Geulah redemption

http://hebrew4christians.com/Prayers/Daily_Prayers/Shemoneh_Esrei/Refuah/refuah.html http://hebrew4christians.com/Prayers/Daily_Prayers/Shemoneh_Esrei/shemoneh_esrei.html http://hebrew4christians.com/Prayers/Daily_Prayers/Shemoneh_Esrei/Geulah/geulah.html http://geulahperspectives.blogspot.com/ Geulah Perspectives Thoughts, inspirations, chizzuk and Torah for our times Friday, November 15, 2013Vayishlach - Yakov, Yosef and the Sod Ha'ibbur What is the concept of the 'additional' revelation of Hashem to Yakov in this week's parsha? What is the blessing he receives? How does this relate to the land of Israel? What is the concept of the secret of the Ibbur? How does it relate to this blessing? What is the aspect of the addition to the year - 'hashana?' What is the concept of the month - 'hachodesh?' Find out in this week's parsha podcast. Running time: 19:59 Posted by Ari Goldwag at 1:42 PM No comments: Labels: blessings, bracha, chodesh, Israel, shana, sod ha'ibbur, סוד העיבור Friday, November 8, 2013Vayetzei - Yakov's dream, Yosef's dreams What is the concept of Yakov's dream, and dreams in general? Why is Yakov's dream global, while Yosef's seems to be personal? Why does Yosef's involve people, while Yakov's involves angels? Why does Yakov have his dream after being chased by Esav, while Yosef has his dream before being chased by his brothers? What is the fundamental difference between Yakov's work in this world, as opposed to Yosef's? Find out in this week's parsha podcast. Running time: 24:07 Posted by Ari Goldwag at 12:04 PM No comments: Labels: angels, dreams, ladder, tzaddik, Yakov, Yosef Friday, November 1, 2013Toldos - Spiritual Power Why does the Torah preface the story of Yakov (Jacob) and Esav with the statement that Abraham birthed Isaac? What is the significance of the fact that Isaac was forty years old when he got married? What is the spiritual power of the circumcision of Ishmael at age thirteen? What is the spiritual power of Isaac's binding? What is the spiritual inheritance that Jacob is given and in turn gives to us? Find out in this week's parsha podcast. Running time: 23:53 Posted by Ari Goldwag at 11:48 AM No comments: Labels: Avraham, chessed, Esav, gevurah, tiferes, Yakov, Yitzchak Friday, October 25, 2013Chayei Sarah - Spiritual Roots Why does Avraham reject the daughters of Aner, Eshkol and Mamrei, even though they are righteous? Why does he send Eliezer back to his own family, if they seem to be far from righteous? What is the concept of Baruch-blessed as opposed to Arur-cursed? Why are Haman and Amalek referred to as cursed if they come from the progeny of Yitzchak and Rivkah? Find out in this week's parsha podcast. Running time: 18:16 Posted by Ari Goldwag at 11:19 AM 2 comments: Labels: blessed, Canaan, cursed, Haman, Mordechai Thursday, October 17, 2013Vayera - Chamber of Exchanges Why does Hashem reveal Himself to Avraham in the fields of Mamrei? Who are Aner, Eshkol and Mamrei? Why do they join Avraham in his fight to retrieve his nephew Lot? Why do the people of Canaan occupy the land of Israel before it is promised to Avraham and his progeny? What is the concept of the chamber of exchanges? Find out in this week's parsha podcast. Running time: 24:36 Posted by Ari Goldwag at 11:09 PM No comments: Labels: Aner, Avraham, bris, chamber of exchanges, Eshkol, kli, Mamrei, or, revelation Friday, October 11, 2013Lech Lecha - Find Your Voice! Why does Hashem use such an usual instruction which literally means 'go to you' when instructing Abraham to go to Israel? What is the unique point of truth that resides in every person? Why must Abraham leave 'his land, the place of his birth, and his father's home?' What are the tools one can employ to find one's special God-given role in the world? Find out in this week's parsha podcast. Running time: 19:36 Posted by Ari Goldwag at 2:08 PM No comments: Labels: Avraham, Hashem's voice, individuality, voice Friday, October 4, 2013Noach - Of Floods and Dispersions What's the difference between the sin of the generation of the flood vs. the generation of the dispersion? What is the similarity between the generation of the flood and the people of Sodom? What is the difference between Avraham and Noach? What does it mean when it says that Hashem is sad? What does Hashem accomplish by destroying the people with the flood if they return to sinning? Find out in this week's parsha podcast. Running time: 19:29 Posted by Ari Goldwag at 3:20 PM No comments: Labels: Avraham, dispersion, flood, Noach Thursday, September 26, 2013Simchas Torah & Breishis - Full Circle Why do we immediately return to the beginning of the Torah as we complete it? Why is the 'party' on the eighth day of Succos - the one that is just for the Jewish people - so small? Why does the Torah spend only a few verses on the blessings, while it spends many verses on the curses? What is the secret of the circle? Find out in this week's parsha podcast. Running Time: 17:56 Posted by Ari Goldwag at 12:46 AM No comments: Labels: blessings, circle, eight, Hadran, Shmini Atzeres Wednesday, September 18, 2013Succos and Yosef What is the connection between Yosef and Succos? Why do we read the prophecies of Gog and Magog during Succos? Why do we leave our homes and enter these temporary dwelling places? How do we remind ourselves of the fact that Hashem is constantly in our lives? Find out in this week's parsha podcast. Running time: 15:40 Posted by Ari Goldwag at 11:29 PM 2 comments: Labels: Gog Umagog, Moshiach ben Yosef, Succos, Yosef Friday, September 13, 2013Yom Kippur and Unity (Am Echad!) Why is the concept of unity so central to Yom Kippur? Why does the High Priest bring an incense offering in the holiest of holies? What is the power of song in bringing us to repentance? Find out in this week's parsha podcast. Running time: 10:43 And... if you haven't seen the Am Echad video which I mention in the podcast, you can see it here: Video http://www.youtube.com/watch?feature=player_embedded&v=RYJuz8fjXbY

Siberian Lady Macbeth Pilate and others

http://en.wikipedia.org/wiki/Siberian_Lady_Macbeth Films directed by Andrzej Wajda 1950s A Generation (1955) ·Towards the Sun (1955) ·Kanał (1956) ·Ashes and Diamonds (1958) ·Lotna (1959) 1960s Innocent Sorcerers (1960) ·Samson (1961) ·Siberian Lady Macbeth (1962) ·Love at Twenty (1962) ·The Ashes (1965) ·Gates to Paradise (1968) ·Everything for Sale (1969) ·Hunting Flies (1969) 1970s The Birch Wood (1970) ·Landscape After the Battle (1970) ·Pilate and Others (1972) ·The Wedding (1972) ·The Promised Land (1975) ·Man of Marble (1976) ·Without Anesthesia (1978) ·The Maids of Wilko (1979) 1980s The Orchestra Conductor (1980) ·Man of Iron (1981) ·Danton (1983) ·A Love in Germany (1983) ·The Possessed (1988) 1990s Korczak (1990) ·Nastasja (1994) ·Holy Week (1995) ·Miss Nobody (1996) ·Pan Tadeusz (1999) 2000s The Revenge (2002) ·Katyń (2007) ·Sweet Rush (2009) 2010s Walesa. Man of Hope (2013) In my work on Siberian Lady Macbeth, I lacked a clear idea, a film "catchphrase"'. I understood that this could only be achieved by way of a dramatic operation, telling the story of the unfaithful murderess in a series of retrospective scenes incorporated in the main plot of the convicts' march to Siberia. Their life from one stage to the next, with strange customs and amazing literary incidents - like the condemnation and deportation to Siberia of a tower bell not ringing the "proper" tone - is wonderful material! Or how about the possibility of introducing a Polish-Siberian motif and some characters from Dostojevski's The House of the Dead? That certainly would be something to show on screen. However, the only lasting results of my labours are: the wonderful photography by Aca Sekulovic, the character of Sergei played by Ljuba Tadic with enormous commitment and talent, and the set decorations which I have already mentioned. The film made me realise how difficult it is to adjust to a new and foreign reality. I understood that a little freedom abroad was not enough: I needed more freedom at home, in Poland. Andrzej Wajda

Reviews Wajda has renounced his typically baroque style to tell a simple, and yet powerful story of a Lady Macbeth who kills for love rather than for ambition. (...) Not only has the director succeeded in catching the spirit of the time and the place; he has also managed to create the sense of timelessness inherent to the tragedy. Richard Roud "Sight and Sound", London, 1962 A Polish director made this Russo tale of Czarist days in Yugoslavia. But it still has a deep Slavic ring in its fine settings, correct, larger than life acting, and its adroit visual stylization. Picture could rate arty and special playoff possibilities abroad with tie ins also apparent on the Dimitri Shostakovitch music used for the background. (...) Director Andrzej Wajda is not afraid to try for broad symbolic strokes. Result achieves the right classic mold, and gives a measure of tragic implacability to these two people trying to escape their fates. Thesps have the right heavyweight bearing. Technical credits and production dress are firstrate. This movie suffers by comparison with Petr Weigl's Lady Macbeth of Mtsensk (1992), which has Shostakovich's music and singing, by means of lip-synching. That one was very dynamic; here the acting is remarkably wooden, though it gets better towards the end. It seems that this version is based on the original story by Leskov, rather than the Shostakovich opera. Shostakovich made Katarina more sympathetic by showing her as a normal, vibrant woman driven to distraction by the cruel people surrounding her, and by the oppressive imperial system. Here she is a lustful creature who will stop at nothing to get what she wants; this turns the story into a simple morality tale without the complex interplay of the opera. The Leskov-Wajda version establishes this with details not in the Shostakovich-Weigl: Katarina and Sergei murder a child who stands to inherit the estate; Katarina, as she's sent off to Siberia, is completely indifferent to her own child. In the Shostakovich-Weigl, Sergei's new girlfriend sings a very cruel song of triumph over Katarina. The black-and-white photography is not suited to a story like this, although the composition of images is very artistic, probably better than in the Weigl version. But it's still very slow; for instance, the flogging looks like something that might be administered by a school principal on sedatives. On the other hand, the final death scene is nicely done, it's one of the best parts of the movie. ____________________________________________________________________________________________________________________________________________________________________________ Pilate and OthersFrom Wikipedia, the free encyclopedia Jump to: navigation, search Pilate and Others Directed by Andrzej Wajda Produced by Günther Lüdecke Andrzej Wajda Written by Andrzej Wajda Mikhail Bulgakov (book) Based on The novel by Mikhail Bulgakov Starring Wojciech Pszoniak Jan Kreczmar Daniel Olbrychski Music by Johann Sebastian Bach (St Matthew Passion) Cinematography Igor Luther Pfeffer Sam Editing by Joanna Rojewska Studio ZDF Release date(s) 29 March 1972 Running time 90 minutes Country West Germany Language German Pilate and Others (German: Pilatus und andere - Ein Film für Karfreitag) is a 1972 German drama film directed by Andrzej Wajda, based on the 1967 novel The Master and Margarita by the Soviet writer Mikhail Bulgakov, although it focuses on the parts of the novel set in biblical Jerusalem. The film has the subtitle Ein Film für Karfreitag (English: The Film for Good Friday) because it was released on March 29, 1972, on the eve of Easter.[1] It was also shown at the Berlin Film Festival on February 15, 2006, when director Andrzej Wajda received a Honorary Golden Bear. Contents [hide] 1 Background 2 Story 2.1 Differences from the novel 3 Cast 4 Soundtrack 5 Other screen adaptations of The Master and Margarita 6 References 7 External links Background[edit]Andrzej Wajda had already received two scripts from Warsaw to make a movie about the Passion but he had rejected both of them. When he had read The Master and Margarita, he decided to use Mikhail Bulgakov’s dialogues for his film.[2] The shootings were done in Nuremberg, on the ruines of the Third Reich. Wajda used the platform, from which Adolf Hitler held his speeches when he was addressing the Nazi Party in Nuremberg.[3] Story[edit]In the novel The Master and Margarita by the Russian author Mikhail Bulgakov, on which the film is based, three story lines are interwoven: a satirical story line in which Satan, called Woland here, goes to the city of Moscow in the 30s to deal in hilarious manner with the corrupt lucky ones, bureaucrats and profiteers from the Stalin era, a second one describing the internal struggle fought by Pontius Pilate before, during and after the conviction and execution of Yeshua Ha Nozri (Jesus from Nazareth), and a third one telling the story of the love between the master, an unnamed writer in Moscow during the 30s and his beloved Margarita, which goes to the extreme to save her master. The master has written a novel about Pontius Pilate, and is addressed by the authorities because this was an issue which in the officially atheistic Soviet Union was taboo.[4] The film Pilate and Others only tells the biblical story of the novel: the story of Pontius Pilate and Yeshua Ha Nozri (Jesus from Nazareth), Differences from the novel[edit]The biblical story of the novel is situated in Jersjalajim, but Wajda transferred it to Germany van de 20ste eeuw in the present time. Levi Matvei is a modern TV reporter who makes reports from Golgotha; Yeshua Ha-Nozri passes Way of the Cross on streets of Frankfurt am Main.[5] Cast[edit]Wojciech Pszoniak as Yeshua Ha-Nozri Jan Kreczmar as Pontius Pilate Daniel Olbrychski as Levi Matvei Andrzej Lapicki as Aphranius Marek Perepeczko as Marcus Jerzy Zelnik as Judah of Kiriaf Vladek Sheybal as Caiaphas Andrzej Wajda as reporter Soundtrack[edit]Johann Sebastian Bach - Matthäus-Passion Other screen adaptations of The Master and Margarita[edit]Giovanni Brancale - Il Maestro e Margherita - 2008 (film) Vladimir Bortko - Master i Margarita - 2005 (TV series) Ibolya Fekete - A Mester és Margarita - 2005 (film) Sergey Desnitsky - Master i Margarita - 1996 (film) Yuri Kara - Master i Margarita - 1994 (film) Paul Bryers - Incident in Judea - 1991 (TV-film) Oldřich Daněk - Pilát Pontský, onoho dne - 1991 (film) Andras Szirtes - Forradalom Után - 1990 (film) Aleksandr Dzekun - Master i Margarita - 1989 (TV-reeks) Maciej Wojtyszko - Mistrz i Małgorzata - 1988 (TV series) Vladimir Vasilyev and Boris Yermolaev - Fuete - 1986 (film) Aleksandar Petrović - Il Maestro e Margherita - 1972 (speelfilm) To be expected Scott Steindorff - The Master and Margarita - 2012 (film) Rinat Timerkaev - Master i Margarita - 2012 (animation film) References[edit]1.^ Andrzej Wajda. "Pilatus und andere". Andrzej Wajda website. 2.^ Ibid. "Pilatus und andere". 3.^ Jan Vanhellemont. "Pilatus und Andere - Andrzej Wajda". The Master and Margarita website. 4.^ Mikhail Bulgakov (1992). "The Master and Margarita". Penguin Books, London. ISBN 0-14118-828-6. 5.^ Jan Vanhellemont. "Pilatus und Andere - Andrzej Wajda". The Master and Margarita website. External links[edit]Pilate and Others at the Internet Movie Database Pilate and Others at AllRovi A GenerationFrom Wikipedia, the free encyclopedia Jump to: navigation, search A Generation Directed by Andrzej Wajda Written by Bohdan Czeszko Starring Tadeusz Łomnicki Urszula Modrzyńska Roman Polanski Release date(s) 25 January 1955 Running time 83 minutes Country Poland Language Polish A Generation (Polish: Pokolenie) is a 1955 Polish film directed by Andrzej Wajda. It is based on the novel Pokolenie by Bohdan Czeszko, who also wrote the script. It was Wajda's first film and the opening installment of what became his Three War Films trilogy set in the Second World War, completed by Kanal and Ashes and Diamonds. Contents [hide] 1 Plot 2 Cast 3 Production 4 Analysis 5 DVD 6 References 7 External links Plot[edit ]A Generation is set in Wola, a working-class section of Warsaw, in 1942 and tells the stories of two young men at odds with the Nazi occupation of Poland. The young protagonist, Stach (Tadeusz Lomnicki), is living in squalor on the outskirts of the city and carrying out wayward acts of theft and rebellion. After a friend is killed attempting to heist coal from a German supply train, he finds work as an apprentice at a furniture workshop, where he becomes involved in an underground communist resistance cell guided first by a friendly journeyman there who in turn introduces Stach to the beautiful Dorota (Urszula Modrzynska). An outsider, Jasio Krone (Tadeusz Janczar), the temperamental son of an elderly veteran, is initially reluctant to join the struggle but finally commits himself, running relief operations in the Jewish ghetto during the uprising there.