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The Work and the Glory (also known as The Work and the Glory: Pillar of Light)[3] is a 2004 historical fiction drama film directed by Russell Holt, from a script co-written by Gerald N. Lund and Russell Holt. Based on Lund's novel titled The Work and the Glory: Pillar of Light,[4][5] the movie stars Sam Hennings, Brenda Strong, Eric Johnson, Alexander Carroll, Tiffany Dupont, and Jonathan Scarfe. It tells the story of the fictional Steed family in the 1820s and their struggles trying to adopt the new Mormon religion, and it explores their relationship with their community, with its founder, Joseph Smith and the rest of the Smith family.[citation needed] The movie successfully launched the titular film series, which consisted of a trilogy. Reception On Rotten Tomatoes the film has an approval rating of 17% based on reviews from 12 critics and an audience approval rating of 84% (5000+ ratings).[6] Sequels The film was followed by two sequels, The Work and the Glory: American Zion released in 2005, and The Work and the Glory III: A House Divided released in 2006.[7] The Work and the Glory film series consists of American period piece-historical fiction Christian-drama films, based on novels of the same name written by Gerald N. Lund. The plot centers around the fictional family named the Steeds, their experiences as early members of The Church of Jesus Christ of Latter-day Saints and their pioneering experiences with Joseph Smith. The films were well received from critics within the religious target audience,[1][2][3][4] while it received a more critical response from the wider array of critics.[5][6][7][8] Though the movies were not financially successful in theaters, multi-millionaire Larry H. Miller continued with assisted funding to complete a trilogy of movies. The collection was later stated to have turned a profit, through their combined home video sales.[9] Development The series of historical-fiction novels titled The Work and the Glory and written by Gerald N. Lund, were published between 1990 and 1998. The concept for the series of books was conceptualized by Kenneth "Kim" Moe, prior to the hiring of Lund as author. Moe was determined years earlier that a series of novels based around the early history of The Church of Jesus Christ of Latter-day Saints was something that he was inspired by God to ensure is written. His fascination with the early members of the Church and the events of the pioneers, first began after reading a short history about the Latter-day Saints while in a Salt Lake City International Airport; and event which eventually led to his baptism as a member of its congregation. After various failed attempts at writing a draft for the novel, Moe realized that he was not the man for the job. He went to a local bookstore and purchased various Latter-day Saint fiction until he read Lund's The Alliance and The Freedom Factor; where he was certain he'd found the writer. During the 1980s while working as a seminary teacher, Lund was approached with the offer from his boss, who told him that a Ricks College donor (Moe) had wanted him to write a novel adaptation of the early history of Latter-day Saints. At that point the author turned down the opportunity, believing that he would not have the time to do so. Dismayed at Lund's declined offer, Moe continued to attempt writing the first draft while he continued to have the author's boss repeatedly pitch the idea to Lund. Eventually, Gerald N. Lund decided to write the novels after fasting and praying about the project. The author's work continued through his time serving as a Bishop of his local ward, a Stake President of his stake, and as a Seventy in the Second Quorum of the Seventy. Following the release of the novels, Lund approached the idea for a feature film adaptation and attempted forming a media company to product the movies. Unsuccessful in his attempts, the author determined to hire a professional filmmaker. Serving as a general authority, Lund went to the First Presidency for their approval in creating a film that was not officially produced as media from the Church. Approached by many filmmakers, Lund personally selected Scott Swofford as director. Though production concerns arose, including Lund's hope that the epic scope of his novels would translate adequately to film, the movie series was deemed a success. Surpassing the author's expectation in earning over $6 million at the box office, they have since been revealed to have also turned a profit when including home video sales.[9] Films Film U.S. release date Director Screenwriter Producer(s) The Work and the Glory: Pillar of Light November 24, 2004 Russ Holt Scott H. Swofford The Work and the Glory: American Zion October 19, 2005 Sterling Van Wagenen Matt Whitaker The Work and the Glory III: A House Divided November 22, 2006 The Work and the Glory: Pillar of Light (2004) Main article: The Work and the Glory In spring of the early 1820s, after selling their Vermont homestead the Benjamin Steed family, including: Benjamin, his wife Mary Anne, their children Joshua, Nathan, Melissa, Rebecca, and Matthew; moves to upstate New York, where they begin to establish themselves within the community of Palmyra. As the begin to successfully clear the land for their farm with the assistance of hired assistance they acquired through local brothers named Hyrum Smith and Joseph Smith Jr., the family finds themselves at the center of controversy. Though they had peacefully integrated socially amongst their neighbors, the family is surprised by the disruption they encounter due to their friendship with the Smiths; in part due to their bold claims: that God once again speaks to a living prophet on the Earth, that Joseph had been divinely chosen to be that role, and that through the deity's instructions Joseph is translating ancient scriptures of the Ancient Americas that further confirm the teachings of the The Holy Bible and that Jesus Christ is the Savior of the world, and that through various works reestablish the Church that Christ had in ancient times.[a] When the Steeds find that their family is divided on these topics, a number of them discover for themselves that what Joseph Smith teaches is true and decide to join the ranks of thew newly reestablished church; at the dismay of the patriarch Benjamin. The family's oldest son joins the ranks of the mobs who tyrannize the community, and despite his differences with the Latter-day Saints, Ben finds himself defending their personal choices. As the family has disputations amongst them as to the validity of the experiences of their friends, angry members of the community begin to persecute them. Together they work towards a familial decision to trust and help the Smiths, or to turn against them.[1][10][11][12] The Work and the Glory: American Zion (2005) During November 1833, Missouri allows hundreds of peaceful inhabitants who are Latter-day Saints to be hunted and driven from their homes in Jackson County. Despite the continued persecution of angry mobs, Joseph Smith led the church members to Far West where he continued to courageously teach the members of the sect of the teachings and understanding that continues from revelations that are made known by God. As they continue the work that they believe they are divinely called to do, they begin to realize that the freedoms they hold as citizens of the United States are being taken from them and under the direction of their religious leaders, prepare to move until they find their promise Zion. While the events unfold, the Steeds struggle to keep their family together as the strong beliefs in their convictions have lead to familial separation due to their differences in religious ideology. After Matthew is taken and beaten for his role as a Latter-day Saint, its discovered that Joshua is continually involved in the violent and murderous attacks against the local Latter-day Saints. Benjamin rises up to stand against the ongoing assaults. Though he doesn't believe their teachings, Ben is determined to protect his family, his friends the Smiths, and the innocent people who are being harmed; even if it means he must stop his oldest son in any way possible.[2][13][14][15] The Work and the Glory III: A House Divided (2006) Years later, after spending time away from his family Joshua Steed finds that his time in Savanna has changed who he once was. No longer a rebellious alcoholic engaged with organized terrorism towards a religious sect of his community, Josh is now a successful and established businessman. Upon marrying a local widow, he discovers that she and her son have joined the Latter-day Saints as members of their church. He finds that he no longer has hate for these people nor their teachings. When his wife Caroline and step-son Will ask about his family, Joshua finds himself ashamed of the events that led to him abandoning his past; including leading the persecution that physically harmed his younger brother Nathan and the other members of his immediate family. Despite his internal humiliation, he determines to return with them to his parents, siblings, and their families. Returning to Missouri now as a wealthy man, he humbly begins to search for his family. Through his efforts and determination to amend for his past mistakes, the divided Steed house begins to heal. As the Latter-day Saints continue their journey to Missouri, Governor Boggs makes it lawful to kill a member of the church with his Mormon Extermination Order. Joshua soon finds that he and his family are a part of the settlement that will be harmed in these attacks, and realizing that these events are not dissimilar to what he had committed himself to a younger age, he quickly discovers that it is only he who can save them from the gathering mob. Joshua turns to God for guidance and for strength, while racing against time to mend the broken bonds of his childhood home and to fight against the arriving militant dangers.[3][16][17][18][19] Main cast and characters List indicator(s) This section includes characters who will appear or have appeared in more than two films in the series. An empty, dark grey cell indicates the character was not in the film, or that the character's official presence has not yet been confirmed. V indicates a voice-only role. Y indicates a younger version of the character. Character The Work and the Glory: Pillar of Light The Work and the Glory: American Zion The Work and the Glory III: A House Divided Benjamin "Ben" Steed Sam Hennings Mary Anne Steed Brenda Strong Joshua "Josh" Steed Eric Johnson Nathan Steed Alexander Carroll Lydia McBride-Steed Tiffany Dupont Sera Bastian Melissa Steed Brighton Hertford Rebecca "Becca" Steed Kimberly Varadi Julia Cunningham Matthew Steed Colin Ford Cody Sanders Jessica Roundy-Steed Griffith Emily Podleski Caroline Mendenhall-Steed Meredith Salenger William "Will" Mendenhall Steed Connor Chavarria Joseph Smith, Jr. Jonathan Scarfe Emma Smith Sarah Darling Melanie Hawkins Additional crew and production details Film Crew/Detail Composer Cinematographer Editor Production companies Distributing companies Running time The Work and the Glory: Pillar of Light Sam Cardon T.C. Christensen Stephen L. Johnson Excel Entertainment, Manchester Pictures Excel Entertainment Group 1hr 50mins The Work and the Glory: American Zion Reed Smoot Vineyard Productions L.L.C. 1hr 40mins The Work and the Glory III: A House Divided Gordon Lonsdale Vineyard Productions L.L.C., Excel Entertainment 1hr 29mins Reception For more details on the reception of each movie, see the "Reception" section on each film's article. Box office and financial performance Following the theatrical release of the first film, financer Larry H. Miller stated that though there were profitability concerns following the release of the first installment due to the status of the projects as some of the most expensive Latter-day Saint media ever made, he felt "comfortable with the level of [its success]." As a result of the box office returns from the first movie, the sequels which were produced back-to-back had a combined budget to equal approximately the cost of their predecessor's.[20][21] Film Box office gross Box office ranking Home video total Budget Net loss Ref(s) North America Other territories Worldwide All time North America All time worldwide The Work and the Glory: Pillar of Light $3,347,647 — $3,347,647 #6,867 #10,383 information not publicly available $7,500,000 ≥ -$4,152,353 [22][23] The Work and the Glory: American Zion $2,025,032 — $2,025,032 #7,561 #11,830 information not publicly available $6,500,000 ≥ -$4,474,968 [24][25] The Work and the Glory III: A House Divided $1,325,092 — $1,325,092 #8,089 #13,106 information not publicly available $6,500,000 ≥ -$5,174,908 [26][27] Totals $6,697,771 N/A $6,697,771 x̄ #7,506 x̄ #11,773 information not publicly available $20,500,000 ≥ -$13,802,229 Critical and public response Film Critical response Rotten Tomatoes The Work and the Glory: Pillar of Light 17% (12 reviews)[5] The Work and the Glory: American Zion 45% (11 reviews)[6] The Work and the Glory III: A House Divided 80% (5 reviews)[7]

The story of the Mormon Battalion is closely connected with the history of California. In 1846, the 496 men of the battalion journeyed west to fight in the war with Mexico; instead, they became a significant force in the exploration, settlement, and prosperity of California and the western United States. Using their expert skills, the men helped establish San Diego and San Francisco, helped instigate one of the most famous gold rushes in history, and blazed the trail across the Sierra Nevadas that thousands of gold prospectors would follow on their way to California. These contributions of the Mormon Battalion and other early Latter-day Saints have left a legacy "more precious than gold."

A returning missionary tells about his experiences in Montana where he baptized only one family but learned from, taught, and served many.

David Whitmer relates his account of seeing the gold plates with Martin Harris and Oliver Cowdery. This video also depicts how the three men remained true to their testimonies.

This film was designed to introduce the Church of Jesus Christ of Latter-day Saints to people who are unacquainted with it and stresses the importance of the family and the worldwide nature of the church from all over the world.

The Saratov Approach is a 2013 American dramatic thriller film written and directed by Garrett Batty. It depicts the 1998 kidnapping of two missionaries of the Church of Jesus Christ of Latter-day Saints (LDS Church) in Saratov, Russia. It began a limited release on October 9, 2013, solely in Utah. Subsequently, the film was released throughout the Mormon Corridor.[1] On January 10, 2014, the film began an expanded limited release throughout the United States.[2][3] Plot It is March 1998, and two young missionaries for The Church of Jesus Christ of Latter-day Saints, Andrew Lee Propst (Maclain Nelson) and Travis Robert Tuttle (Corbin Allred), are serving in southeastern Russia. While out in the city of Saratov, the two are approached by a man named Nikolai (Nikita Bogolyubov) who asks them to come to his apartment to teach him and a friend about their faith. When the Elders arrive the next day, Nikolai and another man named Sergei (Alex Veadov) beat them, tie them up, and kidnap them. They drive to a remote location where the missionaries are handcuffed to a pipe, held at gunpoint, and photographed. The kidnappers demand a ransom of $300,000. Propst and Tuttle's families are informed of their sons' kidnapping; Propst's father receives a call from Senator Gordon H. Smith (Bart Johnson), who informs him that he is doing everything he can to resolve the issue. Meanwhile, in Russia, Propst and Tuttle spend five days in captivity. Propst is convinced that Nikolai will have compassion on them and eventually let them go, so he asks him for small favors, like food, a bathroom, and being moved to a more comfortable position - all of which Nikolai grants. Sergei is less kind; he grows impatient that the ransom money still hasn't been paid, and has the missionaries write to their families, in hopes that it will speed the payment of the ransom. Back in the U.S., news of the kidnappings spreads nationwide, and people of many faiths begin to pray for the two hostages. The Propst family receives an anonymous check for the demanded $300,000, but ultimately decide not to pay it, as it would encourage the kidnapping of more missionaries for easy money. The Tuttle family receives a call from Mark Larsen, who was kidnapped as a missionary in Argentina years earlier. Larsen explains that with time, the missionaries will develop more hope and faith and start to show compassion to their captors. This proves to be true; Propst manages to remove his handcuffs and devises a plan with Tuttle to escape, but the two then remember their purpose as a missionaries and put their cuffs back on instead of fighting their way out of captivity. Nikolai then confides in the Elders, confessing his guilt for kidnapping them; he explains that his girlfriend is pregnant, and he helped Sergei kidnap "rich Christians" so that he would have money to provide for a family. The Elders ask about a tattoo on Sergei's hand, which Nikolai tells them came from his days as a Russian Naval hero and means "forever loyal." The next morning, Sergei announces that their time is up, and drives Tuttle and Propst to a snowy field. As Sergei prepares to kill them, he notices that the missionaries have drawn markings on their hands similar to his tattoo, giving him pause. He and Nikolai drive away, leaving Tuttle and Propst to run away and find their way back to Saratov. Their families are informed that they have been freed, and that Nikolai and Sergei have been arrested by Russian officials. Propst and Tuttle speak over the phone to their families, and finish their missions elsewhere in Europe. Cast Corbin Allred as Elder Tuttle Maclain Nelson as Elder Propst Nikita Bogolyubov as Nikolai Alex Veadov as Sergei Bart Johnson as Senator Gordon H. Smith Production Director Garrett Batty had wanted to make a film about the kidnapping of the LDS missionaries ever since he first heard their story in the news. Years later, he contacted Propst and Tuttle with the intention of making a movie about their experiences in Russia; the two were skeptical at first, but met with Batty and shared their story. Batty wrote the script after his conversation with Propst and Tuttle, balancing the actual events with his own artistic vision for the film. Production hit multiple snags: Batty underwent heart surgery shortly after his meeting with Propst and Tuttle, and financial backing took a while to manifest.[3] The outdoor scenes set in Russia were filmed in Kiev, Ukraine, and the scenes of the missionaries' captivity and their families back home were filmed in Utah, USA.[4] Batty wrote, directed, and produced the film, along with producers Maclain Nelson, Jonathan T. Turner, and Jake Van Wagoner. Jeremy Prusso was the cinematographer, Connor O'Malley was the editor, Heather Reid was the production designer, and Robert Allen Elliott composed the film's score.[5] Reception The Salt Lake Tribune praised the film as having "quietly resolute strength."[4] The film was also praised by Deseret News[6] and Meridian Magazine.[7] The Standard-Examiner called the film "one of the best in the Mormon film genre".[8] A Motley Vision gave the movie a B+.[9] The Hollywood Reporter described it as "an item best suited to the believers."[10] The Los Angeles Times reached a similar conclusion, calling Saratov "soft and preachy."[11] Larry King, who had a private screening of the film,[1] described it as "intense, dramatic, [and] beautifully acted."[12] Variety reported that the film made "$500,000 in two weeks on only 23 screens."[1] The same article detailed the film's positive reception among younger Latter-day saints, particularly on social media, as well as requests from AMC, Cinemark, and Regal to host the film in more of their theaters.[1] Screen Daily reported that Saratov then made $1.4 million after four weeks.[2] It made $2.1 million overall after a 64-week theatrical release.[13] It was rated PG-13 for violence.[6]

God's Army is a 2000 American independent film written, directed by and features Richard Dutcher.[4][5] Plot God's Army is about LDS missionaries as they struggle with their work and, almost inevitably, their faith. The movie focuses on a pair of missionaries, Elder Allen (Brown) and Elder Dalton (Dutcher) serving as missionaries in Los Angeles, California ("elder" is an office in the priesthood and a title male LDS missionaries use while serving missions). Dalton is a seasoned missionary and Allen is a new recruit paired with Dalton to be trained. Allen questions his reason for being on a mission. He is a somewhat faithful member of the church, but his father was excommunicated from the church and his mother doesn't attend anymore. Dalton proves to be a demanding taskmaster and he demands much of Allen—almost too much in Allen's eyes. Allen teeters on the brink of leaving his two-year mission almost as soon as it begins. Allen witnesses another missionary lose his faith and abandon his own mission. Allen changes his mind as he finds the sacrifices others have made to be on a mission, such as ostricization from family. His own companion, Elder Dalton, dropped out of medical school to serve a mission and is fighting a losing battle with brain cancer. After a trial of his faith and some earnest soul searching, Allen finds untapped courage and embraces his work as a messenger of God. Main cast Matthew A. Brown as Elder Allen Richard Dutcher as Elder Dalton Jacque Gray as Sister Fronk Desean Terry as Elder Banks Michael Buster as Elder Kinegar Luis Robledo as Elder Sandoval "the Lamanite" Jeff Kelly as Elder Mangum John Pentecost as President Beecroft Lynne Carr as Sister Beecroft Production It was financed by private investors.[citation needed] Reception This movie was taken on a tour of North America for special engagements. It was primarily intended for members of the Church of Jesus Christ of Latter-day Saints (LDS Church) audiences, but non-LDS viewers were also welcome to showings. The film was well received by its target LDS audience but was met with some confusion by non-LDS viewers. Many professional critics were pleased at Dutcher's willingness to address some of the more sensitive issues of the LDS Church, such as its past policy that restricted most black members from ordination to priesthood offices. They also enjoyed the look into missionaries' struggles and the work they face. Despite this, some felt the film was too apologetic. It currently has a Metacritic score of 38/100, indicating "generally unfavorable" reviews, and holds a score of 54% on Rotten Tomatoes based on 13 reviews.[6] As of December 2014 the film's box office sales ranked 38th all-time among Christian films.[7]

Ephraim's Rescue is a religious historical drama film by T. C. Christensen, released in 2013 by Excel Entertainment Group. It is based on the true stories of Mormon pioneers Ephraim Hanks and Thomas Dobson and their experiences in the handcart brigades.[1] The film was released in select theaters across the United States in the spring of 2013. Plot The film focuses on the lives of Ephraim Hanks and Thomas Dobson, telling their stories in parallel. Hanks, a rebellious young man, joins the U.S. Navy after a violent confrontation with his father. Three years later, he returns home to find that his father has died and his brother Sidney has joined the Church of Jesus Christ of Latter-day Saints. Believing Sidney to be in trouble, his mother sends Ephraim to go and save him, but Ephraim ends up converting also and is baptized by Sidney. At the same time, eight year old Thomas Dobson is baptized in his hometown of Preston, Lancashire and suffers for his faith. In 1856, a man announces that the Dobsons are departing for Zion (Utah) with the handcart brigade. Thomas, now an adult, has no desire to travel to an uncivilized area miles away from home, but his mother convinces him it is God's will. Ephraim Hanks joins the Mormon Battalion and becomes a prominent member of the church. When he hears the handcart people are in trouble, he agrees to go and help, where his story intersects with that of Dobson. Cast Darin Southam as Ephraim Hanks Richard Benedict as old Ephraim Hanks James Gaisford as Thomas Dobson Koleman Stinger as young Thomas Dobson Katherine Nelson as Alice Dobson Travis Eberhard as Albert Production Written and directed by T. C. Christensen, and produced by Ron Tanner and Christensen, Ephraim's Rescue debuted on May 31, 2013, in select theaters in Utah, and then across the United States. The film was subsequently released on DVD and Blu-ray for distribution by Excel Entertainment Group through Deseret Book and affiliated retailers.

Johnny Lingo is a 1969 short film directed by Wetzel O. Whitaker. The film and later remake are based on a short story by Patricia McGerr, originally published in a 1965 issue of Woman's Day. The 24-minute film was produced by Brigham Young University, but does not specifically mention The Church of Jesus Christ of Latter-day Saints (LDS Church) outside of the credits. Plot In the story, Johnny Lingo (played by MaKee K. Blaisdell) is a shrewd, honest, and well-liked Polynesian trader. Johnny has come home to bargain for a wife. Mahana (played by Naomi Kahoilua), the young woman he desires, is considered by her neighbors and even her father, Moki (played by Joseph Ah Quin), to be of little value—sullen, ugly, and undesirable. Blaming himself for not paying enough cows for Mahana's mother, her father treats her unkindly, such as yelling, "Mahana, you ugly!"[4] As the bargaining is about to begin, women of the island brag about how many cows their husbands had paid for each of them (see bride price), and comment that Mahana's father will be lucky to be offered one cow for her. The bargaining begins, and Moki asks Johnny Lingo for three cows, as Moki's counselor Me Hai advises. The islanders laugh derisively, then wait for Lingo to make his counter-offer, certain that he will make a devastating bargain. Johnny, pondering the offer, pronounces that "three cows are many... but not enough for Mahana!" He then offers the unheard-of price of eight cows for her hand in marriage.[2] After the bargaining, Johnny visits Mr. Harris, an American shopkeeper on the island, to offer him a valuable shell in exchange for a mirror. In their conversation, Mr. Harris is convinced that Johnny only paid so much to look good and be remembered. The next day, Moki and Me Hai, while waiting for Johnny to deliver the cows, convince themselves that Johnny reconsidered his deal and will not show up. In the end, Johnny brings the cows and marries Mahana that night, enduring some mocking for paying so much for a seemingly undesirable wife while Moki revels in his newfound prosperity. Johnny and Mahana then leave the island for many months on their honeymoon, visiting many islands. When they return, Harris discovers, to his astonishment, that Mahana is a beautiful, happy woman. Johnny recounts that Mahana's father had just accused Lingo of cheating him by saying, "[Mahana] is worth ten cows, if she's worth a hoof!" Johnny then explains that he has loved Mahana since they were children, and that he paid eight cows for Mahana, not to show off, but to make her happy and for her "to be an eight-cow woman." Johnny concludes with "Many things can happen to make a woman beautiful, but the thing that matters most is what she thinks of herself." Johnny leaves Harris, and he and Mahana walk on the beach together. Cast Makee K. Blaisdell - Johnny Lingo[2] Naomi Kahoilua - Mahana[2] Francis L. Urry - Trader Harris[2] Joseph Ah Quin - Moki Joseph R. TeNgaio - Me Hai, Moki's Counselor Malofou Maumasi - Tulo Production The film was based on the 1965 short story, "Johnny Lingo and the Eight-Cow Wife", written by author Patricia McGerr and published in Woman's Day magazine.[5] The story has been frequently reprinted, including in The Australian Women's Weekly,[6] The Instructor,[7] and Reader's Digest,[8] as well as by assorted books and websites (sometimes condensed or attributed to other authors).[9] In the short story, told from the perspective of a visitor to the fictional Pacific islands of "Kiniwata" and "Nurabandi" while on leave from assignment in Japan, the character of Mahana is instead named "Sarita", while her father is referred to as "Sam Karoo."[6] Filmed in Hawaii in November 1968 and featuring mostly local LDS Church members, the film was directed by Wetzel O. ("Judge") Whitaker, then head of the Brigham Young University's Department of Motion Picture Production. Whitaker stated that "the setting is mythical to give it universal appeal" and the village set was constructed by two BYU (then Church College of Hawaii) students, Tuione Pulotu and Vuna Fa, to not be identifiable as belonging to any particular island group. LaMar Williams, head of the audio-visual section of the LDS Church Missionary Department, commented that "The Church is only mentioned in the production credits so it is a film that could be put on coast to coast television."[10] Influence and remake The film is licensed by Covenant Communications, and is sold on DVD by Brigham Young University's Creative Works Office.[11] The 1993 book Hana, the No-Cow Wife continues the story and shows its effect on another, somewhat prideful young woman.[12] In the summer of 2001, the Salt Lake Acting Company staged a live parody performance of Johnny Lingo as that year's episode of their annual theatrical spoof series Saturday's Voyeur. The act was titled Mahana, You Ugly. A 2003 remake of this film called The Legend of Johnny Lingo was directed by Steven Ramirez and financed by the Utah-based Tahitian Noni International.[13] Criticism Johnny Lingo has been criticized as having strong elements of sexism and colonialism. The film has been criticized for "[hinging] on the idea that a woman’s self-esteem is based on the price she commands in a financial transaction between men, not on any internal sense of who she is."[14] Rather than being recognized as “industrious”, or any other personal characteristic, Lingo notes, after he has paid eight cows for Mahana, "she now knows, she is worth more than any other woman on the island".[15] Writer Holly Welker comments further, “[the movie] does not view the buying and selling of women as property as essentially or inherently wrong.” [16]

The Legend of Johnny Lingo is a 2003 film set in Polynesia and directed by Steven Ramirez. It is an extension of the 1969 short film Johnny Lingo that is based on a story by Patricia McGerr. Plot An orphaned baby boy is found in a beached canoe after a great storm and is adopted by Mailo, the island chief. Malio declares his intent to raise the baby, who he names Tama, as his heir, even though he already has a son. The chief's wife begins to spread rumors that Tama is sent from the trickster god to cause trouble. After a string of unlucky incidents causes Malio to conclude that Tama is cursed, he becomes an outcast, passed from family to family around the island. At one point, a drunk villager, Pioi, takes Tama in. He has a daughter named Mahana who is considered ugly by the other islanders. Even though she is ill-treated by her father and the people around her, she remains kind and good and befriends Tama. One day, Tama, disgusted with life in Pioi's household and his status as an outcast, decides to leave the island in a canoe he built. Before departing, he promises Mahana that he will come back and care for her. Caught in a violent storm, Tama drifts ashore on an island which proves to be the home of a well-known and respected Polynesian trader, Johnny Lingo. Though Johnny is kind and welcoming, Tama's years of rejection have made him suspicious, particularly of Johnny's gruff chief steward, and he decides to leave. After stealing jewelry from Johnny's treasury and trying to escape, he is sentenced to work for Johnny for the next seven years to pay off his debt. He invents some simple machines that enable him to finish his work faster and, through his diligence, earns Johnny's respect. Eight years later, Johnny decides that a now adult Tama is ready to accompany him to a nearby island to conclude an important trade. During the course of their reception, Tama accidentally offends the people of the island and they take Johnny hostage, demanding payment for Tama's offense. Tama single-handedly navigates back to Johnny's home to obtain a cow from his herd for the ransom, winning the trust of the chief steward in the process. Johnny, Tama, and the chief steward are invited to be the guests of honour at the chief's son's wedding, where Tama learns that he is actually the heir to the chiefdom of a neighbouring island. He initially accepts the chiefdom but eventually decides that he is happier working for Johnny. After they return to his home, Johnny confides to Tama that he is dying and leaves to him his name and fortune. As the new Johnny Lingo, Tama sends the chief steward ahead of him to Malio's island to determine what has happened to Mahana. He then arrives himself, announcing that he intends to choose a bride from among the island's young women. A great feast is planned for that night so that he can meet them all. That night, all are present at the feast except Mahana. Tama goes to Pioi's home looking for her, but she meets him on the way and rejects him, not recognizing him as the boy who had left so many years earlier. The next day, he meets her again and she tells him that every day for eight years, she has waited at the island's shore for Tama to return, but that she believes he lied about coming back and now hates him. Unwilling to give up, Tama announces that he will barter with Pioi to marry Mahana. At the bartering ceremony, Pioi, whose health has deteriorated badly, asks for two cows as Mahana's dowry, which would be the richest dowry in the history of the islands. Tama, however, offers eight cows instead. Mahana is furious, thinking Tama is mocking her, and she storms out of the bartering ceremony. Outside, though, are the eight cows. While Pioi rejoices over his new fortune, Mahana confronts Tama, demanding to know why he offered such a high price. Believing that she no longer loves him as Tama and openly hates him as Johnny Lingo, Tama releases her from the bridal agreement and tells her to keep the cows and use the fortune to care for her father. However, Mahana realises that Tama is wearing the armband she had given him when he left the island as a boy. Finally recognizing him, she feigns anger at his long absence and slaps him, but they then embrace happily. The film concludes with Tama relating the story to a writer, surrounded by his happy family. Cast George Henare – Johnny Lingo Rawiri Paratene – Malio Chief Joe Folau – Tama Alvin Fitisemanu – Chief Steward Kayte Ferguson – Mahana Peter Sa'ena-Brown – Miriama's Father Hori Ahipene – Pioi Jim Perry – Malio Elder Sima Urale – Hoku Goeretti Chadwick – Malio Seductress Tausani Simei-Barton – Young Tama Fokikovi Soakimi – Young Mahana

Brigham City is a 2001 murder mystery independent film. It was written and directed by Richard Dutcher, who also plays in the main role of Sheriff Wes Clayton. It was financed by private investors. Because of the in-movie descriptions of geography and population, it depicts a fictional Utah town of Brigham City rather than the actual town of Brigham City. It was filmed in Mapleton, Utah. Plot Wes Clayton (Richard Dutcher) is the town sheriff of the small, idyllic town of Brigham City, Utah. Clayton is a devout Latter-Day Saint who is one of seventeen bishops in the town. In Clayton's entire career, there have never been any serious or heinous crimes reported in Brigham City, and generally remains optimistic about the town's friendly nature. His only staff are the witty Peg, his receptionist, Stu (Wilford Brimley), the elderly former sheriff of Brigham City, and Terry, a young and idealistic deputy. While driving with Terry one day, they stumble upon the body of a young women who has been beaten to death in an isolated shack off the road. Since Wes has no experience in murder investigations and because he wants to keep the murder's influence out of his town, he calls in the FBI from their closest office in Salt Lake City, Utah. Among the two agents sent is Meredith, who confides to Clayton that the killer is likely someone within Brigham City, a claim Clayton doesn't believe. The subsequent investigation turns up little evidence, mostly due to Clayton's lack of resources, but tries to keep up with it as best he can. During the night after a local parade and festival, the body of a local beauty pageant queen is found under a gazebo, raped and strangled. Shocked, Clayton decides to deputize Stu and expands his search to within Brigham City, starting with some migrant workers working for Ralph, a local contractor for Brigham City. Clayton and his team organize an effort to gather fingerprints to test against those found at the crime scenes, using beer bottles collected from a local bar. After collecting all of the bottles, Clayton leaves the team to their respective duties. While on his way back, Stu visits a convenience store and stumbles upon an apparent robbery, finding the store's clerk, a local girl named Jamie, tied up. Before he can act, Stu is shot to death by the killer, who takes Jamie with him. Clayton visits the scene and, at his wits end, decides that the killer is indeed someone within Brigham City and not an outsider. At the police station, Peg confides to Meredith that Clayton is dedicated to the job because he was involved in a fatal car accident that killed his wife and son, and put him into a coma for several days. Knowing what people can lose, Peg declares, keeps Clayton at work. The following morning, Clayton organizes most male church members and orders them to inquire at every house and search the property for Jamie. This causes a rift within the community, especially when one house, the home to a photographer and his mother, is particularly against them searching. Forcing himself in, Clayton discovers the man's collection of pornography, but finds nothing relating him to Jamie or the murders. Later that night and disheartened at his actions, Clayton returns to the bottles gathered from the bar and resumes collecting the fingerprints off them. Among the containers tested is a thermos brought by Peg's boyfriend, but they turn up nothing. Clayton later visits Terry's house and talks to him about the fingerprinting efforts. Clayton reveals that he tested Terry's fingerprints from the office and connects him to a criminal who was incarcerated for rape in Arizona several years ago. Clayton deduces that after "Terry" was released, he assumed the identity of a returned missionary who died in a drowning accident, and moved to Brigham City under this new persona. "Terry" admits his guilt and is revealed to be involved with multiple disappearances of other young women around the area, as well as the murders. "Terry" admits Jamie is dead, and put her body, along with the others who haven't been found, in a secluded area within a nearby forest. Preparing to arrest "Terry", Clayton is forced to kill him in front of "Terry's" wife when "Terry" draws a gun on Clayton, with his wife hysterically telling Clayton to leave. With the investigation finally over, Clayton is emotionally drained, and during Sunday's church service, refuses to partake of the sacrament, feeling he does not deserve it. Everyone else sees this and also refuses to take the sacrament, showing that Clayton is not at fault for his actions. Clayton begins to cry at this sight and finally takes the sacrament as everyone else follows with him. Reception The film has a 71% "Fresh" rating from critics on Rotten Tomatoes, based on 24 reviews.[3] Metacritic, which uses a weighted average, assigned a score of 62 out of 100, based on 8 critics, indicating "generally favorable reviews".[4] Lawrence Van Gelder of The New York Times praised the acting of Dutcher, Brown, Brimley, and Morgan, calling it "impeccable." He also described the film as, "an example of concise, skillful filmmaking."[5] Welcome to Brigham In 2001, an album of music inspired by the motion picture was released on cd. Dutcher said the songs allowed him to "experience the film through the eyes of other artists and live the story one more time."[6] The participating artists: Maren Ord Peter Breinholt Cherie Call Sunfall Festival Greg Simpson Kalai Julie de Azevedo Ryan Shupe & the Rubberband Shane Jackman

Congo Jazz is a Looney Tunes cartoon starring Warner Bros.' first cartoon star, Bosko.[1] The cartoon was released on August 9, 1930.[2] It was distributed by Warner Bros. and The Vitaphone Corporation. Congo Jazz was the first cartoon to feature Bosko's falsetto voice that he would use for the bulk of the series' run (the previous Bosko short, Sinkin' in the Bathtub, had used a derisive African-American dialect). It has the earliest instance of a "trombone gobble" in animation. Plot As Bosko is hunting in the jungle, a tiger creeps up behind him and gives him a lick. Finding his gun useless, Bosko tries to flee. After being chased and having his body stretched and his head slapped off, Bosko pulls out a flute and begins playing music, which greatly entertains the tiger. Bosko and the tiger play patty cake, dance, and Bosko plays the tiger's whiskers and tail like guitar strings. Now that the tiger has been rendered thoroughly harmless, Bosko kicks it off a cliff. Bosko then spots two little monkeys playing leap frog. He picks one of them up, but the monkey spits in his eye. Bosko begins spanking the monkey's behind, until he notices the monkey's father looming above him. Acting nonchalant, Bosko offers the ape some chewing gum. The ape accepts, and seems to enjoy the gum very much. They both stretch the gum out of their mouths and begin plucking a tune. The rest of the jungle animals join in: monkeys, ostriches, kangaroos, and more. They play music on themselves, on each other, or with the jungle scenery. A kangaroo plays a tree, monkeys play a giraffe, and an elephant plays its trunk. A tree does a provocative fanny-slapping dance, gyrating its coconut bosoms, until one flies off and hits Bosko in the head. Bosko and three hyenas laugh. Credits Supervision by Hugh Harman and Rudolf Ising Musical Score by Frank Marsales Animated by Max Maxwell and Paul Smith Cast Carman Maxwell: Bosko Song "When the Little Red Roses Get the Blues for You" arr. Frank Marsales.

The Trip to Bountiful is a 1985 American road drama film directed by Peter Masterson and starring Geraldine Page, John Heard, Carlin Glynn, Richard Bradford and Rebecca De Mornay. It was adapted by Horton Foote from his 1953 play of the same name. The film features a soundtrack by J.A.C. Redford featuring Will Thompson's "Softly and Tenderly" sung by Cynthia Clawson.[2] Geraldine Page won the Academy Award for Best Actress for her performance as Mrs. Watts and Horton Foote was nominated for the Academy Award for Best Adapted Screenplay. The film is partially set in the titular community of Bountiful, a fictitious Texas town. Although part of the film is set in Houston, Texas (as was the original play), the movie was shot in Dallas. Plot The film, set in the post-World War II 1940s, tells the story of an elderly woman, Carrie Watts, who wants to return to her home, the small, rural, agriculture-based town of Bountiful near the Texas Gulf coast between Houston and Corpus Christi, where she grew up, but she's frequently stopped from leaving Houston by her daughter-in-law and her overprotective son, who will not let her travel alone. Her son and daughter-in-law both know that the town has long since disappeared, due to the Depression. Long-term out-migration was caused by the draw-down of all the town's able-bodied men to the wartime draft calls and by the demand for industrial workers in the war production plants of the big cities. Old Mrs. Watts is determined to outwit her son and bossy daughter-in-law, and sets out to catch a train, only to find that trains do not go to Bountiful anymore. She eventually boards a bus to a town near her childhood home. On the journey, she befriends a woman traveling alone and reminisces about her younger years and grieves for her lost relatives. Her son and daughter-in-law eventually track her down, with the help of the local police force; however, Mrs. Watts is determined. The local sheriff, moved by her yearning to visit her girlhood home, offers to drive her out to what remains of Bountiful. The town is deserted and the few remaining structures are derelict. Mrs. Watts learns that the last occupant of the town and the woman with whom she had hoped to live, has recently died. She is moved to tears as she surveys her father's land and the remains of the family home. Having accepted the reality of the current condition of Bountiful and knowing that she has reached her goal of returning there before dying, she is ready to return to Houston when her son and daughter-in-law arrive to drive her back. Having confronted their common history in Bountiful, the three commit to live more peacefully together. They begin their drive back to Houston. Cast Geraldine Page as Mrs. Watts John Heard as Ludie Watts Carlin Glynn as Jessie Mae Richard Bradford as Sheriff Rebecca De Mornay as Thelma Kevin Cooney as Roy Norman Bennett as First Bus Ticket Man Harvey Lewis as Second Bus Ticket Man Kirk Sisco as Train Ticket Agent Gil Glasgow as Stationmaster, Gerard Mary Kay Mars as Rosella Wezz Tildon as Bus Passenger Peggy Ann Byers as Downstairs Neighbor David Romo as Mexican Man Tony Torn as Twin John Torn as Twin Alexandra Masterson as Drugstore Waitress Don Wyse as Doctor Reception Critical response Geraldine Page's performance received positive reviews, earning her the Academy Award for Best Actress. The Trip to Bountiful received a very positive response from film critics. On Rotten Tomatoes, it has a score of 100% from 10 reviews, with an average rating of 7.3/10. Geraldine Page received particular praise for her performance as Mrs. Watts. Variety called the film "a superbly crafted drama featuring the performance of a lifetime by Geraldine Page."[3] Vincent Canby of The New York Times described it as a "funny, exquisitely performed film adaptation of [Foote's] own play" and wrote of Page, "Her Mrs. Watts is simultaneously hilarious and crafty, sentimental and unexpectedly tough." He added, "It's a wonderful role, and the performance ranks with the best things Miss Page has done on the screen."[4] Roger Ebert of the Chicago Sun-Times similarly observed that "Page inhabits the central role with authority and vinegar," writing, "She's not just a sweet and gentle little old lady. She's a big old lady, with a streak of stubbornness. And just because she's right doesn't mean she's always all that nice."[5] Charles Champlin of the Los Angeles Times further remarked, "Carrie [Watts] is a performance, a precisely conceived and calculated turn by a gifted professional always aware of what she is doing and the effects she's creating. But the test of acting always is that you forget this, surrendering to the certainty that you have been transported back to 1947 and that dark apartment, and are then riding the bus toward Bountiful in the company of this warm and loving old woman. The film gives us an unforgettable portrayal."[6] Vincent Canby later included The Trip to Bountiful in his list of the top ten films of 1985.[7] The Japanese filmmaker Akira Kurosawa cited The Trip to Bountiful as one of his favorite films.[8][9] Awards and nominations Award Category Recipients and nominees Result Academy Awards[10] Best Actress Geraldine Page Won Best Screenplay – Based on Material from Another Medium Horton Foote Nominated Boston Society of Film Critics Awards[11] Best Actress Geraldine Page Won Golden Globe Awards[12] Best Actress in a Motion Picture – Drama Nominated Independent Spirit Awards[13] Best Film Sterling Van Wagenen and Horton Foote Nominated Best Director Peter Masterson Nominated Best Female Lead Geraldine Page Won Best Screenplay Horton Foote Won Mainichi Film Awards[14] Best Foreign Language Film Peter Masterson Won National Board of Review Awards[15] Top Ten Films 3rd Place New York Film Critics Circle Awards Best Actress Geraldine Page 3rd Place Retirement Research Foundation, USA Television and Theatrical Film Fiction Horton Foote and Sterling Van Wagenen Won Writers Guild of America Awards Best Screenplay – Based on Material from Another Medium Horton Foote Nominated Home media On April 12, 2005, MGM released The Trip to Bountiful on DVD in region 1 US in both a widescreen and a full-frame format on a two-sided disc. In the United Kingdom, the film was initially released in late 1986 on VHS via Vestron Video,[16] while it has been available multiple times on DVD on region 2 in the UK; first distributed by Arrow Films in a standard full-frame format edition on February 7, 2005,[17] while on February 6, 2006, it was made available via Prism in the same full-frame version.[18] Its most recent DVD release was on December 15, 2008, when it was distributed by Boulevard Entertainment.[19] Kino Lorber released The Trip to Bountiful on Blu-ray Region A on September 25, 2018.[20][21]

Il vecchio testamento, released in English as The Old Testament, and in Spanish, Los Macabeos (The Maccabees), is a 1962 Italian/French widescreen international co-production epic film shot in Yugoslavia. It is based on the Maccabean Revolt against the Seleucid Empire of Syrian of 167–141 BC. It was directed and co-written by Gianfranco Parolini and starred Brad Harris in one of their frequent collaborations. Plot The film is a very loose and free retelling of the Maccabean Revolt. The Greek Syrians demand that Zeus be worshiped in the Temple in Jerusalem. The Jewish priest Mattathias calls for resistance; Mattathias and his followers revolt and flee into the desert. In the wilderness, the Syrian government forces and Mattathias's rebels clash, a battle that claims many lives. Judas Maccabeus, the son of Mattathias, assumes command for a time of them, but he too falls in battle and his brother Jonathan Apphus takes over. After Jonathan's death, his brother Simon Thassi takes his place. Eventually, the Jews under Simon recapture Jerusalem and expel the Syrians. Simon celebrates the victory with his people. A Syrian woman, his bride, stands by his side. In a speech he announces that the captured Syrian soldiers are to be released so that they can report on the power and leniency of the Jews. A notable difference the film has is that it seemingly portrays the hostile Antiochus IV Epiphanes as more of a local governor than a distant king. The movie also extends his term as villain, as he is around to oppose the Maccabees during the whole movie; in history, he died before Judas did and was replaced by other Syrian kings and commanders. The film also gives romance stories and women a larger role than the rather patriarchal book of 1 Maccabees, which generally kept women in the background and unnamed. Cast In the American release several of the cast were credited with surnames of American actors who had appeared in Biblical films such "John (Charlton) Heston" and "Susan (Debra) Paget". Brad Harris ... Simon Thassi Djordje Nenadovic ... Judas Maccabeus Ivano Staccioli ...Antiochus IV Epiphanes Franca Parisi ... Miza Mara Lane ... Diotima Philippe Hersent ... Namele Carlo Tamberlani ... Mattathias Jacques Berthier ... Apollonius, military commander of Seleucid Empire Alan Steel

The Black Cat is a 1934 American pre-Code horror film directed by Edgar G. Ulmer and starring Boris Karloff and Béla Lugosi. It was Universal Pictures' biggest box office hit of the year, and was the first of eight films (six of which were produced by Universal) to feature both Karloff and Lugosi. In 1941, Lugosi appeared in a comedy horror mystery film with the same title, which was also named after and ostensibly "suggested by" Edgar Allan Poe's short story. The film was among the earlier movies with an almost continuous music score, and it helped to create and popularize the psychological horror subgenre by emphasizing atmosphere, eerie sounds, the darker side of the human psyche, and emotions like fear and guilt to deliver its scares. Plot On their honeymoon in Hungary, American mystery novelist Peter Alison and his new wife Joan are told that, due to a mix-up, they must share a train compartment with Dr. Vitus Werdegast, a Hungarian psychiatrist, who says he is traveling to see an old friend. As the night wears on, the couple learn that Werdegast left home 18 years earlier to fight in World War I and has not seen his wife since, as he spent the last 15 years in an infamous prison camp in Siberia. In the dark and rain, Peter, Joan, Werdegast, and Thamal, Werdegast's servant, transfer to a small bus. When they are near Werdegast's destination, the remote home that Austrian architect Hjalmar Poelzig built upon the ruins of Fort Marmorus, the driver of the bus loses control and drives off the road. He is killed in the crash and Joan is injured, but Peter, Werdegast, and Thamal are well enough to take her to Poelzig's house. After treating Joan's injury, Werdegast and Poelzig go to speak privately. Werdegast says he has come for revenge, as he knows Poelzig betrayed Fort Marmorus, which Poelzig commanded, to the Russians, resulting in the deaths of thousands of Austro-Hungarian soldiers and Werdegast's imprisonment, and stole his wife and daughter, both named Karen, after telling them he was dead. As Peter enters and attempts to intervene, Poelzig's black cat walks by and Werdegast, who suffers from severe ailurophobia, kills it with a thrown knife. Just then, Joan enters, behaving erratically because of an injection of the tranquilizing drug hyoscine that Werdegast had given her. The guests go to their rooms, and Poelzig, carrying a black cat, surveys a "collection" of preserved dead women on display in glass cases in his basement. He brings Werdegast to see one of the women, who Werdegast recognizes as his wife, and says she died of pneumonia two years after the war, also revealing that the younger Karen is also dead. Heartbroken, Werdegast almost shoots Poelzig, but he is spooked by the cat, and Poelzig says they should wait to have their confrontation until after the Alisons leave. The men part, and Poelzig joins Werdegast's daughter Karen, who is alive and is his wife, in bed. Instructing her to not leave the room the next day, he opens a book titled The Rites of Lucifer. In the morning, Joan awakens feeling well, and she and Peter hope to leave that day. Werdegast confronts Poelzig about how he is looking at Joan, and Poelzig mentions a ceremony scheduled for that night and admits he intends for her to stay. He and Werdegast play a game of chess to decide the fate of the Alisons, and, after losing, Werdegast has Thamal help place Peter in a cell in the basement and lock Joan in her room. Karen later stumbles upon Joan, who tells Karen that Werdegast is still alive, but the women are caught by Poelzig. He and Karen exit and Joan hears Karen scream. That night, Poelzig's cult gathers at his house. Joan is brought in and, as Poelzig approaches her, a female acolyte sees something which causes her to scream and faint. Taking advantage of the distraction, Werdegast and Thamal grab Joan and carry her away. Thamal is shot by Poelzig's servant before dispatching him, and Werdegast urges Joan to forget about Peter and escape. She tells him that his daughter is alive and married to Poelzig, and he rushes off, finding Karen dead on a slab. Poelzig enters and the adversaries fight. A dying Thamal helps Werdegast overpowers Poelzig and shackles him to his embalming rack, and Werdegast begins to skin Poelzig alive. Peter escapes from his cell and looks for Joan. He finds Werdegast crouching next to her to help tear a key from Thamal's dead hand, but thinks Werdegast is attacking her, so he shoots the psychiatrist. Fatally wounded, Werdegast tells the couple to leave and ignites demolition charges left over from when the house was a military installation, destroying the building and eradicating Poelzig's cult. Having just experienced an unbelievable adventure, on the trip home, Peter and Joan read a review of his latest novel, which complains that the plot is too far-fetched. Cast Boris Karloff (credited as Karloff) as Hjalmar Poelzig, an architect and former friend of Werdegast who is secretly keeping Karen and her daughter with in his house. Béla Lugosi as Dr. Vitus Werdegast, a doctor and WWI veteran who returns to find his wife and faces off against Poelzig. David Manners as Peter Alison, a writer and Joan's Husband Jacqueline Wells (later known as Julie Bishop) as Joan Alison, Peter's wife who is captured by Poelzig. Lucille Lund as Karen Poelzig (née Werdegast), Poelzig's wife and Werdegast's daughter (Lund also plays the corpse of Karen's mother, who was also named Karen) Egon Brecher as The Majordomo, Poelzig's servant Harry Cording as Thamal, Werdegast's servant Henry Armetta as The Sergeant who investigates the bus crash Albert Conti as The Lieutenant who investigates the bus crash George Davis as the bus driver for Hotel Hungaria—Gömbös (uncredited) Anna Duncan as Poelzig's maid (uncredited) John Carradine as the cult member who plays the organ (uncredited)[5] Production Although Edgar Allan Poe is given a "suggested by" credit, the film has little to do with his 1843 short story "The Black Cat". Instead, director Edgar G. Ulmer and writer Peter Ruric (better known as pulp writer "Paul Cain") came up with the story, which exploits what was a sudden public interest in psychiatry,[6] and Ruric wrote the screenplay.[7] The 1941 film of the same name starring Basil Rathbone, which purports to be "suggested by" the same Poe story, bears little relation to this film, other than the presence of Lugosi. The character of Hjalmar Poelzig drew inspiration from the life of occultist Aleister Crowley,[8] while the name "Poelzig" was borrowed from architect Hans Poelzig,[9] whom Ulmer claimed to have worked with on the sets for Paul Wegener's silent film The Golem (1920).[10] A score consisting of excerpts from classical pieces composed by Liszt,[11] Tchaikovsky,[12] Chopin,[13] and others runs through nearly 80% of the film.[14] The soundtrack was compiled by Heinz Roemheld. Release As part of the boom in horror sound films following the release of Dracula and Frankenstein in 1931, The Black Cat was the biggest box-office hit of 1934 for Universal Pictures,[4] and it was the first of eight films (six of which were produced by Universal) to feature both Béla Lugosi and Boris Karloff. The film was released in UK cinemas under the title House of Doom. Home media In 2005, the film was released on DVD as part of the Bela Lugosi Collection, along with Murders in the Rue Morgue (1932), The Raven (1935), The Invisible Ray (1936), and Black Friday (1940).[15] Eureka Entertainment released the film on Blu-ray in July 2020 as part of their Masters of Cinema collection in the "Three Edgar Allan Poe Adaptations Starring Bela Lugosi" set, which also included Murders in the Rue Morgue and The Raven.[16] Critical reception Upon the film's original release, The New York Times reviewer wrote: "The Black Cat is more foolish than horrible. The story and dialogue pile the agony on too thick to give the audience a reasonable scare".[17] The film's critical reputation has grown over time, however, and on review aggregator website Rotten Tomatoes, it has an 88% approval rating based on 34 reviews, with an average score of 7.7/10; the site's "critics consensus" reads: "Making the most of its Karloff-Lugosi star pairing and loads of creepy atmosphere, The Black Cat is an early classic in the Universal monster movie library".[18] In 2007, the British critic Philip French called the film "the first (and best) of seven Karloff/Lugosi joint appearances. The movie unfolds like a nightmare that involves necrophilia, ailurophobia, drugs, a deadly game of chess, torture, flaying, and a black mass with a human sacrifice. This bizarre, utterly irrational masterpiece, lasting little more than an hour, has images that bury themselves in the mind".[19] In the 2010s, Time Out polled a group of authors, directors, actors, and critics who had worked in the horror genre, and The Black Cat was voted the 89th best horror film of all time.[20] The film was also ranked #68 on Bravo's "100 Scariest Movie Moments" for the "skinning" scene.[21] Cramps-guitarist and noted horror aficionado Poison Ivy has said of this scene: "Karloff gets skinned alive at the end, but they show the shadow of it and somehow that's more gruesome".[22] In popular culture An excerpt from the scene in which Werdegast utters the line, "Supernatural, perhaps. Baloney, perhaps not", appears in the Monkees' 1968 feature film Head and on that film's subsequent soundtrack album. The line also appears in comedian Sinbad's 1990 comedy special Brain Damaged, as well as Deee-Lite's song "E.S.P." from their 1990 album World Clique.[23]

Moses und Aron, known in English as Moses and Aaron, is a 1975 film by the French filmmaking duo of Jean-Marie Straub and Danièle Huillet based on the unfinished opera of the same title by Arnold Schoenberg. During its 1975 run at US festivals, it was also known as Aaron and Moses, and was frequently reviewed as such. It is one of three films based on Schoenberg works Straub and Huillet directed, the other two being Einleitung zu Arnold Schoenbergs Begleitmusik zu einer Lichtspielscene, a short film made directly before Moses und Aron, and, over two decades later, an adaptation of the one-act comic opera Von heute auf morgen. The film retains the unfinished nature of the original opera, with the third act consisting of a single shot with no music as Moses delivers a monologue based on Schoenberg's notes. The film was shot on location in Italy and Egypt, specifically the amphitheater within the ruins of Alba Fucens.[1] The film utilized the same team of cinematographers as Straub and Huillet's Chronicle of Anna Magdalena Bach. The soundtrack and cast of the film is the same as the 1974 recording conducted by Michael Gielen (Philips 6700 084). The original German version of the film was dedicated to Holger Meins, a former cinematography student who joined the Red Army Faction in the early 1970s and died on hunger strike in prison. This dedication was censored by German broadcasters for the film's first transmission in 1975. The English subtitles of Schoenberg's dense German libretto were prepared by assistant Gregory Woods, who is credited on the DVD. The film was shown at the 1975 Cannes Film Festival, but was not entered into the main competition.[2] In a review of the film, composer Allen Shaw[1] commented on how the camera work and directorship mirrored the film's central premise: While mirroring the technical rigor underlying the music, the Straubs also established a directorial method that brilliantly underscored the work’s themes: Moses and Aron’s dichotomous relationship is presented with an extraordinary visual economy—yet they are never framed in exactly the same way. — Allen Shaw, Holy Ghosts Schoenberg’s Moses und Aron meets Straub and Huillet

Winston Blackmore the Prophet of Bountiful BC opens his doors to what life is really like in his Canadian FLDS Community.

The 2nd part of a 4-part documentary examining the rise of Warren Jeffs in the Fundamentalist Church of Jesus Christ of Latter-Day Saints and his shocking criminal case.

Joseph Smith: The Prophet of the Restoration is a 2005 film that focuses on some of the events during the life of Joseph Smith, founder of the Latter Day Saint movement, which was both filmed and distributed by the Church of Jesus Christ of Latter-day Saints (LDS Church). The film was shown in the Legacy Theater of the Joseph Smith Memorial Building from its opening on December 17, 2005 until early 2015, and opened in several LDS Church visitors' centers on December 24, 2005. The film used the digital intermediate process. In March 2011, the church released a revised cut of the film, which is available to watch in select visitors' centers and online. Additionally, the church has released the film in several languages including ASL, Spanish, French, German, and Japanese.

A documentary about the Fundamentalist - Kingston Group

In a journey to Centennial Park, Arizona, Lisa Ling visits one of America's most closed-off communities and is granted unprecedented access to a group of modern-day men and women who are living in plural marriages -- and professing to love it. Original Air Date: October 23, 2011

The documentary explores polygamy as a whole interviewing polygamists from different sects. The show also made the point to pull from different age groups and from different experiences (some were born into polygamist families, some converted in it.

In this episode: From 1937 color films document everyday life in Hitler's Germany. Eva Braun and Hans Baur, Adolf Hitler’s personal pilot, are among the first amateur filmmakers to expose the new celluloid. This creates unique images of the dictator's public appearances and his private life on Obersalzberg. Scanned in high-resolution HD, the footage of Hitler and his entourage tells a particularly realistic tale. The first half of the 20th century, the two world wars, the parades in Nuremberg and Moscow, and the appearances of Roosevelt and Churchill: are handed down and remembered by generations in classic black and white. But little known, hidden in film archives and private collections, other images have also survived. Hitler's lover, Eva Braun, and the Führer's pilot Hans Baur, Marlene Dietrich, and Roosevelt's Minister of Finance, soldiers of the Wehrmacht and the cameramen of the OSS had a common passion: they filmed history in color, for private pleasure or to document historical events.

Abraham had two wives. Sarai and Hagar. The mother of the Jews and the Mother of the Muslims. All credit goes to the original uploader of the Channel: On_the_Other_Hand https://rumble.com/user/On_the_Other_Hand

A look into the lives of missionaries who come to Ireland for their mission.