, and reflect on how that impacts their actions in the present. A Canterbury Tale was a love letter to England, made as gorgeous by its rolling hills as by its people. Though it didn’t hit big originally, and additional footage featuring Bob reconnecting with his girlfriend (Kim Hunter, about whom more very shortly) didn’t help it translate in America, A Canterbury Tale is a truly entrancing story of how badly people needed their unique burdens eased in such a horrific time of history.

* * *

“This is the universe. Big, isn’t it?” – Narrator

It’s hard to decide which is the best Archers film. Black Narcissus and The Red Shoes, perhaps their most broadly appreciated films in America, are remarkable leaps forward for Technicolor cinematography, while showcasing incredible performances, breathtaking set designs, and more. They are gorgeous films, featuring some of the most jaw-dropping images in the Archers’ filmography. But the film released the year before, suggesting the possibilities of what the Archers would do next, is just a touch greater. It is a film that was well-received initially, despite receiving a new title for its U.S. release; a film that’s only getting its first Region 1 Blu-ray release this summer although it offers some of the richest, most colorful images in Three-Strip Technicolor; a film that’s influenced everything from The Simpsons to Harry Potter. It is A Matter of Life and Death.

What if someone was supposed to die, but got misplaced? What if that person, with their extra time, fell in love before they were found by their bringer of death? This, in effect, is the concept of A Matter of Life and Death, in which Peter Carter (David Niven), a cheerful RAF pilot, is meant to die when he escapes his damaged plane without a parachute. Before Peter jumps, he contacts June, a winsome young American radio operator (Hunter), to share what he presumes are his last thoughts in the strangest Meet Cute ever. Peter jumps from quoting Walter Raleigh to brazenly declaring, “I love you, June. You’re life, and I’m leaving you.” But once Peter exits the plane, the damnedest thing happens: he wakes up on the beaches of England very much alive, after which he meets June in person, officially starting their relationship.

The whimsy of A Matter of Life and Death is clarified when we learn why Peter was apparently able to cheat death: his French conductor (Marius Goring, who co-stars in The Red Shoes) couldn’t locate Peter in the thick English fog. Peter is dismayed to learn that his permanent eternal presence is requested in the Other World, taking him away from June. She, of course, is concerned that her new boyfriend might be going mad; kindly local doctor Frank Reeves (Livesey again) believes Peter might be suffering from a brain injury. The perpetually unanswered question is just that: is Peter hallucinating the Other World because his mind is going, or is he really at death’s stairway?

Powell and Pressburger don’t answer the question, providing just enough medical details, down to the smell Peter notices when he speaks to his Conductor, that it might just be a mental malady. (I submit that Peter isn’t hallucinating the Other World because the film never answers one question: how the hell did he survive that fall from the plane?) The closing moments of the film suggest that either option is possible, when it’s revealed that the judge of the Other World’s court of appeals and the surgeon operating on Peter are played by the same actor.

But the mystery of Peter’s circumstances is not what makes A Matter of Life and Death so special. This is one of the most ambitious films the Archers ever made. It is a buoyant, bursting-with-emotion romance between two star-crossed lovers whose connection is straight out of a fairy tale. It is a film designed to help bridge divides between the British and the Americans in the immediate aftermath of World War II. (The story begins just six days before the European section of WWII concluded.) And it is, above all else by the finale, meant as a rousing and spirited defense of the British people. When the Other World allows Peter to appeal his case, he chooses the firm, well-spoken Reeves—who dies tragically in a motorcycle accident before Peter’s surgery—to plead Peter’s case, passionately arguing in favor of his client’s basic humanity.

In these spectral, spiritual moments, Reeves goes head-to-head with Abraham Farlan (Raymond Massey), the first American felled by a British bullet in the Revolutionary War, in arguing for Peter’s clemency. But it becomes clear that Reeves and Farlan are not arguing over Peter’s right to live longer than originally planned: they are debating what it means to be British and to be American. Farlan doesn’t think much of the romance between Peter and June, seeing it as another case of two people ruining relationships back home because they’re thrown into unexpected circumstances abroad: “Men and women thousands of miles away from the love they left behind. Minute sparks, instead of scorching flames.”

This is the Archers’ irreverent way of presenting the British and American states of mind post-WWII. It’s also a sign of their empathy as filmmakers: when Reeves argues that the current jury—all men from different countries around the world impacted by England’s imperialist rule at varying points of history—is unfairly biased, he asks for six American citizens. The reveal is powerful in 2018 as much as it may have been in 1946: the six American citizens are all immigrants, French to African to Irish. There is no one type of American citizen, as there is no one type of British citizen: this film is a dissertation on what it is to be human.

Visually, A Matter of Life and Death is unparalleled in the Archers’ work; the cinematography shifts from Technicolor (in the real world) to black-and-white (in the Other World), and the design of the Other World creates a series of gasp-inducing images. There is the impossibly wide shot of the attendees of Peter’s appeal, in a vast auditorium that reveals itself to be the size of an entire galaxy; there is the design of the literal stairway to heaven (hence its American title, Stairway to Heaven), which seems appropriately infinite without being terrifying; there is the moment when Peter’s fellow RAF pilot, waiting for him in the Other World, peers down to the vast center where files on all people from Earth are kept, and we see his silhouette from far above. The sense of scope and scale in moments like these should be teachable moments for anyone crafting some big-budget spectacle; this film’s moments of wonder were accomplished with a meager budget.

The grandness of A Matter of Life and Death—a movie that begins with the camera panning through the vast universe and closes with lovers reuniting happily—is coupled by its creators’ aims, to emphasize the humanity in people of different creeds and cultures. Peter Carter seems almost carefree in his opening scene, throwing slang left and right to the woman who he’ll fall for even as he expects to die. By the end, Peter and June are united by what Reeves deems the most powerful force on Earth: love. It’s a declaration that manages to be corny and life-affirming at the same time, much in the same way as Powell and Pressburger attempt to emphasize the universal qualities of mankind throughout the spiritual-court climax. In this film, as in The Life and Death of Colonel Blimp and A Canterbury Tale, to be British is to be human.

* * *

Unlike some of their British cohorts, such as David Lean and Alfred Hitchcock, most of the Archers’ films didn’t immediately hit big in America. Powell’s 1960 horror film Peeping Tom didn’t exactly end his career (he kept making films after that disturbing effort), but it garnered fiercely negative criticism. Over the last couple of decades, the Archers’ films have received well-deserved revivals. Last year, A Matter of Life and Death received a 4K restoration overseen by Scorsese and Schoonmaker, which is translating to the film soon receiving a Region 1 Blu-ray from the Criterion Collection. (It is painfully overdue.) Before that, The Life and Death of Colonel Blimp and the operatic The Tales of Hoffman both received restorations, hopefully introducing more people to the wonder of these filmmakers.

The Life and Death of Colonel Blimp, A Canterbury Tale (which also deserves the Blu-ray treatment), and A Matter of Life and Death are the product of fertile creative minds who used the backdrop of World War II to explore vastly different worlds that all happen to exist in Great Britain. This trio runs the gamut of genres and emotions, all while showcasing the kind of soldiers who protected the United Kingdom throughout the first half of the 20th century. The raffish romantic lead of A Matter of Life and Death could easily have been the same kind of soldier to surprise the elderly Clive Candy in the opening of Blimp, or he could have just as easily stumbled across Chillingbourne’s glue man. He could have even been the young Clive Candy. These characters are distinct enough to exist within their own stories as they are to represent attitudes and personalities across all of the Archers’ films. These films encompass a vast universe, one that offers new wonders to cinephiles. Just as the pilgrims came to Canterbury for blessings, so too do true cinephiles receive blessings when they make the pilgrimage to watch Powell and Pressburger’s films.

#michael powell #emeric pres #the archers #the life and death of colonel blimp #a canterbury tale #a matter of life and death #british film #ww2 #world war two #cinema of world war two #1940s cinema #alfred hitchcock #david lean #oscilloscope #oscilloscope laboratories #musings #film writing

12 notes · View notes