Young Man With A Horn Kirk Douglas

http://filmsnoir.net/film_noir/the-dreams-are-theirs.html/comment-page-1#comment-2675
http://en.wikipedia.org/wiki/List_of_American_films_of_1950



'50 was a fertile year for films of all types and especially noir.

A-B
Title
Director
Cast
Genre
Note
8 Ball
Bunny
Chuck Jones
Looney
Tunes
Animation
Abbott
and Costello in the Foreign Legion
Charles Lamont
Abbott and Costello, Patricia Medina
Comedy
All
About Eve
Joseph L.
Mankiewicz
Bette Davis, Anne
Baxter, Gary Merrill, Celeste
Holm, Hugh Marlowe, George
Sanders
Drama
Academy
Award for Best Picture
Ambush
Sam Wood
Robert Taylor, John
Hodiak, Arlene Dahl
Western
Wood's last
film
American
Guerrilla in the Philippines
Fritz Lang
Tyrone
Power
War
aka I Shall Return in
UK
Annie Get Your
Gun
George Sidney
Betty
Hutton, Howard Keel
Musical
Based on 1946 musical
Armored Car
Robbery
Richard
Fleischer
Charles McGraw, Adele
Jergens
Film Noir
Among first heist films
The Asphalt
Jungle
John Huston
Sterling Hayden, Louis
Calhern, Sam Jaffe, James
Whitmore, Jean Hagen, Marilyn Monroe
Film Noir
Based on novel of
same name
At War with the
Army
Hal Walker
Dean Martin, Jerry
Lewis
Musical comedy
Atom Man vs.
Superman
Spencer Gordon
Bennet
Kirk Alyn, Lyle
Talbot
Superhero
The Baron of
Arizona
Samuel Fuller
Vincent
Price, Ellen Drew
Western
Big
House Bunny
Friz Freleng
Looney
Tunes
Animation
The Big
Lift
George Seaton
Montgomery Clift, Paul
Douglas
War
Shot on location in Berlin
Boobs in the
Woods
Robert McKimson
Looney
Tunes
Animation
Born to Be
Bad
Nicholas Ray
Joan
Fontaine, Robert Ryan
Drama
Based on the novel
All Kneeling.
Born
Yesterday
George Cukor
William Holden, Judy
Holliday, Broderick
Crawford
Musical comedy
Academy
Award for Best Actress
Branded
Rudolph Maté
Alan Ladd, Mona
Freeman, Charles Bickford
Western
Based on
novel Montana Rides Again
The Brave
Engineer
Jack Kinney
The King's Men
Animation
Walt
Disney. Based on life of Casey Jones
The Breaking
Point
Michael Curtiz
John
Garfield, PatriThe Breaking cia Neal
Film Noir
Based on novel To
Have and Have Not
Bright Leaf
Michael Curtiz
Gary
Cooper, Lauren Bacall, Patricia
Neal
Drama
Based on 1949
novel
Broken
Arrow
Delmer Daves
James Stewart, Jeff
Chandler
Western
Bushy
Hare
Robert McKimson
Looney
Tunes
Animation
[edit]
C-G
Title
Director
Cast
Genre
Note
Caged
John
Cromwell
Eleanor Parker, Agnes Moorehead
Film Noir
Adapted from
story Women Without Men
Canary Row
Friz
Freleng
Looney Tunes
Animation
Captain Carey,
U.S.A.
Mitchell Leisen
Alan Ladd, Wanda
Hendrix
Drama
Oscar for Best Song
("Mona Lisa")
The Capture
John
Sturges
Lew Ayres, Teresa
Wright
Drama
Champagne for
Caesar
Richard Whorf
Ronald
Colman, Celeste Holm
Comedy
Cheaper by
the Dozen
Walter Lang
Clifton
Webb, Myrna Loy
Comedy
Based on 1948 novel
Cinderella
3
directors
Ilene Woods
Animation
Walt
Disney
Cody of the Pony
Express
Spencer Gordon
Bennett
Jock O'Mahoney, Dickie Moore
Serial
Colt
.45
Edwin L. Marin
Randolph Scott, Ruth
Roman
Western
Followed by
TV series
Comanche
Territory
George Sherman
Maureen O'Hara, Macdonald Carey
Western
Convicted
Henry
Levin
Glenn Ford, Broderick
Crawford
Film Noir
Based on play The
Criminal Code
The Crime of
Korea
War
Korean War propaganda
Crisis
Richard Brooks
Cary
Grant, José Ferrer
Drama
Based on short story
The Doubters
Cue Ball Cat
Hanna Barbera
Tom and
Jerry
Animation
Cyrano de
Bergerac
Michael Gordon
José
Ferrer, Mala Powers
Drama
Oscar for Best
Actor
D.O.A.
Rudolph Maté
Edmond O'Brien, Pamela
Britton
Film Noir
The Damned Don't
Cry!
Vincent Sherman
Joan
Crawford, David Brian
Film Noir
Based on story by
Gertrude Walker
Dark City
William Dieterle
Charlton Heston, Lizabeth Scott
Film Noir
Heston's first
film
A Date with Your
Family
Edward
G. Simmel
Ralph Hodges
Short
Desperadoes of the
West
Fred C. Brannon
Richard Powers, Judy Clark
Western
Destination
Moon
Irving Pichel
Dick
Wesson
Science
Fiction
Devil's Doorway
Anthony
Mann
Robert Taylor, Louis
Calhern
Western
Dopey
Dicks
Edward Bernds
Three Stooges
Comedy
Duchess of Idaho
Robert Z.
Leonard
Van Johnson, Esther Williams
Musical
The
Ducksters
Charles M. Jones
Looney
Tunes
Animation
Edge of
Doom
Mark Robson
Dana
Andrews, Farley Granger
Film Noir
Fancy
Pants
George Marshall
Lucille
Ball, Bob
Hope
Comedy
Father Is a
Bachelor
Abby
Berlin, Norman
Foster
William Holden, Coleen
Gray
Romantic comedy
Father of
the Bride
Vincente
Minnelli
Elizabeth Taylor, Spencer
Tracy
Comedy
Remade in 1991
The File on Thelma
Jordon
Robert Siodmak
Wendell
Corey, Barbara Stanwyck
Film Noir
The
Fireball
Tay Garnett
Mickey
Rooney, Pat O'Brien
Drama
The Flame and the
Arrow
Jacques Tourneur
Burt
Lancaster, Virginia Mayo
Adventure
Flying Disc Man
from Mars
Fred C. Brannon
Walter
Reed, Lois Collier
Adventure
Serial
The Flying
Saucer
Mikel Conrad
Mikel
Conrad
Science
Fiction
First film with flying saucers
For Heaven's
Sake
George Seaton
Clifton
Webb, Joan Bennett
Fantasy
Adapted from
play May We Come In?
Fortunes of
Captain Blood
Gordon Douglas
Louis
Hayward, Patricia Medina
Adventure
Remake of
1935's Captain Blood
A Fractured
Leghorn
Robert McKimson
Foghorn Leghorn
Animation
The
Framed Cat
Hanna Barbera
Tom and
Jerry
Animation
Francis
Arthur
Lubin
Donald O'Connor, Patricia Medina
Comedy
Launched the
Talking Mule series
Frenchie
Louis
King
Shelley Winters, Joel
McCrea
Western
Loosely based
on Destry Rides
Again
The Fuller Brush
Girl
Lloyd Bacon
Lucille
Ball
Comedy
Cameo by Red
Skelton
The Furies
Anthony
Mann
Walter Huston
Western-Film Noir
Huston's last
performance
The Golden Gloves
Story
Felix E. Feist
James Dunn, Dewey Martin
Drama
Golden
Yeggs
I. Freleng
Looney
Tunes
Animation
Grandad of Races
André
de la Varre
Art Gilmore
Short
Oscar for Best Short
(1 Reel)
The Great Rupert
Irving
Pichel
Jimmy Durante, Tom Drake, Terry Moore
Comedy
Guilty Bystander
Joseph
Lerner
Zachary Scott, Faye
Emerson
Film Noir
Gun
Crazy
Joseph H. Lewis
Peggy
Cummins, John Dall
Film Noir
aka Deadly Is the
Female
The
Gunfighter
Henry King
Gregory
Peck, Helen Westcott, Millard Mitchell, Karl
Malden
Western
Gunman in the
Streets
Frank Tuttle
Dane
Clark, Simone Signoret
Film Noir
Shot on location
in Paris
[edit]
H-M
Title
Director
Cast
Genre
Note
Harriet Craig
Vincent Sherman
Joan
Crawford
Drama
Based on the 1925
play Craig's Wife
Harvey
Henry
Koster
James
Stewart
Fantasy
Based on the
1944 play
High Lonesome
Alan Le
May
John Drew
Barrymore
Western
Highway 301
Andrew L. Stone
Steve
Cochran, Virginia Grey
Film Noir
Hillbilly Hare
Robert McKimson
Looney
Tunes
Animation
The Hollywood
Ten
John
Berry
Documentary
Homeless
Hare
Chuck Jones
Looney
Tunes
Animation
House by the
River
Fritz Lang
Louis
Hayward, Jane Wyatt
Film Noir
Hugs and
Mugs
Jules White
Three Stooges
Comedy
Hurdy-Gurdy Hare
Robert McKimson
Looney
Tunes
Animation
I Killed
Geronimo
John Hoffman
James Ellison, Chief
Thundercloud
Western
I'll Get By
Richard
Sale
June Haver, William Lundigan
Musical
In
Beaver Valley
James Algar
Winston Hibler
Short
Oscar for Best Short
(2 Reels)
In a Lonely
Place
Nicholas Ray
Humphrey Bogart, Gloria
Grahame
Film Noir
Adapted from 1947 novel
The Invisible
Monster
Fred C. Brannon
Richard Webb, Aline
Towne
Adventure
Serial
The Jackie
Robinson Story
Alfred E. Green
Jackie Robinson
Biography
Starring Robinson
as himself
The Jackpot
Walter
Lang
James Stewart, Barbara
Hale
Comedy
Features a young Natalie
Wood
Jerry and the
Lion
Hanna Barbera
Tom and
Jerry
Animation
Jerry's Cousin
Hanna Barbera
Tom and
Jerry
Animation
Julius
Caesar
David
Bradley
Harold
Tasker, Charlton Heston
Drama
Shot in Chicago
The Killer
That Stalked New York
Earl
McEvoy
Evelyn Keyes, Charles Korvin
Film Noir
Based on Cosmo
article
Kill the Umpire
Lloyd
Bacon
William Bendix, William Frawley
Comedy
Kim
Victor
Saville
Errol Flynn, Dean
Stockwell
Adventure
Based on
the novel
King
Solomon's Mines
Compton Bennett
Deborah
Kerr, Stewart Granger
Adventure
Based on
the 1885 novel
Kiss Tomorrow
Goodbye
Gordon
Douglas
James Cagney, Barbara Payton
Drama
A Lady Without
Passport
Joseph H. Lewis
Hedy
Lamarr, John Hodiak
Film Noir
Shot in semidocumentary
style
A Life of Her
Own
George Cukor
Lana
Turner, Ray Milland
Drama
Little
Quacker
Hanna Barbera
Tom and
Jerry
Animation
Louisa
Alexander Hall
Ronald
Reagan, Spring Byington
Comedy
Piper
Laurie's film debut
Love at First
Bite
Jules White
Three Stooges
Comedy
Love
Happy
David
Miller
Marx Brothers
Comedy
Last Marx Brothers
film
The
Magnificent Yankee
John Sturges
Louis
Calhern, Ann Harding
Biographical
Based
on novel Mr. Justice Holmes
The Men
Fred
Zinnemann
Marlon Brando, Teresa
Wright
War
Brando's film
debut
The Miniver
Story
H.C. Potter
Greer
Garson, Walter Pidgeon
Drama
Sequel to Mrs.
Miniver
Mister 880
Edmund Goulding
Burt
Lancaster, Dorothy McGuire
Comedy
Motor
Mania
Jack Kinney
Goofy
Animation
Walt
Disney
Mutiny on the
Bunny
Friz Freleng
Looney
Tunes
Animation
My Friend Irma Goes
West
Hal
Walker
Dean Martin, Jerry
Lewis
Comedy
Sequel to My
Friend Irma
Mystery Street
John
Sturges
Ricardo Montalban, Sally
Forrest
Film Noir
[edit]
N-S
Title
Director
Cast
Genre
Note
Nancy Goes to
Rio
Robert Z.
Leonard
Ann Sothern, Jane
Powell
Musical
Remake of 1940's It's a
Date
Never a Dull
Moment
George Marshall
Irene
Dunne, Fred MacMurray
Comedy
Based on the 1943
novel Who Could Ask For Anything More?
The Next Voice
You Hear...
William A.
Wellman
James Whitmore, Nancy
(Davis) Reagan
Drama
No Man of Her
Own
Mitchell Leisen
Barbara Stanwyck, John
Lund
Film Noir
Remade in 1996 as Mrs.
Winterbourne
No Way Out
Joseph L.
Mankiewicz
Richard Widmark, Linda
Darnell
Film Noir
Film debut of Sidney
Poitier
One Too Many aka Killer
with a Label
Erle C. Kenton
Ruth
Warrick
Drama
One Way Street
Hugo
Fregonese
James Mason, Märta Torén
Film Noir
Our Very
Own
David
Miller
Ann Blyth, Farley
Granger
Drama
Outrage
Ida
Lupino
Mala Powers, Tod
Andrews
Drama
Panic in the
Streets
Elia Kazan
Richard Widmark, Paul
Douglas
Film Noir
Shot in New
Orleans
Perfect
Strangers
Bretaigne
Windust
Ginger Rogers, Dennis
Morgan
Drama
Pirates of the High
Seas
Spencer Gordon
Bennet, Thomas Carr
Buster
Crabbe, Lois Hall
Serial
Pop 'im Pop
Robert McKimson
Looney
Tunes
Animation
Prehistoric
Women
Gregg C. Tallas
Laurette Luez, Allan
Nixon
Science
Fiction
Remade in 1967
Punchy
Cowpunchers
Edward Bernds
Three Stooges
Comedy
Puny
Express
Walter Lantz, Dick
Lundy
Woody the
Woodpecker
Animation
Quicksand
Irving
Pichel
Mickey Rooney, Peter
Lorre
Crime
Rabbit of
Seville
Charles M. Jones
Looney
Tunes
Animation
Rabbit's Moon
Kenneth
Anger
Looney Tunes
Animation
Riding
High
Frank Capra
Bing
Crosby, Coleen Gray
Comedy
Remake of 1934's Broadway Bill.
Right
Cross
John Sturges
June
Allyson, Ricardo
Montalban
Drama
Marilyn Monroe in small
role
Rio Grande
John
Ford
John Wayne, Maureen O'Hara
Western
Based on
story Mission With No Record
Rocketship X-M
Kurt
Neumann
Lloyd Bridges, Osa
Massen
Science
Fiction
Shot in 18 days
Rocky
Mountain
William Keighley
Errol
Flynn, Patrice Wymore
War
Rogues of Sherwood
Forest
Gordon
Douglas
John Derek, Diana
Lynn
Drama
Safety
Second
Hanna Barbera
Tom and
Jerry
Animation
Saturday Evening
Puss
Hanna Barbera
Tom and
Jerry
Animation
The Scarlet
Pumpernickel
Charles M. Jones
Looney
Tunes
Animation
The Second Woman
James
V. Kern
Robert Young, Betsy
Drake
Film Noir
The
Secret Fury
Mel Ferrer
Claudette Colbert, Robert
Ryan
Film Noir
José
Ferrer in uncredited role
Self-Made Maids
Jules
White
Three Stooges
Comedy
Shadow on the
Wall
Pat
Jackson
Ann Sothern, Zachary
Scott
Mystery
Based on Death
in the Doll's House
Side
Street
Anthony Mann
Farley
Granger, Cathy O'Donnell
Film Noir
Slaphappy
Sleuths
Jules White
Three Stooges
Comedy
The Sleeping
City
George Sherman
Richard
Conte, Coleen Gray
Film Noir
Shot in semidocumentary
style
A Snitch in Time
Edward
Bernds
Three Stooges
Comedy
So
Young, So Bad
Bernard Vorhaus
Paul
Henreid, Catherine McLeod
Drama
The Sound of
Fury
Cy Endfield
Frank
Lovejoy, Kathleen Ryan
Film Noir
aka Try and Get
Me
Southside 1-1000
Boris
Ingster
Don DeFore, Andrea
King, George Tobias
Film Noir
The
Stairs
Nominated for Best Documentary Short
Stars In My
Crown
Jacques Tourneur
Joel
McCrea, Ellen Drew
Western
Based on
novel of same name
Strife with
Father
Bob McKimson
Merry Melodies
Animation
Studio
Stoops
Edward Bernds
Three Stooges
Comedy
Sugar
Chile Robinson, Billie Holiday, Count Basie and His Sextet
Will
Cowan
Billie Holiday, Frank
Robinson
Short
Summer
Stock
Charles Walters
Judy
Garland, Gene Kelly
Musical
Garland's last
MGM film
Sunset
Boulevard
Billy Wilder
William Holden, Gloria
Swanson
Film Noir
Won 3 Academy Awards
[edit]
T-Z
Title
Director
Cast
Genre
Note
Tarzan and the
Slave Girl
Lee Sholem
Lex
Barker, Vanessa Brown
Adventure
Tea for Two
David
Butler
Doris Day, Gordon
MacRae
Musical-Comedy
Based on musical No, No Nanette
Tension
John
Berry
Richard Basehart, Audrey
Totter, Cyd Charisse
Film Noir
The Texan
Meets Calamity Jane
Ande Lamb
Evelyn Ankers
Western
Ankers' last
appearance for 10 years
Texas Tom
Hanna Barbera
Tom and
Jerry
Animation
Three Came Home
Jean
Negulesco
Claudette Colbert, Patric
Knowles
Drama
In public
domain
Three Hams on
Rye
Jules White
Three Stooges
Comedy
Three Little
Words
Richard Thorpe
Fred
Astaire, Red Skelton, Vera-Ellen
Musical
Astaire won
first Golden Globe for Best Actor in a Musical or Comedy
The Titan:
Story of Michelangelo
Robert J.
Flaherty
Fredric March
Documentary
Oscar
for Best Documentary Feature
The Toast of New
Orleans
Norman Taurog
Kathryn Grayson, Mario
Lanza
Musical
To
Please a Lady
Clarence Brown
Clark
Gable, Barbara Stanwyck
Drama
Tom and
Jerry in the Hollywood Bowl
Hanna Barbera
Tom and
Jerry
Animation
Treasure
Island
Byron Haskin
Bobby
Driscoll, Robert Newton
Adventure
Walt
Disney
Triple Crossed
Jules
White
Three Stooges
Comedy
Two
Flags West
Robert Wise
Joseph
Cotten, Linda Darnell
War
Two Weeks with
Love
Roy
Rowland
Jane Powell, Ricardo
Montalban
Musical
Based on story
by John (Francis) Larkin
Under My Skin
Jean
Negulesco
John Garfield, Micheline Presle
Drama
Based on Hemingway short
story
The Underworld
Story
Cy Endfield
Dan
Duryea, Herbert Marshall, Gale
Storm
Film Noir
Union Station
Rudolph Maté
William Holden, Barry Fitzgerald
Film Noir
Based on novel
Nightmare in Manhattan
Vendetta
Mel
Ferrer
Faith Domergue, George
Dolenz
Crime
Based on 1840
novella Colomba
Wabash Avenue
Henry
Koster
Betty Grable, Victor
Mature, Phil Harris
Musical
Wagon
Master
John Ford
Ben Johnson, Harry Carey Jr.
Western
Followed by
TV series Wagon Train
Walk Softly,
Stranger
Robert
Stevenson
Joseph Cotten, Alida
Valli, Spring Byington
Drama
What's Up
Doc?
Robert McKimson
Looney
Tunes
Animation
When Willie
Comes Marching Home
John Ford
Dan
Dailey, Corinne Calvet
Comedy
Where Danger
Lives
John Farrow
Robert
Mitchum, Faith Domergue
Drama
Domergue's film
debut
Where the Sidewalk
Ends
Otto Preminger
Dana
Andrews, Gene Tierney, Gary
Merrill
Film Noir
Based on novel
Night Cry
The White
Tower
Ted Tetzlaff
Glenn
Ford, Alida Valli
Adventure
Based on
novel of same name
Why Korea?
Edmund
Reek
Joe
King
Documentary
Oscar
for Best Documentary, Short Subject
Winchester
'73
Anthony Mann
James Stewart, Dan
Duryea, Shelley Winters
Western
Early roles
for Rock
Hudson, Tony Curtis
With These Hands
Jack Arnold
Sam
Levene
Documentary
The
Wizard of Oz (TV Special)
Burr Tillstrom
Short
Adaptation using
puppets
Woman on the Run
Norman
Foster
Ann Sheridan, Dennis O'Keefe
Film Noir
The Yellow Cab
Man
Jack Donohue
Red
Skelton, Gloria DeHaven
Comedy
Young Man with
a Horn
Michael Curtiz
Lauren
Bacall, Doris Day, Kirk
Douglas
Drama
Based on
autobiography

Positive Laws of General Beneficence

http://ia311012.us.archive.org/1/items/TheAbolitionOfMan/LewisC.S.TheAbolitionOfMan.rtf

Common denominators of moral precepts found in the TAO.

1. Nature urges man to enter society as a given good ("Cicero"]


2. Man is to be preserved as much as possible and enriched and flowered like a tree


3. Alms giving and respect of children and the elderly almost as if gods.


4. Importance of love and charity


5. Taking care of kindred and bonding and fighting for one's country


6. The misfortune of one man affects the whole of humanity-interconnectedness.


7. Love thy neighbor and the stranger


8. '"Did not Socrates love his own children, though he did so as a free man and as one not forgetting that the gods have the first claim on our friendship?' (Greek, Epictetus, iii. 24) 'Natural affection is a thing right and according to Nature.' (Greek. Ibid. i. xi)"


9. Natural affection is right and a prescribed norm and to be widened in application. COSMIC LOVE


10. 'Has it escaped you that, in the eyes of gods and good men, your native land deserves from you more honour, worship, and reverence than your mother and father and all your ancestors? That you should give a softer answer to its anger than to a father's anger? That if you cannot persuade it to alter its mind you must obey it in all quietness, whether it binds you or beats you or sends you to a war where you may get wounds or death?' (Greek. Plato, Crito, 51, a, b)


11. 'If any provide not for his own, and specially for those of his own house, he hath denied the faith.' (Christian. I Timothy 5:8) 'Put them in mind to obey magistrates.'... 'I exhort that prayers be made for kings and all that are in authority.' (Christian. Titus 3:1 and I Timothy 2:1, 2)


12. 'Your father is an image of the Lord of Creation, your mother an image of the Earth. For him who fails to honour them, every work of piety is in vain. This is the first duty.' (Hindu. Janet, i. 9)


13. 'Children, old men, the poor, and the sick, should be considered as the lords of the atmosphere.' (Hindu. Janet, i. 8) 'Rise up before the hoary head and honour the old man.' (Ancient Jewish. Leviticus 19:32)


14. 'Nature produces a special love of offspring' and 'To live according to Nature is the supreme good.' (Roman. Cicero, De Off. i. iv, and De Legibus, i. xxi)


15. Reverence due to the children: 'Great reverence is owed to a child.' (Roman. Juvenal, xiv. 47) 'The Master said, Respect the young.' (Ancient Chinese. Analects, ix. 22) 'The killing of the women and more especially of the young boys and girls who are to go to make up the future strength of the people, is the saddest part... and we feel it very sorely.' (Redskin. Account of the Battle of Wounded Knee. ERE v. 432)


16. 'Choose loss rather than shameful gains.' (Greek. Chilon Fr. 10. Diels) 'Justice is the settled and permanent intention of rendering to each man his rights.' (Roman. Justinian, Institutions, I. i) 'If the native made a "find" of any kind (e.g., a honey tree) and marked it, it was thereafter safe for him, as far as his own tribesmen were concerned, no matter how long he left it.' (Australian Aborigines. ERE v. 441)


17. 'Do no unrighteousness in judgement. You must not consider the fact that one party is poor nor the fact that the other is a great man.' (Ancient Jewish. Leviticus 19:15)
18. 'When proper respect towards the dead is shown at the end and continued after they are far away, the moral force (tê) of a people has reached its highest point.' (Ancient Chinese. Analects, i. 9
19. Aborigines-----They never desert the sick.
20. 'Nature confesses that she has given to the human race the tenderest hearts, by giving us the power to weep. This is the best part of us.' (Roman. Juvenal, xv. 131) The Power to weep, the exclusive power of humans given to them by nature.
21. Forget not the stranger as you glean your field.. Charity.
22. 'Death is to be chosen before slavery and base deeds.' (Roman. Cicero, De Off. i, xxiii) 'Death is better for every man than life with shame.' (Anglo-Saxon. Beowulf, 2890) 'Nature and Reason command that nothing uncomely, nothing effeminate, nothing lascivious be done or thought.' (Roman. Cicero, De Off. i. iv)
23. (Ancient Greek. Aristotle, Eth. Nic. 1177 B) We must think immortal thoughts as much as possible (paraphrase.
24. 'Let him not desire to die, let him not desire to live, let him wait for his time ... let him patiently bear hard words, entirely abstaining from bodily pleasures.' (Ancient Indian. Laws of Manu. ERE ii. 98) Abstention from pleasures,the key to all else.
25. 'He who is unmoved, who has restrained his senses ... is said to be devoted. As a flame in a windless place that flickers not, so is the devoted.' (Ancient Indian. Bhagavad gita. ERE ii 90) Devotion.
26. 'Verily, verily I say to you unless a grain of wheat falls into the earth and dies, it remains alone, but if it dies it bears much fruit. He who loves his life loses it.' (Christian. John 12:24,25) The love of wisdom is the practice of selflessness. Necessity for self-sacrifice.
    
    
    

b) POSITIVE
'Nature urges that a man should wish human society to exist
and should wish to enter it.' (Roman. Cicero, De Officiis, i. iv)
'By the
fundamental Law of Nature Man [is] to be preserved as much as possible.' (Locke,
Treatises of Civil Govt. ii. 3)
'When the people have multiplied, what next
should be done for them? The Master said, Enrich them. Jan Ch'iu said, When one
has enriched them, what next should be done for them? The Master said, Instruct
them.' (Ancient Chinese. Analects, xiii. 9)
'Speak kindness ... show good
will.' (Babylonian. Hymn to Samas. ERE v. 445)
'Men were brought into
existence for the sake of men that they might do one another good.' (Roman.
Cicero. De Off. i. vii)
'Man is man's delight.' (Old Norse. Hávamál 47)
'He who is asked for alms should always give.' (Hindu. Janet, i. 7)
'What good man regards any misfortune as no concern of his?' (Roman. Juvenal
xv. 140)
'I am a man: nothing human is alien to me.' (Roman. Terence, Heaut.
Tim.)
'Love thy neighbour as thyself.' (Ancient Jewish. Leviticus 19:18)
'Love the stranger as thyself.' (Ancient Jewish. Ibid. 33, 34)
'Do to
men what you wish men to do to you.' (Christian. Matthew 7:12)

2. The Law of Special Beneficence
'It is upon the trunk that a gentleman
works. When that is firmly set up, the Way grows. And surely proper behaviour to
parents and elder brothers is the trunk of goodness.' (Ancient Chinese.
Analects, i. 2)
'Brothers shall fight and be each others' bane.' (Old Norse.
Account of the Evil Age before the World's end, Volospá 45)
'Has he insulted
his elder sister?' (Babylonian. List of Sins. ERE v. 446)
'You will see them
take care of their kindred [and] the children of their friends ... never
reproaching them in the least.' (Redskin. Le Jeune, quoted ERE v. 437)
'Love
thy wife studiously. Gladden her heart all thy life long.' (Ancient Egyptian.
ERE v. 481)
'Nothing can ever change the claims of kinship for a right
thinking man.' (Anglo-Saxon. Beowulf, 2600)
'Did not Socrates love his own
children, though he did so as a free man and as one not forgetting that the gods
have the first claim on our friendship?' (Greek, Epictetus, iii. 24)
'Natural affection is a thing right and according to Nature.' (Greek. Ibid.
i. xi)
'I ought not to be unfeeling like a statue but should fulfil both my
natural and artificial relations, as a worshipper, a son, a brother, a father,
and a citizen.' (Greek. Ibid. 111. ii)
'This first I rede thee: be blameless
to thy kindred. Take no vengeance even though they do thee wrong.' (Old Norse.
Sigdrifumál, 22)
'Is it only the sons of Atreus who love their wives? For
every good man, who is right-minded, loves and cherishes his own.' (Greek.
Homer, Iliad, ix. 340)
'The union and fellowship of men will be best
preserved if each receives from us the more kindness in proportion as he is more
closely connected with us.' (Roman. Cicero. De Off. i. xvi)
'Part of us is
claimed by our country, part by our parents, part by our friends.' (Roman. Ibid.
i. vii)
'If a ruler ... compassed the salvation of the whole state, surely
you would call him Good? The Master said, It would no longer be a matter of
"Good". He would without doubt be a Divine Sage.' (Ancient Chinese. Analects,
vi. 28)
'Has it escaped you that, in the eyes of gods and good men, your
native land deserves from you more honour, worship, and reverence than your
mother and father and all your ancestors? That you should give a softer answer
to its anger than to a father's anger? That if you cannot persuade it to alter
its mind you must obey it in all quietness, whether it binds you or beats you or
sends you to a war where you may get wounds or death?' (Greek. Plato, Crito, 51,
a, b)
'If any provide not for his own, and specially for those of his own
house, he hath denied the faith.' (Christian. I Timothy 5:8)
'Put them in
mind to obey magistrates.'... 'I exhort that prayers be made for kings and all
that are in authority.' (Christian. Titus 3:1 and I Timothy 2:1, 2)

3. Duties to Parents, Elders, Ancestors
'Your father is an image of the Lord of Creation, your mother an image of the Earth. For him who fails to honour them, every work of piety is in vain. This is the first duty.' (Hindu. Janet, i. 9)
'Has he despised Father and Mother?' (Babylonian. List of Sins. ERE v. 446)
'I was a staff by my Father's side ... I went in and out at his command.' (Ancient Egyptian. Confession of the Righteous Soul. ERE v. 481)
'Honour thy Father and thy Mother.' (Ancient Jewish. Exodus 20:12)
'To care for parents.' (Greek. List of duties in Epictetus, in. vii)
'Children, old men, the poor, and the sick, should be considered as the lords of the atmosphere.' (Hindu. Janet, i. 8)
'Rise up before the hoary head and honour the old man.' (Ancient Jewish. Leviticus 19:32)
'I tended the old man, I gave him my staff.' (Ancient Egyptian. ERE v. 481)
'You will see them take care ... of old men.' (Redskin. Le Jeune, quoted ERE v. 437)
'I have not taken away the oblations of the blessed dead.' (Ancient Egyptian. Confession of the Righteous Soul. ERE v. 478)
'When proper respect towards the dead is shown at the end and continued after they are far away, the moral force (tê) of a people has reached its highest point.' (Ancient Chinese. Analects, i. 9)

4. Duties to Children and Posterity
'Children, the old, the poor, etc. should be considered as lords of the atmosphere.' (Hindu. Janet, i. 8)
'To marry and to beget children.' (Greek. List of duties. Epictetus, in. vii)
'Can you conceive an Epicurean commonwealth? . . . What will happen? Whence is the population to be kept up? Who will educate them? Who will be Director of Adolescents? Who will be Director of Physical Training? What will be taught?' (Greek. Ibid.)
'Nature produces a special love of offspring' and 'To live according to Nature is the supreme good.' (Roman. Cicero, De Off. i. iv, and De Legibus, i. xxi)
'The second of these achievements is no less glorious than the first; for while the first did good on one occasion, the second will continue to benefit the state for ever.' (Roman. Cicero. De Off. i. xxii)
'Great reverence is owed to a child.' (Roman. Juvenal, xiv. 47)
'The Master said, Respect the young.' (Ancient Chinese. Analects, ix. 22)
'The killing of the women and more especially of the young boys and girls who are to go to make up the future strength of the people, is the saddest part... and we feel it very sorely.' (Redskin. Account of the Battle of Wounded Knee. ERE v. 432)

5. The Law of Justice
(a) SEXUAL JUSTICE
'Has he approached his neighbour's wife?' (Babylonian. List of Sins. ERE v. 446)
'Thou shalt not commit adultery.' (Ancient Jewish. Exodus 20:14)
'I saw in Nastrond (= Hell)... beguilers of others' wives.' (Old Norse. Volospá 38, 39)
(b) HONESTY
'Has he drawn false boundaries?' (Babylonian. List of Sins. ERE v. 446)
'To wrong, to rob, to cause to be robbed.' (Babylonian. Ibid.)
'I have not stolen.' (Ancient Egyptian. Confession of the Righteous Soul. ERE v. 478)
'Thou shalt not steal.' (Ancient Jewish. Exodus 20:15)
'Choose loss rather than shameful gains.' (Greek. Chilon Fr. 10. Diels)
'Justice is the settled and permanent intention of rendering to each man his rights.' (Roman. Justinian, Institutions, I. i)
'If the native made a "find" of any kind (e.g., a honey tree) and marked it, it was thereafter safe for him, as far as his own tribesmen were concerned, no matter how long he left it.' (Australian Aborigines. ERE v. 441)
'The first point of justice is that none should do any mischief to another unless he has first been attacked by the other's wrongdoing. The second is that a man should treat common property as common property, and private property as his own. There is no such thing as private property by nature, but things have become private either through prior occupation (as when men of old came into empty territory) or by conquest, or law, or agreement, or stipulation, or casting lots.' (Roman. Cicero, De Off. I. vii)
(c) JUSTICE IN COURT, &C.
'Whoso takes no bribe ... well pleasing is this to Samas.' (Babylonian. ERE v. 445)
'I have not traduced the slave to him who is set over him.' (Ancient Egyptian. Confession of the Righteous Soul. ERE v. 478)
'Thou shalt not bear false witness against thy neighbour.' (Ancient Jewish. Exodus 20:16)
'Regard him whom thou knowest like him whom thou knowest not.' (Ancient Egyptian. ERE v. 482)
'Do no unrighteousness in judgement. You must not consider the fact that one party is poor nor the fact that the other is a great man.' (Ancient Jewish. Leviticus 19:15)

6. The Law of Good Faith and Veracity
'A sacrifice is obliterated by a lie and the merit of alms by an act of fraud.' (Hindu. Janet, i. 6)
'Whose mouth, full of lying, avails not before thee: thou burnest their utterance.' (Babylonian. Hymn to Samas. ERE v. 445)
'With his mouth was he full of Yea, in his heart full of Nay? (Babylonian. ERE v. 446)
'I have not spoken falsehood.' (Ancient Egyptian. Confession of the Righteous Soul. ERE v. 478)
'I sought no trickery, nor swore false oaths.' (Anglo-Saxon. Beowulf, 2738)
'The Master said, Be of unwavering good faith.' (Ancient
Chinese. Analects, viii. 13)
'In Nastrond (= Hell) I saw the perjurers.' (Old Norse. Volospá 39)
'Hateful to me as are the gates of Hades is that man who says one thing, and hides another in his heart.' (Greek. Homer. Iliad, ix. 312)
'The foundation of justice is good faith.' (Roman. Cicero, De Off. i.vii)
'[The gentleman] must learn to be faithful to his superiors and to keep promises.' (Ancient Chinese. Analects, i. 8)
'Anything is better than treachery.' (Old Norse. Hávamál 124)
7. The Law of Mercy
'The poor and the sick should be regarded as lords of the atmosphere.' (Hindu. Janet, i. 8)
'Whoso makes intercession for the weak, well pleasing is this to Samas.' (Babylonian. ERE v. 445)
'Has he failed to set a prisoner free?' (Babylonian. List of Sins. ERE v. 446)
'I have given bread to the hungry, water to the thirsty, clothes to the naked, a ferry boat to the boatless.'
(Ancient Egyptian. ERE v. 446)
'One should never strike a woman; not even with a flower.' (Hindu. Janet, i. 8)
'There, Thor, you got disgrace, when you beat women.' (Old Norse. Hárbarthsljóth 38)
'In the Dalebura tribe a woman, a cripple from birth, was carried about by the tribes-people in turn until her death at the age of sixty-six.'... 'They never desert the sick.' (Australian Aborigines. ERE v. 443)
'You will see them take care of... widows, orphans, and old men, never reproaching them.' (Redskin. ERE v. 439)
'Nature confesses that she has given to the human race the tenderest hearts, by giving us the power to weep. This is the best part of us.' (Roman. Juvenal, xv. 131)
'They said that he had been the mildest and gentlest of the kings of the world.' (Anglo-Saxon. Praise of the hero in Beowulf, 3180)
'When thou cuttest down thine harvest... and hast forgot a sheaf... thou shalt not go again to fetch it: it shall be for the stranger, for the fatherless, and for the widow.' (Ancient Jewish. Deuteronomy 24:19)

8. The Law of Magnanimity
(a)
'There are two kinds of injustice: the first is found in those who do an injury, the second in those who fail to protect another from injury when they can.' (Roman. Cicero, De Off. I. vii)
'Men always knew that when force and injury was offered they might be defenders of themselves; they knew that howsoever men may seek their own commodity, yet if this were done with injury unto others it was not to be suffered, but by all men and by all good means to be withstood.' (English. Hooker, Laws of Eccl. Polity, I. ix. 4)
'To take no notice of a violent attack is to strengthen the heart of the enemy. Vigour is valiant, but cowardice is vile.' (Ancient Egyptian. The Pharaoh Senusert III, cit. H. R. Hall, Ancient History of the Near East, p. 161)
'They came to the fields of joy, the fresh turf of the Fortunate Woods and the dwellings of the Blessed . . . here was the company of those who had suffered wounds fighting for their fatherland.' (Roman. Virgil, Aeneid, vi. 638-9, 660)
'Courage has got to be harder, heart the stouter, spirit the sterner, as our strength weakens. Here lies our lord, cut to pieces, out best man in the dust. If anyone thinks of leaving this battle, he can howl forever.' (Anglo-Saxon. Maldon, 312)
'Praise and imitate that man to whom, while life is pleasing, death is not grievous.' (Stoic. Seneca, Ep. liv)
'The Master said, Love learning and if attacked be ready to die for the Good Way.' (Ancient Chinese. Analects, viii. 13)
(b)
'Death is to be chosen before slavery and base deeds.' (Roman. Cicero, De Off. i, xxiii)
'Death is better for every man than life with shame.' (Anglo-Saxon. Beowulf, 2890)
'Nature and Reason command that nothing uncomely, nothing effeminate, nothing lascivious be done or thought.' (Roman. Cicero, De Off. i. iv)
'We must not listen to those who advise us "being men to think human thoughts, and being mortal to think mortal thoughts," but must put on immortality as much as is possible and strain every nerve to live according to that best part of us, which, being small in bulk, yet much more in its power and honour surpasses all else.' (Ancient Greek. Aristotle, Eth. Nic. 1177 B)
'The soul then ought to conduct the body, and the spirit of our minds the soul. This is therefore the first Law, whereby the highest power of the mind requireth obedience at the hands of all the rest.' (Hooker, op. cit. i. viii. 6)
'Let him not desire to die, let him not desire to live, let him wait for his time ... let him patiently bear hard words, entirely abstaining from bodily pleasures.' (Ancient Indian. Laws of Manu. ERE ii. 98)
'He who is unmoved, who has restrained his senses ... is said to be devoted. As a flame in a windless place that flickers not, so is the devoted.' (Ancient Indian. Bhagavad gita. ERE ii 90)

(c)
'Is not the love of Wisdom a practice of death?' (Ancient Greek. Plato, Phadeo, 81 A)
'I know that I hung on the gallows for nine nights, wounded with the spear as a sacrifice to Odin, myself offered to Myself.' (Old Norse. Hávamál, I. 10 in Corpus Poeticum Boreale; stanza 139 in Hildebrand's Lieder der Älteren Edda. 1922)
'Verily, verily I say to you unless a grain of wheat falls into the earth and dies, it remains alone, but if it dies it bears much fruit. He who loves his life loses it.' (Christian. John 12:24,25)

Bach and Handel

http://en.wikipedia.org/wiki/Johann_Sebastian_Bach

http://en.wikipedia.org/wiki/George_Frideric_Handel




Music of the incomparable Handel




http://www.youtube.com/watch?v=OrjoFQLRx08 Handel's water music

http://www.youtube.com/watch?v=CdIaisPGSas Handel's music for recorder

http://www.youtube.com/watch?v=OcSK79aoFSQ Handel's Let the Bright Serraphim (Samson)
http://www.youtube.com/watch?v=-TGKJ9MgCOQ The arrival of the Queen of Sheba

http://www.youtube.com/watch?v=EXjY6w1KQMo Music for the Royal Fireworks

http://www.youtube.com/watch?v=nnHksDFHTQI Hallelujah chorus

http://www.youtube.com/watch?v=OQVQOW1c0DQ Unto us a child is born




Johann Sebastian Bach Music of this master

http://www.youtube.com/watch?v=hL24_3-tui8 Concert 3 in D Major Harpsichord

http://www.youtube.com/watch?v=pVadl4ocX0M Little Fugue G Minor

http://www.youtube.com/watch?v=ZiU8xQGr1yU Harpsichord concertos

http://www.youtube.com/watch?v=tdLCcQixNvg Agnus Dei

http://www.youtube.com/watch?v=CTVraVgzC9U Organ Toccata

Johann Sebastian Bach (German pronunciation: [joˈhan] or [ˈjoːhan zeˈbastjan ˈbax]) (31 March 1685 [O.S. 21 March] – 28 July 1750) (often referred to as Bach) was a German composer and organist whose ecclesiastical and secular works for choir, orchestra, and solo instruments drew together the strands of the Baroque period and brought it to its ultimate maturity.[1] Although he introduced no new forms, he enriched the prevailing German style with a robust contrapuntal technique, an unrivalled control of harmonic and motivic organisation, and the adaptation of rhythms, forms and textures from abroad, particularly Italy and France.
Revered for their intellectual depth, technical command and artistic beauty, Bach's works include the Brandenburg concertos, the Goldberg Variations, the Partitas, the Well-Tempered Clavier, the Mass in B Minor, the St. Matthew Passion, the St. John Passion, the Magnificat, The Musical Offering, The Art of Fugue, the English and French Suites, the Sonatas and Partitas for solo violin, the Cello Suites, more than 200 surviving cantatas, and a similar number of organ works, including the celebrated Toccata and Fugue in D minor and Passacaglia and Fugue in C minor.
Bach's abilities as an organist were highly respected throughout Europe during his lifetime, although he was not widely recognised as a great composer until a revival of interest and performances of his music in the first half of the 19th century. He is now regarded as the supreme composer of the Baroque, and as one of the greatest of all time.


George Frideric Handel (German: Georg Friedrich Händel; pronounced [ˈhɛndəl]) (23 February 1685 – 14 April 1759) was a German-English Baroque composer, who is famous for his operas, oratorios, and concerti grossi. His life and music may justly be described as "cosmopolitan": he was born in Germany, trained in Italy, and spent most of his life in England. Born in Halle in the Duchy of Magdeburg, he settled in England in 1712, becoming a naturalised subject of the British crown on 22 January 1727.[1] His works include Messiah, Water Music, and Music for the Royal Fireworks. Strongly influenced by the techniques of the great composers of the Italian Baroque era, as well as the English composer Henry Purcell, Handel's music became well-known to many composers, including Haydn, Mozart, and Beethoven.

Jules Dassin Paralysis of the creative impulse MCCARTHYISM

http://filmsnoir.net/film_noir/cinematic-cities-noir-london.html/comment-page-1#comment-2660

http://www.wsws.org/articles/2008/apr2008/dass-a03.shtml

The second cite gives background to the work of Dassin and to his role as director /actor in Rififi and the mention of other filmmakers stymied by thje paralysis of the McCarthy years.

His next project turned out to be Rififi, a crime thriller filmed in Paris.
Dassin adapted it from a book that he hadn’t much liked. He wrote a screenplay
with a collaborator in seven days. One of its most famous sequences is a
33-minute scene without music or dialogue, the scene of the crime itself. The
scene is much praised for its unremitting tension, but Dassin points out that
one of the chief reasons for the lack of dialogue was his unfamiliarity with the
French language and his desire to produce as short a script as
possible.
“Critics are divided over the work. François Truffaut apparently
considered it one of the greatest crime dramas ever made, at least at the time.
Sarris regarded it as overrated, and Jean-Luc Godard, then a critic, commented
superciliously in 1959: “Jules Dassin wasn’t at all bad when he was shooting
semi-documentary style among Italian fruit-workers of San Francisco, in the old
wooden subway of New York, on the dreamy docks of that charming city which, as
Sacha Guitry said, the English insist on calling London. But one day, alas, our
Jules began to take himself seriously and came to France with a martyr’s
passport. At the time, Rififi fooled some people. Today, it can’t hold a candle
to [Jacques Becker’s 1954] Touchez pas au Grisbi, which paved the way for it,
let alone [Jean-Pierre Melville’s 1956] Bob le Flambeur, which it paved the way
for.”> Be that as it may, Rififi is a competently and intelligently made and
acted film, with Dassin playing one of the criminals. Berg notes, “While writing
the screenplay, his [Dassin’s] experiences of the hard times he and many of his
colleagues were living through had a profound influence on the script. ‘I was
thinking when I was writing about my character’s death,’ he says. ‘There’s a
close shot of me saying, “You’ve got to shoot me,” and I was thinking so much of
the guys who were blacklisted. [In the scene] they want [Dassin’s character] to
give names to the gangster that’s going to kill me and I was thinking, No, you
don’t give names. I was thinking of all my friends who during the McCarthy era
betrayed other friends.“Dassin became romantically and artistically involved
with Greek actor Melina Mercouri in the mid-1950s. Some of their films together
are forgettable, or worse (He Who Must Die [based on a Nikos Kazantzakis novel],
The Law, Phaedra). Never on Sunday (1960), with Mercouri as a lighthearted
prostitute, is something of a fantasy and a trifle, but it helped open the
American cinema up to a more realistic, or at least less prudish, attitude
toward sexual matters. It’s not coincidental that the cheerful work came out at
the same time as the end of the blacklist. Topkapi (1964), another heist film
(with Mercouri and Peter Ustinov), but this time in a comic vein, is also a
slight work, but it too helped loosen up American audiences and introduced them
to a more knowing, cynical European attitude toward cops and robbers.“Dassin’s
life was bound up with critical events in the 20th century. He became a victim,
along with many other talented figures, of the anti-communist frenzy of the
1950s, a frenzy that crippled artistic and intellectual life in the US for
decades. The film industry still suffers from the purge of left-wing and
critical spirits.
What kind of work he and others of his generation might
have produced under more favorable circumstances is obviously an unanswerable
question. No one seems to have doubted his sincerity or honesty.
Bertrand
Tavernier, French filmmaker and film writer, observed: “McCarthyism, in reducing
to silence a whole generation of young filmmakers (Dassin, Losey, Berry, Rossen,
Polonsky, Enfield), important screenwriters (Trumbo, Wilson, Maltz, Buchman,
Ring Lardner Jr., Hugo Butler), paralyzed an entire creative
impulse.”
Comment by Edward Yablonsky — November 26, 2009 @ 5:51
pm

Further light on British Noir

Night and the City

http://www.cinema.ucla.edu/calendar/calendardetails.aspx?details_type=2&id=350

Will be posting a photo shot of the Third Man

9.11.09 - 10.31.09FOOTSTEPS AND FOG: BRITISH FILM NOIR
French film scholars
coined the term Film Noir to describe a particular cycle of American films
dealing with dark themes (crime, betrayal, fatalism, and general post-war
malaise) often imbued with a signature shadowy visual style. Though less well
known, and with their own distinct sensibilities and variations, British
filmmakers also made some fascinating contributions to this enigmatic genre. Our selection includes vaunted masterworks like Carol Reed's
The Third Man (1949), as well as rarities like the notorious No Orchids for Miss
Blandish (St. John L. Clowes, 1948)–what’s more, this program provides the
opportunity to see many rare archival prints which are being shipped in from the
UK. Shot in locales from London to the Lake District and beyond, this program
aims to shine a light on the darkness from across the pond.

Saturday October 17 2009, 7:30PM ( Online
Ticket Sales Ended )
THE THIRD MAN(1949)
Directed by Carol Reed
Graham Greene’s first
screenplay unspools against the backdrop of a post WWII Vienna still under
control of the Allied authorities. Joseph Cotten stars as a beleaguered pulp
novelist unwittingly embroiled in a vast conspiracy. Orson Welles famously plays
the amoral Harry Lime, a charismatic racketeer haunting the back alleys and
underground sewers of the ruined city. Greene’s world-weary script is
brilliantly enhanced by Carol Reed’s expressionistic visual style, not to
mention Anton Karas’ indelible zither score. A commercial and critical success
on its initial release, The Third Man is now widely recognized as a masterpiece
of film noir and a high point in the history of British cinema.
Based on the
story by Graham Greene. Screenplay: Graham Greene. Cinematographer: Robert Krasker. Editor: Oswald Hafenrichter. Cast: Joseph Cotten, Orson Welles, Alida Valli, Trevor Howard. 35mm, B/W, 100 min.
NIGHT AND THE CITY(1950) Directed by Jules Dassin
Richard Widmark’s
trademark combination of sleazy glibness and sweaty desperation finds its ideal
expression in the role of London club tout and compulsive striver Harry Fabian.
Described by a rival as "an artist without an art," Fabian attempts to make his
mark as a promoter in the Greco-Roman wrestling racket, a sport that takes
brutality to the level of art both in and out of the ring. With its chiaroscuro
cinematography and stylized portrayals of underworld characters—Francis L.
Sullivan as a grotesque club owner, Googie Withers as his ambitious wife,
Herbert Lom as a vicious racketeer, Polish champion wrestler Stanislaus Zbyszko
as "Gregorius the Great"—the film sketches a place that is nominally London but
really a realm of fevered urban imagination. The recurring image is of Fabian
scrambling through dark alleys, trying and failing to get ahead of his fate—an
appropriate motif for director Jules Dassin, who made the film while in exile
from McCarthy-era Hollywood. —Juliet Clark, Pacific Film Archive.
Twentieth
Century Fox. Based on the novel by Gerald Kersh. Producer: Darryl F. Zanuck. Screenplay: Jo Eisinger. Cinematographer: Max Greene. Cast: Richard Widmark, Gene Tierney, Googie Withers, Hugh Marlowe, Francis L. Sullivan. 35mm, B/W, 95
min.

Sunday October 18 2009, 7:00PM* ( Online
Ticket Sales Ended )
THEY DRIVE BY NIGHT(1938)
Directed by Arthur B. Woods
Just released from
prison, small-time hustler Shorty Matthews (Emlyn Williams) pays a visit to an
old girlfriend–only to find her murdered in her room. Assuming the cops will
finger him for the crime, he hits the road, finding refuge with long haul
truckers, and later with a dance hall hostess (Konstam) and a sex crime
fetishist (Ernest Thesiger, in a memorable performance). Not to be confused with
the American film starring Humphrey Bogart, this British proto-noir is
unapologetically gritty. "An exceptional thriller with fine feeling for
locale–seedy dance halls, rain-swept highways, shabby pubs." – Elliot Stein
(adapted from a note from Film Forum).
Based on the novel by J. Curtis.
Producer: Jerome Jackson. Screenplay: James Curtis, Paul Gengelin, Derek Twist. Cinematographer: Basil Emmott. Cast: Emlyn Williams, Ernest Thesiger, Anna Konstam, Allan Jeayes. 35mm, 84 min.
ON THE NIGHT OF THE FIRE(1939) Directed by Brian Desmond Hurst
Ralph
Richardson stars as Kobling, an upwardly mobile barber desperate to escape the
crushing poverty of his grubby neighborhood. When his status-conscious wife
racks up debts at the local department store, Kobling pays the proprietor with
stolen Pounds Sterling. When the cops trace the store’s bank deposit to stolen
bills, the proprietor threatens Kobling with blackmail. What begins as a petty
theft soon turns to murder and a frightening witch-hunt by the townspeople. With
noir-ish elements, this frank and fatalistic drama paints a nightmarish vision
of working class Britain.
Based on the novel by F.L. Green. Producer: Jeff Somlo. Screenplay: Brian Desmond Hurst, Patrick Kirwan, Terence Young. Cinematographer: Günther Krampf. Cast: Ralph Richardson, Diana Wynyard, Romney Brent. 35mm, 84 min.
*
Please note the early start time.

Friday
October 23 2009, 7:30PM ( Online
Ticket Sales Ended )
New Print!THE LONG
HAUL(1957) Directed by Ken Hughes
Racketeering is the
principal cargo in this well-tuned tale about a trucker in trouble. Victor
Mature (in a role intended for Marlon Brando) plays Harry Miller, a deactivated
G.I. stranded in England with his Liverpudlian wife. Harry signs on as a driver
for a lorry combine only to find that mobsters rule the road. Joe Easy (Patrick
Allen), the ruthless thug who runs Easy Hauling, plays it fast and loose with
his freight, but not as loose as his curvaceous cohort Lynn (Diana Dors, the
British Monroe). Once Harry catches sight of her, Dors becomes the soft shoulder
on a road to nowhere. Though Hell Drivers emphasizes rivalry among the drivers
themselves, both of these big wheelers saw the hauling biz as a shiftless world
of lowballers and hijackers. Caught up in the momentum, Harry must choose
between a pedestrian life with wife and child and the felonious fast lane.The
Long Haul offers no rest stop for the wicked. ––Steve Seid, Pacific Film
Archive.
Based on the novel by Mervyn Mills. Producer: Maxwell Setton. Screenwriter: Ken Hughes. Cinematographer: Basil Emmott. Editor: Raymond Poulton. Cast: Victor Mature, Diana Dors, Gene Anderson. 35mm, B/W, 88 min.
HELL DRIVERS(1957) Directed by Cy Endfield
Cy Endfield, another
of this series’ refugees from the Hollywood blacklist, delivers a raw critique
of capitalist exploitation in the form of a full-throttle thriller. Stanley
Baker plays an ex-con who drifts into a job hauling gravel for Hawlett’s, a
trucking company where only the desperate need apply. Spurred on by openly
ruthless management, marginal men—including pious, naive "Italian" Herbert Lom
and a young Sean Connery—vie to beat the pace set by the unhinged Irishman at
the wheel of truck Number 1: Patrick McGoohan, before he was The Prisoner’s
Number 6. There’s plenty of action in the rattle and roar of trucks careening
along country roads, but the film’s suspense comes from social pressures rather
than speed as the rivalry between Baker and McGoohan becomes increasingly
explosive. The ultimate use of all those rocks is never mentioned; hauling
endless tons of cargo in a race none of them can ever really win, the drivers
are embodiments of labor as a road to nowhere. —Juliet Clark, Pacific Film
Archive.
Based on a story by J. Kruse. Screenplay: Cy Endfield, John Kruse. Cinematographer: Geoffrey Unsworth. Cast: Stanley Baker, Herbert Lom, Peggy Cummins, Patrick McGoohan, William Hartnell. 35mm, B/W, 108 min.

Saturday October 24 2009, 7:30PM ( Online
Ticket Sales Ended )
THE CLOUDED YELLOW(1951)
Directed by Ralph Thomas
When British secret
service agent (Trevor Howard) gets the axe, he finds a job cataloging
butterflies for an eccentric family, the Fentons, on a remote English estate.
But this seemingly benign business is fraught with danger once he falls for his
boss’s niece Sophie (Jean Simmons), a troubled young woman who is accused of
murdering a local farmhand. Determined to prove her innocence before the cops
can arrest her, the pair embark on a thrilling chase across Britain’s Lake
District. With echoes of both Gaslight and Hitchcock, The Clouded Yellow is a
thoroughly entertaining thriller.
Based on the story by J. Green. Producer: Betty E. Box. Screenplay: Janet Green. Cinematographer: Geoffrey Unsworth. Editor: Gordon Hales. Cast: Trevor Howard, Jean Simmons, Sonia Dresdel, Barry Jones. 35mm, B/W, 95 min.
THE OCTOBER MAN(1947) Directed by Roy Ward Baker
"I couldn’t have
done it . . . could I?" In a twist on the wrong-man theme, this hybrid of
playful murder mystery and psychological melodrama stars John Mills as an
innocent man whose own self-doubt makes him a suspect. After a bus accident
kills a child in his care and leaves him with a fractured skull and troubled
mind, Mills seeks refuge in a small hotel whose very proper residents greet him
with a mixture of curiosity and condescension. When an attractive lodger goes
out to post a letter and doesn’t return, the neighbors, the police, and Mills
himself all begin to wonder whether he might be responsible. Erwin Hillier’s
cinematography shrouds the action in an atmosphere of misty, pervasive
melancholia, and Mills brings an otherworldly, fretful presence to Eric Ambler’s
alternately sardonic and empathetic scenario, which hints at the struggles of
men shattered not by accident but by the recent war. —Juliet Clark, Pacific Film
Archive.
Based on the novel by E. Ambler. Producer: Eric Ambler. Screenplay: Eric Ambler. Cinematographer: Erwin Hillier. Cast: John Mills, Joan Greenwood, Edward Chapman. 35mm, B/W, 110 min.

Monday October 26 2009, 7:30PM ( Online
Ticket Sales Ended )
NO ORCHIDS FOR MISS
BLANDISH(1948) Directed by St. John L. Clowes
"It has all the
morals of an alley cat and the sweetness of a sewer!" blared a contemporary
review of this controversial 1948 noir. No Orchids bubbled forth from the depths
of British Poverty Row studio Renown to shock the English nation with its casual
brutality (multiple murders in cold blood in the opening reel, another killing
involving a grandfatherly innocent bystander) and leering perversion ("I don’t
have ta drink ta want you," opines one ruthless Romeo). The film concerns a
hard-partying society dame who falls for her vicious kidnapper, a crime
syndicate overlord. Simultaneously revolting and revolutionary, its Z-grade
budget, inexpressive cast, and total disregard for bourgeois sensibility make No
Orchids play like some unholy alliance of Ed Wood and Georges Bataille, a
Poverty Row Grand Guignol. Monthly Film Bulletin declared it "the most sickening
exhibition of brutality, perversion, sex and sadism ever to be shown on a cinema
screen"—in other words, unmissable. —Jason Sanders, Pacific Film Archive.
Based on the novel by James Hadley Chase. Producer: George Minter. Screenplay: St. John L. Clowes. Cinematographer: Gerald Gibbs. Cast: Jack La Rue, Linden Travers, Hugh McDermott. 35mm, B/W, 102 min.
NOOSE(a.k.a. The Silk Noose)(1948) Directed by Edmond T. Greville
"We don’t have
any gangsters here," claims a London newspaper editor to his hot-to-trot
reporter from Chicago at the beginning of this energetic programmer, a
fascinating combination of American noir aesthetics with British slang, style,
and location. Yankee fashion hound Linda Medbury (Carole Landis, who died
tragically after the film was made) quickly proves her boss wrong, uncovering a
ruthless London crime ring led by the fast-talking Bar Gorman and the slick
Sugiani, neither of whom will stop at killing women to keep their empire going.
Fortunately Linda’s got her British hubby on her side, an ex-commando who’s
organized a gang of his own (complete with Chelsea jerseys) to help smash the
syndicate. A John Alton–esque sense of light and shadow, as well as director
Edmond Greville’s impressive visual flourishes, provide a flair that’s pure
Hollywood noir, but the zippy insults, class concerns, and seedy postwar
settings are as British as they come. —Jason Sanders, Pacific Film Archive.
Producer: Edward Dryhurst. Screenplay: Richard Llewellyn. Cinematographer: Hone Glendining. Cast: Carole Landis, Derek Farr, Joseph Calleia, Nigel Patrick, Stanley Holloway. 35mm, B/W, 95 min.

Special; content articles IU Press

http://inscribe.iupress.org.
Special interest articles on a variety of subjects

Also Indiana University Press publishes a variety of Journals on historical and ethnic subjects addressing and linking the past to the present engaging modern scholars in an open forum atmosphere. Note the example of the Journal below.

Journal of Folklore Research
An International Journal of Folklore and
Ethnomusicology
Edited by Moira Smith
The Journal of Folklore Research
provides an international forum
for current theory and research among
scholars of traditional
culture. Each issue includes articles of theoretical
interest to
folklore and ethnomusicology as international disciplines,
as
well as essays that address the fieldwork experience and
the
intellectual history of folklore.

Darwin's continuing voice

http://www.iupress.indiana.edu/em/email_images/JRNLS_Presspage/IUP_J_F09_CAT.pdf


and Levine’s discussion of the melding of science and wonder, train their gazes insistently forward, to a present in which biodiversity and climate change are no mere intellectual concepts.,

Quote The idea of the melding of science and wonder is accented profoundly in our modern age of quantum physics where science reaches even beyond the frontiers of accepted knowledge and enters the thresh hold of wonder beyond what science can answer. Perfect examples of this melding are the concepts of biodiversity and climate change even exceeding man's understanding of these concepts and involving the best minds of our time in turmoil and with no answers to the Gordian knots they present to consciousness.

Jim Endersby draws on recent work on masculinity and the emotions in Victorian culture to reconsider Darwin’s relationship to the botanist Joseph Hooker
The idea of masculinity as presented above in relation to Victorians is a novel concern of which I have never been aware. The gendering of the natural scientist is another such concern I would like to be enlightened.

Darwin’s contemporaries were
learning to understand the implications
of
contingency as meaningful and
productive. Jim Endersby draws on
recent
work on masculinity and the emotions
in Victorian culture to
reconsider
Darwin’s relationship to the botanist
Joseph Hooker, and, by
implication, the
gendering of the natural scientist in the
period. And
contributions from Gillian
Beer and George Levine—two founding
figures in
Darwin criticism—reflect their
confidence that attention to
Darwin’s
language enables us to better understand
both the Victorian
moment and our
own: Beer’s analysis of extinction in the
Origin, and
Levine’s discussion of the
melding of science and wonder, train
their
gazes insistently forward, to a present in
which biodiversity and
climate change
are no mere intellectual concepts.

,