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Kevin Spacey asks you to engage in the craft of acting in his first ever online class as he teaches you the approach that has won him two Academy Awards. The star of The Usual Suspects, American Beauty, and House of Cards teaches the practical techniques that have made him a stage and screen legend. Start your class today.

Kevin Spacey asks you to engage in the craft of acting in his first ever online class as he teaches you the approach that has won him two Academy Awards. The star of The Usual Suspects, American Beauty, and House of Cards teaches the practical techniques that have made him a stage and screen legend. Start your class today.

INTRODUCTION: Meet Your New Teacher. Kevin Spacey asks you to engage in the craft of acting in his first ever online class as he teaches you the approach that has won him two Academy Awards. The star of The Usual Suspects, American Beauty, and House of Cards teaches the practical techniques that have made him a stage and screen legend. Start your class today.

Pepe Le Moko is a notorious thief, who escaped from France. Since his escape, Moko has become a resident and leader of the immense Casbah of Algiers. French officials arrive insisting on Pepe's capture are met with unfazed local detectives, led by Inspector Slimane, who are biding their time. Meanwhile, Pepe meets the beautiful Gaby, which arouses the jealousy of Ines. Algiers is a 1938 American drama film directed by John Cromwell and starring Charles Boyer, Sigrid Gurie, and Hedy Lamarr.[2] Written by John Howard Lawson, the film is about a notorious French jewel thief hiding in the labyrinthine native quarter of Algiers known as the Casbah. Feeling imprisoned by his self-imposed exile, he is drawn out of hiding by a beautiful French tourist who reminds him of happier times in Paris. The Walter Wanger production was a remake of the successful 1937 French film Pépé le Moko, which derived its plot from the Henri La Barthe novel of the same name.[3] Algiers was a sensation because it was the first Hollywood film starring Hedy Lamarr, whose beauty became the main attraction for film audiences. The film is notable as one of the sources of inspiration to the screenwriters of the 1942 Warner Bros. film Casablanca, who wrote it with Hedy Lamarr in mind as the original female lead. Charles Boyer's depiction of Pepe le Moko inspired the Warner Bros. animated character Pepé Le Pew. In 1966, the film entered the public domain in the United States because the claimants did not renew its copyright registration in the 28th year after publication.[4] Plot Pepe le Moko is a notorious thief, who, after his last great heist, escaped from France to Algeria. Since his escape, le Moko became a resident and leader of the immense Casbah, or "native quarter", of Algiers. French officials who arrive insisting on Pepe's capture are met with unfazed local detectives, led by Inspector Slimane, who are biding their time. Meanwhile, Pepe begins to feel increasingly trapped in his prison-like stronghold, a feeling which intensifies after meeting the beautiful Gaby, who is visiting from France. His love for Gaby soon arouses the jealousy of Ines, Pepe's Algerian mistress. The song in this film is called C'est la Vie which means That's Life in French. Sigrid Gurie, Charles Boyer, and Hedy Lamarr Cast Charles Boyer as Pepe le Moko Sigrid Gurie as Ines Hedy Lamarr as Gaby Joseph Calleia as Inspector Slimane Alan Hale as Grandpere Gene Lockhart as Regis Walter Kingsford as Chief Inspector Louvain Paul Harvey as Commissioner Janvier Stanley Fields as Carlos Johnny Downs as Pierrot Charles D. Brown as Max Robert Greig as Giraux Leonid Kinskey as L'Arbi Joan Woodbury as Aicha Nina Koshetz as Tania Claudia Dell as Marie Ben Hall as Gil Bert Roach as Bertier Cast notes Austrian actress Hedy Lamarr made her American film debut in Algiers, although she was already known for her appearance in the 1933 Czech film Ecstasy, in which she appeared nude.[3] Howard Dietz, the head of MGM's publicity department, quizzed her about this, and she admitted to having appeared nude. "Did you look good?", he asked. "Of course!" "Then it's all right", he said, "no damage has been done."[2] Production Walter Wanger, the producer of Algiers, purchased the rights to the French film Pepe le Moko in order to remake it, and bought all prints of the film to prevent it from competing with his film in the U.S. Wanger used most of the music from the French film in this remake as well as background sequences.[2][3] Duration: 1 hour, 39 minutes and 7 seconds.1:39:07 Algiers The first version of the script for Algiers was rejected by the Breen Office because the leading ladies were both portrayed as "kept women," and because of references to prostitution, the promiscuity of the lead character, and his suicide at the end of the film, which was directed to be changed to his being shot instead of killing himself.[3] Backgrounds and exteriors for the film were shot in Algiers by a photographer named Knechtel, who was based in London. These photographs were integrated into the film by cinematographer James Wong Howe.[3] United Artists had considered Ingrid Bergman, Dolores del Río, and Sylvia Sidney for the female lead, but, as Boyer tells it, he met Hedy Lamarr at a party and introduced her to Wanger as a possibility for his co-lead. Cromwell says about Lamarr that she could not act. "After you've been in the business for a time, you can tell easily enough right when you meet them. I could sense her inadequacy, Wanger could sense it, and I could see Boyer getting worried even before we started talking behind Hedy's back...Sometimes the word personality is interchangeable with presence although they aren't the same thing. But the principle applies, and Hedy also had no personality. How could they think she could become a second Garbo?...I'll take some credit for making her acting passable but can only share credit with Boyer fifty-fifty."[2] Boyer did not enjoy his work on Algiers. "An actor never likes to copy another's style," he said, "and here I was copying Jean Gabin, one of the best." Director Cromwell "would run a scene from the original and insist we do it exactly that way — terrible, a perfectly terrible way to work." Cromwell, however, said that Boyer "never appreciated how different his own Pepe was from Gabin's. Boyer showed something like genius to make it different. It was a triumph of nuance. The shots are the same, the dialogue has the same meaning, but Boyer's Pepe and Gabin's Pepe are two different fellows but in the same predicament."[2] Box office The film earned a profit of $150,466.[1] Awards and honors Joseph Calleia (right) in Algiers Academy Awards Best Actor (nomination) – Charles Boyer Best Supporting Actor (nomination) – Gene Lockhart Best Art Direction (nomination) – Alexander Toluboff Best Cinematography (nomination) – James Wong Howe National Board of Review Awards Joseph Calleia received the 1938 National Board of Review Award for his performance as Slimane.[5] Others The film is recognized by American Film Institute in these lists: 2002: AFI's 100 Years...100 Passions – Nominated[6] Adaptations and remakes Newspaper advertisement for The Campbell Playhouse presentation of Algiers (October 8, 1939) Radio In the autumn of 1938, Hollywood Playhouse presented a radio adaptation of Algiers starring Charles Boyer.[7]: 222  Algiers was adapted for the October 8, 1939, presentation of the CBS Radio series The Campbell Playhouse. The hour-long adaptation starred Orson Welles and Paulette Goddard,[8][9] with Ray Collins taking the role of Inspector Slimane.[7]: 222  The film was dramatized as an hour-long radio play on two broadcasts of Lux Radio Theatre. Charles Boyer and Hedy Lamarr reprised their roles in the broadcast July 7, 1941.[10] Boyer starred with Loretta Young in the broadcast December 14, 1942.[11][12] Film Algiers was remade in 1948 as Casbah, a musical produced by Universal Pictures, starring singer Tony Martin and Yvonne De Carlo. It was directed by John Berry. A 1949 Italian parody titled Totò Le Moko featured the comedian Totò.[3] In popular culture The 1938 film Algiers was most Americans' introduction to the picturesque alleys and souks of the Casbah.[citation needed] It was also the inspiration for the 1942 film Casablanca, written specifically for Hedy Lamarr in the female lead role. MGM, however, refused to release Lamarr, so the role went to Ingrid Bergman. The invitation extended by Charles Boyer to "come to the Casbah" does not appear in the film, but still became comedians' standard imitation of Boyer, much like "Play it again, Sam" for Humphrey Bogart, "Judy, Judy, Judy" for Cary Grant and "You dirty rat" for James Cagney– all apocryphal lines. Boyer hated being reduced in that way, believing that it demeaned him as an actor.[2] In some part, the lampoon of Boyer spread, owing to its use by Looney Tunes cartoon character Pepé Le Pew, a spoof of Boyer as Pépé le Moko.[2] The amorous skunk used "Come with me to the Casbah" as a pickup line. In 1954, the Looney Tunes cartoon The Cat's Bah, which specifically spoofed Algiers, the skunk enthusiastically declared to Penelope Pussycat "You do not have to come with me to ze Casbah. We are already here!" Parts of the dialog between Charles Boyer and Hedy Lamarr have been sampled by new wave band The New Occupants for their song Electric Angel.[13] https://en.wikipedia.org/wiki/Algiers_(film)

Oct 4, 2023 How the Mafia Tricks you with Olive Oil Click my CoPilot link https://go.mycopilot.com/Johnnyharris to get 14 days free with your own personal trainer! Olive oil has been adored by people for millennia. It’s like the perfect food, it’s healthy and delicious. But there is also a darker side to it, a side that involves widespread corruption and Italian Mafia bosses. How to buy legit EVOO: https://docs.google.com/document/d/10... My next video is live on Nebula NOW! It's about why people think the moon landing was faked. Watch now: https://nebula.tv/videos/johnnyharris... Check out all my sources for this video here: https://docs.google.com/document/d/17... -- Video Chapters -- 0:00 The Olive Oil Heist 2:47 Ad Read 5:33 A Brief History 8:40 How to Make EVOO 9:45 MOST EVOO is a LIE 10:58 The Italian Mafia 13:48 The Science 15:45 The Problem 16:26 How to Find REAL Extra Virgin Olive Oil 17:18 Conclusion 19:26 Announcements & Outro Check out my new channel with Sam Ellis - Search Party: / @search-party Get access to behind-the-scenes vlogs, my scripts, and extended interviews over at / johnnyharris Do you have an insider tip or unique information on a story? Do you have a suggestion for a story you want us to cover? Submit to the Tip Line: https://docs.google.com/forms/d/e/1FA... I made a poster about maps - check it out: https://store.dftba.com/products/all-... Custom Presets & LUTs [what we use]: https://store.dftba.com/products/john... The music for this video, created by our in house composer Tom Fox, is available on our music channel, The Music Room! Follow the link to hear this soundtrack and many more: • Olive Oil | Original Soundtrack | Mus... About: Johnny Harris is an Emmy-winning independent journalist and contributor to the New York Times. Based in Washington, DC, Harris reports on interesting trends and stories domestically and around the globe, publishing to his audience of over 3.5 million on Youtube. Harris produced and hosted the twice Emmy-nominated series Borders for Vox Media. His visual style blends motion graphics with cinematic videography to create content that explains complex issues in relatable ways. - press - NYTimes: https://www.nytimes.com/2021/11/09/op... NYTimes: https://www.nytimes.com/video/opinion... Vox Borders: • Inside Hong Kong’s cage homes NPR Planet Money: https://www.npr.org/transcripts/10721... - where to find me - Instagram: / johnny.harris Tiktok: / johnny.harris Facebook: / johnnyharrisvox Iz's (my wife’s) channel: / iz-harris - how i make my videos - Tom Fox makes my music, work with him here: https://tfbeats.com/ I make maps using this AE Plugin: https://aescripts.com/geolayers/?aff=77 All the gear I use: https://www.izharris.com/gear-guide - my courses - Learn a language: https://brighttrip.com/course/language/ Visual storytelling: https://www.brighttrip.com/courses/vi... https://www.youtube.com/watch?v=cOjhqfld3X8

Aug 9, 2023 Understanding the roots of the Latter-day Saints. Go to our sponsor https://betterhelp.com/johnnyharris for 10% off your first month of therapy with BetterHelp and get matched with a therapist who will listen and help. Joseph Smith grew from a treasure hunting farm kid in Upstate New York, to the prophet and founder of the LDS Church. This is a story of American expansion, persecution, and a gifted storyteller. My next video is live on Nebula NOW! It's about the biggest national security risk you've never heard of -- submarine cables. Watch now: https://nebula.tv/videos/johnnyharris... Check out all my sources for this video here: https://docs.google.com/document/d/1r... Get access to behind-the-scenes vlogs, my scripts, and extended interviews over at / johnnyharris Do you have an insider tip or unique information on a story? Do you have a suggestion for a story you want us to cover? Submit to the Tip Line: https://docs.google.com/forms/d/e/1FA... Check out our newest channel Search Party with Sam Ellis: / @search-party I made a poster about maps - check it out: https://store.dftba.com/products/all-... Custom Presets & LUTs [what we use]: https://store.dftba.com/products/john... The music for this video, created by our in house composer Tom Fox, is available on our music channel, The Music Room! Follow the link to hear this soundtrack and many more: • Joseph Smith | Original Soundtrack | ... About: Johnny Harris is an Emmy-winning independent journalist and contributor to the New York Times. Based in Washington, DC, Harris reports on interesting trends and stories domestically and around the globe, publishing to his audience of over 3.5 million on Youtube. Harris produced and hosted the twice Emmy-nominated series Borders for Vox Media. His visual style blends motion graphics with cinematic videography to create content that explains complex issues in relatable ways. - press - NYTimes: https://www.nytimes.com/2021/11/09/op... NYTimes: https://www.nytimes.com/video/opinion... Vox Borders: • Inside Hong Kong’s cage homes NPR Planet Money: https://www.npr.org/transcripts/10721... - where to find me - Instagram: / johnny.harris Tiktok: / johnny.harris Facebook: / johnnyharrisvox Iz's (my wife’s) channel: / iz-harris - how i make my videos - Tom Fox makes my music, work with him here: https://tfbeats.com/ I make maps using this AE Plugin: https://aescripts.com/geolayers/?aff=77 All the gear I use: https://www.izharris.com/gear-guide - my courses - Learn a language: https://brighttrip.com/course/language/ Visual storytelling: https://www.brighttrip.com/courses/vi... https://www.youtube.com/watch?v=hUW7j9GmXjI

Aladdin and His Wonderful Lamp is a two-reel animated cartoon short subject in the Popeye Color Specials series, produced in Technicolor and released to theaters on April 7, 1939, by Paramount Pictures.[1] It was produced by Max Fleischer, and directed by Dave Fleischer for Fleischer Studios, Inc., with David Tendlar serving as head animator, and music being supervised by Sammy Timberg. The voice of Popeye is performed by Jack Mercer, with additional voices by Margie Hines as Olive Oyl and Carl Meyer as the evil Wazzir. Plot This short features Olive as a screenwriter for Surprise Pictures, working on a treatment of the story of Aladdin that will feature herself as the beautiful princess and Popeye as Aladdin, all the while speaking in rhyme. As she types, her adaptation of Aladdin comes to life on the screen, with Popeye having to use his wits against an evil vizier who seeks to control a magic lamp inhabited by a powerful genie. After completing the script, Olive gets a termination of employment notice from the front office, which reads "Your story of Aladdin is being thrown out... and so are you! [signed] Surprise." As in many Popeye cartoons, many of the gags are conveyed using dialogue. As Princess Olive awaits Popeye/Aladdin's declaration of his love, he turns to the camera and remarks "I don't know what to say... I've never made love in Technicolor before!" During the climactic battle between Aladdin and the vizier, Olive screams out "Help! Popeye—I mean Aladdin—save me!!" Release and reception This short was the last of the three Popeye Color Specials, which were, at over sixteen minutes each, three times as long as a regular Popeye cartoon, and were often billed in theaters alongside or above the main feature. Unlike the first two films, Aladdin and His Wonderful Lamp is more Disney-esque in plot and pacing, and does not make use of the Fleischer Tabletop 3D background process. According to the film's press release, its making involved two hundred colors and twenty-eight thousand individual, full-color drawings; the press release also mentions 3D animation, but such footage was never used in the final version.[2] However, a glimpse can be obtained in a Popular Science short, which documents the film's making, and reveals a sculpted model of the castle being photographed.[3] Running at twenty-one minutes, Aladdin and His Wonderful Lamp is the longest entry in the "color feature" series, and the only one produced at the relocated Fleischer Studios facility in Miami, Florida. Footage from the short, with a new soundtrack and rerecorded dialogue, was reused in the 1949 cartoon "Popeye's Premiere," wherein it is presented as a motion picture that Popeye starred in. Today, this short and the other two Popeye Color Specials, Popeye the Sailor Meets Sindbad the Sailor and Popeye the Sailor Meets Ali Baba's Forty Thieves (both of which were also adapted from a story featured in One Thousand and One Nights), are in the public domain, and are widely available on various home video and DVD collections, usually transferred from poor quality, old, faded prints. Warner Bros. has fully restored this cartoon with the original Paramount mountain logo opening and closing titles and is included in Popeye the Sailor: 1938–1940, Volume 2, which was released on June 17, 2008. It also includes a documentary on the making of this cartoon as a bonus feature in this collection. This version also aired one time on Turner Classic Movies' celebration of Fleischer Studios during October 2021. https://en.wikipedia.org/wiki/Aladdin_and_His_Wonderful_Lamp

Casbah is a 1948 American film noir crime musical film directed by John Berry starring Yvonne De Carlo, Tony Martin, Peter Lorre, and Märta Torén. It was nominated for an Academy Award for Best Original Song for the song "For Every Man There's a Woman". It is a musical remake of Algiers (1938), which was in turn an American remake of the French film Pépé le Moko (1937). Plot Pépé le Moko (Tony Martin) leads a gang of jewel thieves in the Casbah district of Algiers, where he has exiled himself to escape imprisonment in his native France. Inez (Yvonne De Carlo), his girl friend, is infuriated when Pépé flirts with Gaby (Märta Torén), a French visitor, but Pépé tells her to mind her own business. Detective Slimane (Peter Lorre) is trying to lure Pépé out of the Casbah so he can be jailed. Against Slimane's advice, Police Chief Louvain (Thomas Gomez) captures Pépé in a dragnet, but his followers free him. Inez realizes that Pépé has fallen in love with Gaby and intends to follow her to Europe. Slimane knows the same and uses her as the bait to lure Pépé out of the Casbah. Cast Yvonne De Carlo as Inez Tony Martin as Pépé Le Moko Peter Lorre as Slimane Märta Torén as Gaby Hugo Haas as Omar Thomas Gomez as Louvain Douglas Dick as Carlo Herbert Rudley as Claude Gene Walker as Roland Curt Conway as Maurice Katherine Dunham as Odette Cast notes: Eartha Kitt plays an uncredited bit part.[3] This was her film debut. Kathleen Freeman plays an uncredited American Woman Production The film was made by Marston Productions, Tony Martin's production company, who signed a deal with Universal. Tony Martin was keen to re-establish himself in the film industry after having been blacklisted in the entertainment industry since being discharged from the Navy for "unfitness" in 1942. He was charged with buying a Navy officer a car to facilitate his obtaining a chief specialists rating.[4] It was the first production from Marston, which Martin owned with his agent, Nat Gould. The Bank of America lent $800,000 to finance the film; Universal provided some of the balance.[2] Yvonne de Carlo signed to play the female lead in June 1947.[5] Erik Charrell was to produce, William Bowers was to write the script and Harold Arlen to do the music.[6] John Berry signed to direct.[7] Märta Torén made her film debut here.[8] Soundtrack Songs by Harold Arlen (music) and Leo Robin (lyrics). "For Every Man There's a Woman", sung by Tony Martin. "Hooray for Love", sung by Tony Martin and Yvonne De Carlo. "It Was Written in the Stars", sung by Tony Martin. "What's Good About Goodbye", sung by Tony Martin. Reception The film only recouped $600,000 of its negative cost. By September 24, 1949 the film had earned rentals of $1,092,283.[2] Lawsuits Marston sued Universal in January 1949 for $250,000, alleging improper distribution. Universal counter-sued in May for $325,439, including the $320,439.25 Universal provided to the filmmakers, and $5,000 which Universal claimed Marston distributed contrary to their agreement.[9] Universal succeeded in getting a court judgment against Marston of $350,000. A judge ordered that the film be sold to auction for $329,486.[10] Universal bought all rights to the film at public auction for $5,000. This purchase was subject to an unsatisfied lien against the property of $195,000 to the Bank of America.[2] Martin had to go to court again to argue (successfully) that he was entitled to claim his loss on the film as a tax deduction.[4] Awards In 1949, the film was nominated for an Academy Award for Best Original Song for the song "For Every Man There's a Woman" by Harold Arlen (music) and Leo Robin (lyrics). https://www.youtube.com/watch?v=CaMvSDb4zLo

A Farewell to Arms is a 1932 American pre-Code romance drama film directed by Frank Borzage and starring Helen Hayes, Gary Cooper, and Adolphe Menjou.[3] Based on the 1929 semi-autobiographical novel A Farewell to Arms by Ernest Hemingway, with a screenplay by Oliver H. P. Garrett and Benjamin Glazer, the film is about a tragic romantic love affair between an American ambulance driver and an English nurse in Italy during World War I. The film received Academy Awards for Best Cinematography and Best Sound, and was nominated for Best Picture and Best Art Direction.[3] In 1960, the film entered the public domain in the United States because the last claimant, United Artists, did not renew its copyright registration in the 28th year after publication.[4] The original Broadway play starred Glenn Anders and Elissa Landi and was staged at the National Theatre September 22, 1930 to October 1930.[5][6] Plot This article's plot summary may be too long or excessively detailed. Please help improve it by removing unnecessary details and making it more concise. (December 2022) (Learn how and when to remove this template message) The plot is from the original 1932 film on Turner Classic Movies. The film suffered from editing and censorship even at its initial release. (See below.) On the Italian front during World War I, Lieutenant Frederic Henry, is an American serving as an ambulance driver with the Italian Army. While carousing with his friend, Italian Captain Rinaldi, a bombing raid takes place, and Frederic and English Red Cross nurse Catherine Barkley, who left the nurses’ dormitory in her nightclothes chance to meet in a dark stairway. Frederic is tipsy and makes a poor first impression. Later, Rinaldi persuades Frederic to go on a double date with two nurses, who happen to be Catherine and her friend Helen Ferguson, "Fergie". At a concert for officers and nurses, Frederic and Catherine stroll into the garden, where Catherine reveals that she had been engaged to a soldier who was killed in battle. After more conversation, Frederic tries to kiss her and she slaps him. Both apologize and talk some more, before she asks him to kiss her again. In the darkness, he seduces her and tells her he loves her. In the morning, three ambulances, including Frederic's, leave for the front. Before leaving, Frederic tells Catherine that what happened between them was important, and that he will survive the battle unscathed. Catherine gives him a St. Anthony medal she wears around her neck. Rinaldi observes this, and then enters a major's office, where it is revealed that Rinaldi had orchestrated the separation to prevent Frederic from being with Catherine. The major transfers Catherine to Milan. At the front, Frederic is badly wounded by an artillery shell. He is sent to a hospital in Milan where Catherine rushes to his bed to embrace him. Later that night, an Italian Army priest visits Frederic while Catherine is there. Seeing they are in love, he performs an unofficial wedding. Months later, Catherine and Frederic ask Fergie for their wedding, who rejects the offer, saying they won't marry due to the war. As she leaves, she warns Frederic that if he gets Catherine pregnant, she will kill him. Back at the hospital, Frederic is told his convalescent leave is canceled. While waiting for his train, Catherine confides to Frederic that she is scared of each of them dying. He promises he will always come back, and they kiss before he leaves. Later, Catherine reveals to Fergie that she is pregnant and she is going to Switzerland to have the child. While apart, Catherine writes letters to Frederic, never revealing her pregnancy. In Turin, Rinaldi tries to entice Frederic to have some fun, but Frederic is intent on writing to Catherine. Rinaldi, unbeknownst to Frederic, makes sure that all of Catherine's letters are "Returned to sender". Meanwhile, the hospital at Milan returns Frederic's letters to him, marked "person unknown." Fredrick deserts and goes to Milan to find Catherine. A Farewell to Arms ad from The Film Daily, 1932 In Milan, Fredrick finds only Fergie, who refuses to tell him anything other than Catherine was pregnant and is gone. Rinaldi meets Frederic at a hotel and finally reveals that Catherine is going to have a baby and that she is in Brissago, apologizing for his part in keeping the lovers apart. While Frederic is rushing to the Brissago, Catherine goes into labor and is taken to a hospital. Frederic arrives as Catherine is wheeled into the operating room for a Caesarean section. After the operation, a surgeon tells Frederic the baby boy was stillborn. When Catherine regains consciousness, she and Frederic exchange endearments and plan their future, until Catherine panics fearing she is going to die. He tells her they can never really be parted. She tells him she is not afraid and dies in Frederic's arms as the sun rises. Frederic picks up her body and turns slowly toward the window, sobbing, "Peace, Peace." Ending This is the film's original ending when released to international audiences in 1932. Some prints for American audiences had a happy ending, where Catherine did not die, and some were ambiguous; some theaters were offered a choice.[7] The censors were concerned about more than just the heroine's death.[8][7] Versions proliferated when a much more powerful Motion Picture Production Code got hold of the picture before various re-releases to film and television, not to mention the effects of a change of ownership to Warner Bros. and lapse into the public domain. According to TCM.com: "‘A Farewell to Arms’ originally ran 89 minutes, and was later cut to 78 minutes for a 1938 re-issue. The 89-minute version (unseen since the original theatrical run in 1932 and long thought to be lost) was released on DVD in 1999 by Image Entertainment, mastered from a nitrate print located in the David O. Selznick vaults."[9] Cast Helen Hayes as Catherine Barkley Gary Cooper as Lieutenant Frederic Henry Adolphe Menjou as Captain Rinaldi Mary Philips as Helen Ferguson Jack La Rue as Priest Blanche Friderici as Head Nurse Mary Forbes as Miss Van Campen Gilbert Emery as British Major[3] Agostino Borgato as Giulio (uncredited) Tom Ricketts as Count Greffi (uncredited) Music The film's sound track includes selections from the Liebestod from Wagner's opera Tristan und Isolde, Wagner's opera Siegfried, and the storm passage from Tchaikovsky's symphonic poem Francesca da Rimini.[10] Critical reception Gary Cooper and Helen Hayes In his 1932 review in The New York Times, Mordaunt Hall wrote: There is too much sentiment and not enough strength in the pictorial conception of Ernest Hemingway's novel ... the film account skips too quickly from one episode to another and the hardships and other experiences of Lieutenant Henry are passed over too abruptly, being suggested rather than told ... Gary Cooper gives an earnest and splendid portrayal [and] Helen Hayes is admirable as Catherine ... another clever characterization is contributed by Adolphe Menjou ... it is unfortunate that these three players, serving the picture so well, do not have the opportunity to figure in more really dramatic interludes.[11] In 2006, Dan Callahan of Slant Magazine noted, "Hemingway ... was grandly contemptuous of Frank Borzage's version of A Farewell to Arms ... but time has been kind to the film. It launders out the writer's ... pessimism and replaces it with a testament to the eternal love between a couple."[12] In a 2014 posting, Time Out London calls it "not only the best film version of a Hemingway novel, but also one of the most thrilling visions of the power of sexual love that even Borzage ever made ... no other director created images like these, using light and movement like brushstrokes, integrating naturalism and a daring expressionism in the same shot. This is romantic melodrama raised to its highest degree."[13] Awards and honors The film won two Academy Awards and was nominated for another two:[14] Academy Award for Best Picture (nominee)[3] Academy Award for Art Direction (nominee) Academy Award for Best Cinematography (winner) Academy Award for Best Sound Recording – Franklin Hansen (winner) Also, the film is recognized by American Film Institute in these lists: 2002: AFI's 100 Years...100 Passions – Nominated[15]

The Adventures of Prince Achmed (known as Die Abenteuer des Prinzen Achmed in German) is a 1926 German animated fairytale film by Lotte Reiniger. It is the oldest surviving animated feature film; two earlier ones were made in Argentina by Quirino Cristiani, but they are considered lost.[2] The Adventures of Prince Achmed features a silhouette animation technique Reiniger had invented which involved manipulated cutouts made from cardboard and thin sheets of lead under a camera.[3] The technique she used for the camera is similar to Wayang shadow puppets, though hers were animated frame by frame, not manipulated in live action. The original prints featured color tinting. Several famous avant-garde animators worked on this film with Lotte Reiniger, among them Walter Ruttmann, Berthold Bartosch, and Carl Koch.[4][5] The story is based on elements from the One Thousand and One Nights written by Hanna Diyab, including "Aladdin" and "The Story of Prince Ahmed and the Fairy Perī-Bānū". Plot An African sorcerer conjures up a flying horse, which he shows to the Caliph. When the sorcerer refuses to sell it for any amount of gold, the Caliph offers any treasure he has. The sorcerer chooses Dinarsade, the Caliph's daughter, to her great distress. Prince Achmed, Dinarsade's brother, objects, but the sorcerer persuades him to try out the horse. It carries the prince away, higher and higher into the sky, as he does not know how to control it. The Caliph has the sorcerer imprisoned. Pari Banu (center) with her attendants, preparing to bathe. When Achmed discovers how to make the horse descend, he finds himself in a strange foreign land, a magical island called Wak Wak. He is greeted by a bevy of attractive maidens. When they begin fighting for his attention, he flies away to a lake. There, he watches as Pari Banu, the beautiful ruler of the land of Wak Wak, arrives with her attendants to bathe. When they spot him, they all fly away, except for Pari Banu, for Achmed has her magical flying feather costume. She flees on foot, but he captures her. He gains her trust when he returns her feathers. They fall in love. She warns him, however, that the demons of Wak Wak will try to kill him. The sorcerer frees himself from his chains. Transforming himself into a bat, he seeks out Achmed. The prince chases the sorcerer (who has turned into a kangaroo) and falls into a pit. While Achmed fights a giant snake, the sorcerer takes Pari Banu to China and sells her to the Emperor. The sorcerer returns and pins Achmed under a boulder on top of a mountain. However, the Witch of the Flaming Mountain notices him and rescues Achmed. The sorcerer is her arch-enemy, so she helps Achmed rescue Pari Banu from the Emperor. Then, the demons of Wak Wak find the couple and, despite Achmed's fierce resistance, carry Pari Banu off. Achmed forces a captive demon to fly him to Wak Wak. However, the gates of Wak Wak are locked. He then slays a monster who is attacking a boy named Aladdin. Aladdin tells of how he, a poor tailor, was recruited by the sorcerer to retrieve a magic lamp from a cave. When Aladdin returned to the cave entrance, the sorcerer demanded the lamp before letting him out. Aladdin refused, so the sorcerer sealed him in. Aladdin accidentally released one of the genies of the lamp and ordered it to take him home. He then courted and married Dinarsade. One night, Dinarsade, Aladdin's magnificent palace, and the lamp disappeared. Blamed by the Caliph, Aladdin fled to avoid being executed. A storm at sea cast him ashore at Wak Wak. When he tried to pluck fruit from a "tree", it turned into a monster and grabbed him, but Achmed killed it. Achmed realizes the sorcerer had been responsible for Aladdin's fate, and is further enraged. He also reveals to Aladdin that his palace and the lamp were stolen by the sorcerer because of his obsession for Dinarsade. Then, the witch arrives. Since only the lamp can open the gates, she agrees to attack the sorcerer to get it. They engage in a magical duel, each transforming into various creatures. After a while, they resume their human forms and fling fireballs at each other. Finally, the witch slays the sorcerer. With the lamp, they are able to enter Wak Wak, just in time to save Pari Banu from being thrown to her death. A fierce battle erupts. A demon steals the lamp, but the witch gets it back. She summons creatures from the lamp who defeat the demons. One hydra-like creature seizes Pari Banu. When Achmed cuts off one of its heads, two more grow back immediately, but the witch stops this regeneration, allowing Achmed to kill it and rescue Pari Banu. A flying palace then settles to the ground. Inside, Achmed, Pari Banu, Aladdin, and the Caliph find Dinarsade. The two couples bid goodbye to the witch and fly home to the palace. Production [icon] This section needs expansion. You can help by adding to it. (August 2015) Reiniger required several years, from 1923 to 1926, to make this film.[5] Each frame had to be painstakingly filmed, and 24 frames were needed per second.[5] The reason why an adaptation of Arabian Nights was chosen was based on the idea that the action should show events that would only be possible with animation. In addition to herself, her small team consisted of her husband Carl Koch, Walter Ruttmann, Berthold Bartosch, Alexander Kardan and Walter Turck. A Berlin banker named Louis Hagen financed the movie, and offered the team to use the attic of the garage in his vegetable garden as their studio. Oskar Fischinger made a wax-slicing machine for them which was used to visualize magic in several scenes. Another tool was an early version of the multiplane camera. Stars were made by holding a cardboard with small holes in front of a strong light, superimposed pieces of semitransparent tissue paper was used to make waves, and silver paper for moonlit water. For other movable backgrounds, which sometimes included the use of two negatives, they made different layers covered with substances like sand, paint and soap. For the latter, Bartosch would later say about the production of Prince Achmed: “During my years of work I have learned many things. Soap, it is quite extraordinary, with soap one can do everything.”[6][7] Censorship Reiniger was one of the first filmmakers in the 20th century to attempt a portrayal of the queer experience with a pair of openly gay lovers in this film: the Emperor of China and a male character named Ping Pong. Although this was censored in the version of the film that was distributed to theaters, Ping Pong is presented as the Emperor's favourite or darling (Des Kaisers Liebling) even in the censored version. Reiniger herself was outspoken on her motivation to destigmatize homosexual realities in the world of film. "I knew lots of homosexual men and women from the film and theater world in Berlin, and saw how they suffered from stigmatization. [...] I suspect that when the Emperor kisses Ping Pong, that must have been the first happy kiss between two men in the cinema and I wanted it to happen quite calmly in the middle of Prince A[c]hmed so children — some who would be homosexual and some who would not — could see it as a natural occurrence, and not be shocked [n]or ashamed."[8] Restoration While the original film featured color tinting, prints available just before the restoration had all been in black and white. Working from surviving nitrate prints, German and British archivists restored[9] the film during 1998 and 1999, including reinstating the original tinted image by using the Desmet method. Availability The film is screened on the Turner Classic Movies channel. It was also once available to stream through the subscription-based FilmStruck. Filmstruck's follow-up service, Criterion Channel, a service from the Criterion Collection, began streaming it in Region 1 after the service shuttered in November 2018. English-market DVDs are available, distributed by Milestone Films and available in NTSC R1 (from Image) and PAL R2 (from the BFI).[10] Both versions of the DVD are identical. They feature both an English-subtitled version (the intertitles are in German) and an English voice-over. The English-subtitled film is available via Fandor and LiveTree. Legacy An homage to this film can be spotted in Disney's Aladdin (1992); a character named Prince Achmed has a minor role in the film. The art style also served as inspiration for the Steven Universe episode "The Answer".[11] Score The original score was composed by German composer Wolfgang Zeller in direct collaboration with the animation of the film. Reiniger created photograms for the orchestras, which were common in better theatres of the time, to follow along the action.[12] Contemporary scorings The Silk Road Ensemble accompanied the film with a live improvised performance on Western strings and instruments such as the oud, ney and sheng in October 2006 at the Rubin Museum of Art in New York, NY.[13] The Silk Road Ensemble repeated the performance at the Avon Cinema in Providence, Rhode Island, in February 2007.[14] London based band Little Sparta composed an original score to the film in 2007 with notable performances at Latitude Festival (2007), The Edinburgh Art Festival (2009) and Mekonville (2017). They have also had runs at theatres and venues in the UK and are continuing to perform it while releasing an EP of selected cues in June 2008. New York City band Morricone Youth composed a new score for the film in 2012 and first performed it live at Nitehawk Cinema in Brooklyn on 28 September 2012.[15] Country Club Records released a vinyl 6-song EP of the score in 2016.[16] Spanish band Caspervek Trio composed a new soundtrack for the movie in 2014 premiered in Vigo, with further performances in Ourense, Liptovský Míkulás and Madrid.[17] The Scottish jazz quartet, S!nk, composed and performed a new score for the film in 2017 as part of the Hidden Door arts festival in Edinburgh as part of a series of events celebrating the re-opening of the Leith Theatre after being closed for 25 years.[18][19] Students from the Royal Birmingham Conservatoire composed a score for the film, which premiered at the Flatpack Film Festival at Dig Brew Co. on 22 April 2018 [20] Chris Davies composed a new score for the opening night of the 2014 Bradford animation festival. Using a mixture of recorded and live instrumentation, he has continued touring extensively, playing live with the film throughout the UK and Europe. Ben Bentele, David Alderdice, Daniel Be, and Cait Pope composed and improvised a score for the film, which premiered at the Paradise Theater in Paonia, Colorado, USA on 22 April 2023. The performance included a wide array of world instruments and electronic elements.

Dick Tracy (1937) is a 15-chapter Republic movie serial starring Ralph Byrd based on the Dick Tracy comic strip by Chester Gould. It was directed by Alan James and Ray Taylor. Dick Tracy's foe for this serial is the crime boss and masked mystery villain The Spider/The Lame One (both names are used) and his Spider Ring. Plot Dick Tracy's foe for this serial is the crime boss and masked mystery villain the Spider/the Lame One (both names are used) and his Spider Ring.[3] In the process of various crimes, including using his flying wing and sound weapon to destroy the Bay Bridge in San Francisco and stealing an experimental "speed plane", The Spider captures Dick Tracy's brother, Gordon. The Spider's minion, Dr. Moloch, performs a brain operation on Gordon Tracy to turn him evil, making him secretly part of the Spider Ring and so turning brother against brother. Directed by: Alan James, Ray Taylor Produced by: Nat Levine, J. Laurence Wickland (Associate) Written by: Morgan B. Cox, George Morgan, Barry Shipman, Winston Miller, Chester Gould (comic strip) Music by: Harry Grey Cinematography: William Nobles, Edgar Lyons Edited by: Helene Turner, Edward Todd, William Witney Distributed by: Republic Pictures Release date: February 20, 1937 (U.S. serial) Running time: 15 chapters / 290 minutes (serial) Country: United States Language: English Starring cast Ralph Byrd as Dick Tracy Kay Hughes as Gwen Andrews Smiley Burnette as Mike McGurk Lee Van Atta as Junior John Picorri as Dr Moloch Richard Beach as Gordon Tracy (pre-operation in Chapter 1) Carleton Young as Gordon Tracy (post-operation in Chapter 1) Fred Hamilton as Steve Lockwood Francis X. Bushman as Clive Anderson Supporting cast John Dilson as Ellery Brewster Wedgwood Nowell as H. T. Clayton Theodore Lorch as Paterno Edwin Stanley as Walter Odette (The Spider/ The Lame One) Harrison Greene as Cloggerstein Herbert Weber as Tony Martino Buddy Roosevelt as Burke George DeNormand as Flynn Byron K. Foulger as Kovitch - In this serial, Dick Tracy is a G-Man (FBI) in San Francisco rather than a Midwestern city police detective as in the comic strip. - Most of the Dick Tracy supporting cast and rogues gallery were also dropped and new, original characters used instead - There were three sequels to this serial: Dick Tracy Returns (1938), Dick Tracy's G-Men (1939), and Dick Tracy vs. Crime, Inc. (1941) https://en.wikipedia.org/wiki/Dick_Tr...) https://en.wikipedia.org/wiki/Dick_Tracy https://en.wikipedia.org/wiki/Ralph_Byrd https://en.wikipedia.org/wiki/Republi...

The Adventure of the Clapham Cook Episode aired Jan 8, 1989 TV-14 51m Poirot probes the disappearance of a wealthy woman's cook, and soon uncovers an elaborate plot to hide an ever darker crime. Poirot (also known as Agatha Christie's Poirot) is a British mystery drama television programme that aired from 8 January 1989 to 13 November 2013. David Suchet stars as the eponymous detective, Agatha Christie's fictional Hercule Poirot. The programme ran for 13 series and 70 episodes in total; each episode was adapted from a novel or short story by Christie that featured Poirot, and consequently in each episode Poirot is both the main detective in charge of the investigation of a crime (usually murder) and the protagonist who is at the centre of most of the episode's action. At the programme's conclusion, which finished with "Curtain: Poirot's Last Case" (based on the 1975 novel Curtain, the final Poirot novel), every major literary work by Christie that featured the title character had been adapted. Addeddate 2020-08-22 14:53:34 Color color Identifier poirot-series Reviews allowed frozen Scanner Internet Archive HTML5 Uploader 1.6.4 Sound sound Source torrent:urn:sha1:939cce3ce443a81da27bb8e5c71f42741b008754 https://www.imdb.com/title/tt0483459/fullcredits/ https://archive.org/details/poirot-series/01.01+The+Adventure+Of+The+Clapham+Cook.mkv

To Spring is a 1936 animated musical short produced by Harman and Ising for the MGM cartoon studio's Happy Harmonies series.[2] Although the production credit goes to Harman and Ising this short was actually the first cartoon to be directed by the future cartoon giant William Hanna, along with animator Paul Fennell.[3] It is one of just three MGM cartoons that are in the public domain, and the only Happy Harmonies short in the public domain. Plot Duration: 9 minutes and 14 seconds.9:14 The full short, restored. This short begins with the melting of winter snow as little human-like creatures (either elves or gnomes) below the ground mine colorful crystals. The creatures then process the crystals into liquids that cover the main rainbow colors. This work incites the arrival of spring above on the surface. However, a snowy wind appears and causes issues that hinders the process as the creatures start working harder. In the end, the creatures prevail and spring occurs. Production The title is a play on words used to represent the season of spring and action the gnomes must take to wake up and get to work. Lee Blair oversaw the short's vibrant Technicolor process.[4] The short also features the directorial debut of William Hanna, who would later create Tom & Jerry. Hanna co-directed the short with Paul Fennell, but Harman and Ising retained the production credit.[4] The film is in the public domain, because its copyright was not renewed after an initial 28 year term.[5] In addition to writing the music, Scott Bradley conducted the orchestra himself, as he did for all cartoons that he scored.[4] Voice work in the short included Delos Jewkes as the snowy wind, and radio actor J. Donald Wilson voicing the main elf (gnome).[4] https://en.wikipedia.org/wiki/To_Spring

Jerky Turkey is a 1945 Metro-Goldwyn-Mayer cartoon directed by Tex Avery.[1] Jerky Turkey is one of three MGM cartoons in the public domain in the United States as its copyright was not renewed.[2] Plot Duration: 7 minutes and 31 seconds.7:31 A video of the short. In 16207⁄8, Pilgrims, riding a caricatured Mayflower with a number of World War II-era anachronisms (such as a navy gunnery deck, a Henry J. Kaiser nameplate and a fuel rationing card) land at Plymouth Rock and establish a colony, where they quickly separate into "Ye Democrats" and "Ye Republicans." The Pilgrims all stand in line for cigarettes (some are caricatures of Avery's animation crew), while the town crier bemoans that he has been made eligible for the draft with a card bearing his "1-A" eligibility in his hand. A pear-shaped Pilgrim, who speaks with the milquetoast mannerisms of Bill Thompson (here impersonated because he had been drafted and was unavailable), emerges from his dilapidated teardrop trailer home and goes hunting for a turkey for a Thanksgiving dinner. The turkey emerges from the "House of Seven Gobbles" (a literal black market in disguise) and, seeing an easy mark and speaking in an impersonation of Jimmy Durante, offers himself to the pilgrim, only to use this as the start of a series of rapid-fire gags that stretch the limits of even cartoon physics, with the turkey consistently getting the best of his increasingly befuddled and frustrated opponent. Eventually the two make up and decide to "eat at Joe's," following the advice of a clapboard-wearing bear advertising his steakhouse that appears throughout the short. When they reach Joe's steakhouse, the door closes, loud crashes and thuds are heard, and the bear is seen coming out of the restaurant without his sandwich board; on his back is a tattoo which reads "I'm Joe". Joe the bear is grinning and picking his teeth, as the swallowed-whole turkey and pilgrim sulk in Joe's stomach. The pilgrim closes the cartoon by holding up a sign of his own: "DON'T eat at Joe's." Voice cast Tex Avery as Crows Nest Pilgrim, Turkey Call, Turkey Gobble, Junior Pilgrim[3][4][5] Frank Graham as Indian Leone LeDoux as Crying Pilgrim Wally Maher as Jimmy Durante Turkey[6][7] Production Some voices were provided by radio actors Wally Maher and Leone LeDoux, who had previously voiced Screwy Squirrel and who specialized in baby cries, respectively.[8] Some internet sources cite voice actor Daws Butler as the voice of jerky turkey, but he did not make his first voice appearance until 1948 in Screen Gems' Short Snorts on Sports.[9][10] Butler would go on to voice numerous characters in later Avery productions, including 1948’s Little Rural Riding Hood his first with the company.[10] Much like other Avery shorts, this cartoon features a celebrity voice impersonation. In this short it is a Jimmy Durante impression.[11] While it's not known if he would have had a cameo, The Turkey from the short can be seen on storyboard from the Who Framed Roger Rabbit deleted scene entitled "Acme's Funeral".[12] https://en.wikipedia.org/wiki/Jerky_Turkey

In 48 B.C., Cleopatra, facing palace revolt in her kingdom of Egypt, welcomes the arrival of Julius Caesar as a way of solidifying her power under Rome. When Caesar, who she has led astray, is killed, she transfers her affections to Marc Antony and dazzles him on a barge full of Cecil B. DeMillean splendor. But the trick may not work a third time. Cleopatra is a 1934 American epic film directed by Cecil B. DeMille and distributed by Paramount Pictures. A retelling of the story of Cleopatra VII of Egypt, the screenplay was written by Waldemar Young and Vincent Lawrence and was based on Bartlett Cormack's adaptation of historical material.[2] Claudette Colbert stars as Cleopatra, Warren William as Julius Caesar, and Henry Wilcoxon as Mark Antony. Cleopatra received five Academy Award nominations. It was the first DeMille film to receive a nomination for Best Picture.[3] Victor Milner won the Academy Award for Best Cinematography.[4] Plot "It was quite difficult to be rolled into a rug and breathe and come out looking pleased with yourself," Colbert remembered. "We only had to do that scene once."[5] In 48 BC, Cleopatra vies with her brother Ptolemy for control of Egypt. Pothinos (Leonard Mudie) kidnaps her and Apollodorus (Irving Pichel) and strands them in the desert. When Pothinos informs Julius Caesar that the queen has fled the country, Caesar is ready to sign an agreement with Ptolemy when Apollodorus appears, bearing a gift carpet for the Roman. When Apollodorus unrolls it, Cleopatra emerges, much to Pothinos' surprise. He tries to deny who she is. Caesar sees through the deception, and Cleopatra soon beguiles Caesar with the prospect of the riches of Egypt and India. Later, when they are seemingly alone, she spots a sandal peeking out from underneath a curtain and thrusts a spear into the hidden Pothinos, foiling his assassination attempt. Caesar makes Cleopatra the sole ruler of Egypt, and begins an affair with her. Caesar eventually returns to Rome with Cleopatra to the cheers of the masses but Roman unease is directed at Cleopatra. Cassius (Ian Maclaren), Casca (Edwin Maxwell), Brutus (Arthur Hohl) and other powerful Romans become disgruntled, rightly suspecting that he intends to abolish the Roman Republic and make himself emperor, with Cleopatra as his empress (after divorcing Calpurnia, played by Gertrude Michael). Ignoring the forebodings of Calpurnia, Cleopatra, and a soothsayer (Harry Beresford) who warns him about the Ides of March, Caesar goes to announce his intentions to the Senate. Before he can do so, he is assassinated. Cleopatra is heartbroken at the news. At first, she wants to go to him, but Apollodorus tells her that Caesar did not love her, only her power and wealth, and that Egypt needs her. They return home. Bitter rivals Marc Antony and Octavian (Ian Keith) are named co-rulers of Rome. Antony, disdainful of women, invites Cleopatra to meet with him in Tarsus, intending to bring her back to Rome as a captive. Enobarbus (C. Aubrey Smith), his close friend, warns Antony against meeting Cleopatra, but he goes anyway. She entices him to her barge and throws a party with many exotic animals and beautiful dancers, and soon seduces him. Together, they sail to Egypt. King Herod (Joseph Schildkraut), who has secretly allied himself with Octavian, visits the lovers. He informs Cleopatra privately that Rome and Octavian can be appeased if Antony were to be poisoned. Herod also tells Antony the same thing, with the roles reversed. Antony laughs off his suggestion, but a reluctant Cleopatra, reminded of her duty to Egypt by Apollodorus, tests a poison on a condemned murderer (Edgar Dearing) to see how it works. Before Antony can drink the fatal wine, however, they receive news that Octavian has declared war. Antony orders his generals and legions to gather, but Enobarbus informs him that they have all deserted out of loyalty to Rome. Enobarbus tells his comrade that he can wrest control of Rome away from Octavian by having Cleopatra killed, but Antony refuses to consider it. Enobarbus bids Antony goodbye, as he will not fight for an Egyptian queen against Rome. A short montage sequence shows the fighting between the forces of Antony and Octavian, ending in the naval Battle of Actium. Antony fights on with the Egyptian army, and is defeated. Octavian and his soldiers surround and besiege Antony and Cleopatra. Antony is mocked when he offers to fight them one by one. Without his knowledge, Cleopatra opens the gate and offers to cede Egypt in return for Antony's life in exile, but Octavian turns her down. Meanwhile, Antony believes that she has deserted him for his rival and stabs himself. When Cleopatra returns, she is heartbroken to find him dying. They reconcile before he perishes. Then, with the gates breached, Cleopatra kills herself with a venomous snake and is found sitting on her throne, dead. Cast Claudette Colbert as Cleopatra Warren William as Julius Caesar Henry Wilcoxon as Marc Antony The closing credits list 32 actors and the names of their characters: Claudette Colbert as Cleopatra Warren William as Julius Caesar Henry Wilcoxon as Marc Antony Joseph Schildkraut as King Herod Ian Keith as Octavian Gertrude Michael as Calpurnia C. Aubrey Smith as Enobarbus Irving Pichel as Apollodorus Arthur Hohl as Brutus Edwin Maxwell as Casca Ian Maclaren as Cassius Eleanor Phelps as Charmion, Cleopatra's servant Leonard Mudie as Pothinos Grace Durkin as Iras, Cleopatra's servant Ferdinand Gottschalk as Glabrio Claudia Dell as Octavia Harry Beresford as Soothsayer Jayne Regan as Lady Vesta (as Jane Regan) William Farnum as Lepidus Lionel Belmore as Fidius Florence Roberts as Lady Flora Richard Alexander as General Philodemas Celia Ryland as Lady Leda William V. Mong as Court physician Robert Warwick as General Achillas George Walsh as Courier Jack Rutherford as Flavius Kenneth Gibson as Scribe Wedgewood Nowell as Scribe Bruce Warren as Scribe Robert Seiter as Aelius (as Robert Manning) Edgar Dearing as the convict who tests the poison Production Publicity photo of Colbert as Cleopatra. Duration: 4 minutes and 16 seconds.4:16 The original trailer for the film. The shoot was a difficult one due to Colbert contracting appendicitis on the set of her previous film, Four Frightened People, leaving her only able to stand for a few minutes at a time. Heavy costumes complicated matters further.[6] Due to Colbert's fear of snakes, DeMille put off her death scene for as long as possible. At the time of shooting, he walked onto the set with a boa constrictor wrapped around his neck and handed Colbert a tiny garden snake.[6] On July 1, 1934 (89 years ago),[7] the Motion Picture Production Code began to be rigidly enforced and expanded by Joseph Breen. Talkie films made before that date are generally referred to as "pre-Code" films. However, DeMille was able to get away with using more risqué imagery than he would be able to do in his later productions. He opens the film with an apparently naked, but strategically lit slave girl holding up an incense burner in each hand as the title appears on screen.[citation needed] The film is also memorable for the sumptuous art deco look of its sets (by Hans Dreier) and costumes (by Travis Banton), the atmospheric music composed by Rudolph George Kopp, and for DeMille's legendary set piece of Cleopatra's seduction of Antony, which takes place on Cleopatra's barge.[citation needed] Colbert later said: "DeMille's films were special: somehow when he put everything together, there was a special kind of glamour and sincerity."[8] Release On August 16, 1934, Cleopatra received its world premiere at the Paramount Theatre in New York City.[9] The premiere audience, which gave the film a standing ovation, included social leaders, diplomats, and famous stars of stage and film.[9] In its first week at the Paramount, the film set an annual record with 110,383 admissions.[10] Cleopatra went on to become the highest-grossing film released in North America in 1934.[citation needed] Reception Mordaunt Hall of The New York Times called it "one of the director's most ambitious spectacles" and singled out Wilcoxon's performance as "excellent, especially in the more dramatic sequences."[11] Film Daily called it a "sumptuous historical drama" with a "strong cast" and "good entertainment values".[12] John Mosher of The New Yorker wrote that "Even as extravaganza it's moderate", and called the dialogue "the worst I have ever heard in the talkies."[13] Variety agreed that "Often the lines drew titters that are not being angled for", but maintained, "Photographically the picture is superb."[14] In his Movie Guide, film critic Leonard Maltin gave Cleopatra 3.5 out of 4 stars and wrote, "Opulent DeMille version of Cleopatra doesn't date badly, stands out as one of his most intelligent films, thanks in large part to fine performances by all."[15] Accolades At the 7th Academy Awards in 1935, Cleopatra won for Best Cinematography (Victor Milner).[4] It was nominated for four more awards: Outstanding Production (Paramount), Best Assistant Director (Cullen Tate), Best Film Editing (Anne Bauchens), and Best Sound Recording (Franklin Hansen).[4] In the January 1935 issue of The New Movie Magazine, Claudette Colbert's performance in Cleopatra was named the "Movie Highlight of the Year" for August 1934,[16] the month in which the film premiered. In 2002, the American Film Institute nominated Cleopatra for the AFI's 100 Years...100 Passions list.[17] Home media Cleopatra, along with The Sign of the Cross, Four Frightened People, The Crusades and Union Pacific, was released on DVD in 2006 by Universal Studios as part of the five-disc box set The Cecil B. DeMille Collection.[18] It has been released for home viewing several times in the United States of America, including a 75th anniversary DVD edition in 2009 by Universal Studios Home Entertainment.[19] In the United Kingdom, Cleopatra was released in a Dual Format DVD and Blu-ray edition on September 24, 2012, by Eureka as part of their Masters of Cinema series.[20] On April 10, 2018, Universal Pictures Home Entertainment released the film on Blu-ray.[21]

Usage Public DomainCreative Commons Licensepublicdomain Topics classic tv, Peter Lorre, checkmate, private detective Peter Lorre plays a recently released criminal mastermind who has hatched a plot to get even with the criminologist who sent him to prison. Aired: January 14, 1961 Addeddate 2010-05-16 13:52:58 Color color Ia_orig__runtime 49 minutes 24 seconds Identifier CheckmateTheHumanTouch1961 Run time 49:24 Sound sound https://archive.org/details/CheckmateTheHumanTouch1961

Jan 13, 2021 #AdolfHitler #FreeDocumentary #Documentary Mein Kampf: The Secrets of Adolf Hitler's Book of Evil | History Documentary Watch 'Operation Valkyrie: The Plot to Kill Hitler' here: • Operation Valkyrie: The Plot to Kill ... Today Adolf Hitler’s autobiography cum Nazi manifesto is still sold all over the world, under the counter, on the internet or simply at the bookshop. This 700 page book, published in 1925, was re-edited numerous times since the death of the author. How was it written? Was Hitler really the author? Were the war and the Holocaust truly inscribed in its pages? This documentary plunges deep into the secrets of Mein Kampf. A simple book of paradoxes: famous but unknown, fascinating and repulsive. ▬▬▬▬▬▬▬▬▬ Subscribe Free Documentary - History Channel for free: https://bit.ly/2FjRPgV Join the club and become a Free Documentary Patron: / freedocumentary Facebook: https://bit.ly/2QfRxbG Twitter: https://bit.ly/2QlwRiI ▬▬▬▬▬▬▬▬▬ #FreeDocumentary #Documentary #AdolfHitler ▬▬▬▬▬▬▬▬▬ Free Documentary - History is dedicated to bringing high-class documentaries to you on YouTube for free. You will see fascinating animations showing the past from a new perspective and explanations by renowned historians that make history come alive. Enjoy stories about people and events that formed the world we live in.https://www.youtube.com/watch?v=dDaIjDXIAYU

Jan 29, 2013 'The Day India Burned' explores the bitter truth of the partition of India in 1947. Pakistan became an Islamic state whereas India became secular. Only way Indians can live peacefully is by promoting communal harmony and sense of brotherhood. https://www.youtube.com/watch?v=0ZS40U5yFpc

The Thin Man is a 1934 American pre-Code comedy-mystery film directed by W. S. Van Dyke and based on the 1934 novel of the same name by Dashiell Hammett. The film stars William Powell and Myrna Loy as Nick and Nora Charles, a leisure-class couple who enjoy copious drinking and flirtatious banter. Nick is a retired private detective who left his very successful career when he married Nora, a wealthy heiress accustomed to high society. Their wire-haired fox terrier Asta was played by canine actor Skippy. In 1997, the film was added to the United States National Film Registry having been deemed "culturally, historically, or aesthetically significant". The film's screenplay was written by Albert Hackett and Frances Goodrich, a married couple. In 1934, the film was nominated for the Academy Award for Best Picture. The eponymous "Thin Man" is not Nick Charles, but the man Charles is initially hired to find – Clyde Wynant (part way through the film, Charles describes Wynant as a "thin man with white hair"). The "Thin Man" moniker was thought by many viewers to refer to Nick Charles and, after a time, it was used in the titles of sequels as if referring to Charles. It was followed by five sequels. Plot William Powell, Myrna Loy and Skippy (Asta) in The Thin Man Dorothy Wynant discusses her upcoming wedding with her father Clyde. She is surprised that her fiancé knows all about her family yet still wants to marry her. Later, her father discovers that bonds worth $50,000, intended as a wedding present for his daughter, are missing. The only other person who knows the combination of the safe in which they were kept is his secretary, Julia. When he confronts Julia about the missing bonds, she confesses that she cashed them in and has only $25,000 left. He threatens to call the police unless she comes up with the other $25,000. Nick Charles is a retired detective and he once did a job for Clyde. Nick and his wealthy wife, Nora, live in San Francisco but are visiting New York City for Christmas, staying in a glamorous apartment-like suite at the Hotel Normandie. While in New York, Nick is pressed back into service by Dorothy, as her father, the "Thin Man" of the movie title, was supposed to have left on a secret business trip with a promise to return home before his daughter's wedding, but he has mysteriously disappeared. She convinces Nick to take the case, with the assistance of his socialite wife, who is eager to see him in action. What appears to be a missing person situation rapidly turns into a murder case, when Julia Wolf, Clyde's former secretary and girlfriend, is found dead, and evidence points to Clyde as the prime suspect. Dorothy refuses to believe that her father is guilty. Nick and Police Lieutenant Guild visit Nunheim, a frequent source for the lieutenant. After being pressed for information, Nunheim excuses himself momentarily, only to slip away down the fire escape. He arranges a meeting with the yet-unidentified murderer (someone whose face is not yet shown) to collect $5,000 from him. When Nunheim arrives, however, he is immediately shot four times and killed. On a hunch, Nick soon visits Wynant's closed shop in the dead of night and unearths a skeletonized, but fully dressed, body, buried under the floor. In the dark shop, Wynant's bookkeeper, Tanner, suddenly appears. After that, the police—whom Nick had called once he found the body—arrive and concludes that Wynant committed the murders of Julia and now this newly discovered body. They assume that the remains belong to the "Fat Man"—a long-ago enemy of Wynant's—because of its oversized clothing with a belt buckle bearing an "R" (for "Rosebreen", that notorious figure's surname). But Nick has already all but solved the case—and soon invites the full cast of suspects to an elegant dinner party. There, as planned, the murderer is exposed. Nick—who had accompanied the medical examiner when he X-rayed the buried body—theorizes that the clothes were planted to hide the body's true identity, as the X-ray revealed telltale shrapnel, presumably from an old war wound, in one leg, the exact same injury that had plagued the "Thin Man": the missing Wynant. Nick deduces that the real culprit murdered Clyde once he discovered that the killer had been embezzling from him, and then the culprit murdered his own accomplice, Julia Wolf, because she knew about Clyde's murder, and after that, he murdered Nunheim since he had witnessed Julia's murder and was blackmailing him. Nick unfurls more of his theory to the dinner guests. Herbert MacCauley, Clyde's attorney, panics and tries to shoot Nick. Nick punches him out and declares MacCauley to be the murderer. Finally, Nick and Nora, along with Dorothy and her new husband, Tommy, celebrate as they ride a luxury train back to California. Nora, in the lower bunk, wants to sleep with Asta, but Nick tosses Asta to the upper bunk and joins Nora himself. Asta looks down on the couple and covers his eyes with his paw. Cast Lobby card William Powell as Nick Charles Myrna Loy as Nora Charles Maureen O'Sullivan as Dorothy Wynant Nat Pendleton as Lt. John Guild Minna Gombell as Mimi Wynant Jorgenson Porter Hall as Herbert MacCaulay Henry Wadsworth as Tommy William Henry as Gilbert Wynant Harold Huber as Arthur Nunheim Cesar Romero as Chris Jorgenson Natalie Moorhead as Julia Wolf Edward Brophy as Joe Morelli[3] Edward Ellis as Clyde Wynant, the "thin man" Skippy as Asta, their dog Cyril Thornton as Tanner Cast notes: Nat Pendleton reprised the role of Lt. Guild in 1939's Another Thin Man.[4] Production Screenplay The film was based on the novel of the same name by Dashiell Hammett, released in January 1934. Hammett's novel drew on his experiences as a union-busting Pinkerton detective in Butte, Montana. Hammett based Nick and Nora's banter upon his rocky on-again, off-again relationship with playwright Lillian Hellman.[5] MGM paid Hammett $21,000 for the screen rights to the novel. The screenplay was written by Albert Hackett and Frances Goodrich, who had been married for three years. Director W.S. Van Dyke encouraged them to use Hammett's writing as a basis only, and to concentrate on providing witty exchanges for Nick and Nora. Casting Van Dyke convinced MGM executives to let Powell and Loy portray the lead characters despite concerns that Powell was too old and strait-laced to play Nick Charles and that Loy had become typecast in exotic femme fatale roles.[6][7] Skippy played Asta, the dog of Nick and Nora. Skippy was subsequently cast in two screwball comedy classics, The Awful Truth (1937) and Bringing Up Baby (1938). Filming Myrna Loy, William Powell and Skippy [Nick and Nora were the] first on-screen Hollywood couple for whom matrimony did not signal the end of sex, romance and adventure. –Film historian Andrew Sarris (1998)[8] The film was shot with a budget of $226,408 by cinematographer James Wong Howe. For Powell's first scene in the film, Van Dyke told him to take the cocktail shaker, go to the bar and just walk through the scene while the crew checked lights and sound. Powell did it, throwing in some lines and business of his own. Suddenly he heard Van Dyke say, "That's it! Print it!" The director had decided to shoot the scene without Powell knowing it so that he would be as relaxed and natural as possible. Van Dyke often did not bother with cover shots if he felt the scene was right on the first take, reasoning that actors "lose their fire" if they have to do something over and over. It was a lot of pressure on the actors, who often had to learn new lines and business immediately before shooting, without the luxury of retakes, but Loy credited much of the appeal of the film to Van Dyke's pacing and spontaneity. He paid the most attention to Powell and Loy's easy banter between takes and their obvious enjoyment of each other's company and worked it into the movie. The director often encouraged and incorporated improvisation and off-the-cuff details into the picture. In order to keep her entrance fresh and spontaneous, Van Dyke did not tell Loy about it until right before they shot it. Powell loved working so much with Loy because of her naturalness, her professionalism, and her lack of any kind of "diva" temperament. Of her, Powell said: When we did a scene together, we forgot about technique, camera angles, and microphones. We weren't acting. We were just two people in perfect harmony. Myrna, unlike some actresses who think only of themselves, has the happy faculty of being able to listen while the other fellow says his lines. She has the give and takes of acting that brings out the best. According to Loy, the actors were not allowed to interact between takes with the dog Skippy; trainers felt it would break his concentration. Skippy once bit Loy during filming.[9]: 91  Although she had great compliments for Powell's charm and wit, Maureen O'Sullivan (who played the daughter of Wynant) later said she did not enjoy making the picture because her part was so small and the production was so rushed. The scene of Nick shooting the ornaments off the tree was added after Powell playfully picked up an air gun and started shooting ornaments the art department was putting up. Loy wrote that the biggest problem during shooting was the climactic dinner party scene in which Nick reveals the killer. Powell complained that he had too many lines to learn and could barely decipher the complicated plot he was unraveling. It was the one scene when several retakes were necessary, which brought up an entirely new problem. The script called for oysters to be served to the dinner guests and, in take after take, the same plate of oysters was brought out under the hot lights. Loy recalled that "they began to putrefy. By the time we finished that scene, nobody ever wanted to see another oyster".[9]: 89–90  Reception The film was released on May 25, 1934, to overwhelmingly positive reviews, with special praise for the chemistry between Loy and Powell. Mordaunt Hall of The New York Times called it "an excellent combination of comedy and excitement", and the film appeared on the Times year-end list of the ten best of the year.[6] Variety reported that "The Thin Man was an entertaining novel, and now it's an entertaining picture. For its leads the studio couldn't have done better than to pick Powell and Miss Loy, both of whom shade their semi-comic roles beautifully".[10] Film Daily raved: "The screen seldom presents a more thoroughly interesting piece of entertainment than this adaptation of Dashiell Hammett's popular novel. The rapid fire dialogue is about the best heard since talkies, and it is delivered by Powell and Miss Loy to perfection".[11] John Mosher of The New Yorker wrote that Loy and Powell played their parts "beautifully", adding: "All the people of the book are there, and I think the final scenes of the solution of the mystery are handled on a higher note than they were in print".[12] Louella Parsons called it "the greatest entertainment, the most fun and the best mystery-drama of the year".[6] The Chicago Tribune said that it was "exciting", "amusing" and "fat with ultra, ultra-sophisticated situations and dialog". It also called Powell and Loy "delightful".[13] Harrison Carroll of The Los Angeles Herald-Express wrote that it was "one of the cleverest adaptations of a popular novel that Hollywood has ever turned out".[6] The film was such a box-office success that it spawned five sequels: After the Thin Man (1936) Another Thin Man (1939) Shadow of the Thin Man (1941) The Thin Man Goes Home (1945) Song of the Thin Man (1947) The Thin Man was voted one of the ten best pictures of 1934 by Film Daily's annual poll of critics.[14] In 2002, critic Roger Ebert added the film to his list of Great Movies.[15] Ebert praised William Powell's performance in particular, stating that Powell "is to dialogue as Fred Astaire is to dance. His delivery is so droll and insinuating, so knowing and innocent at the same time, that it hardly matters what he's saying".[16] The Japanese filmmaker Akira Kurosawa cited The Thin Man as one of his favorite films.[17][18] In 2000 American Film Institute designated the film as one of the great comedies in the previous hundred years of cinema. The film is 32nd on the American Film Institute's 2000 list AFI's 100 Years...100 Laughs[19] and was nominated for the following lists: 1998: AFI's 100 Years...100 Movies[20] 2002: AFI's 100 Years...100 Passions[21] 2003: AFI's 100 Years...100 Heroes & Villains: Nick & Nora Charles – Heroes[22] 2005: AFI's 100 Years...100 Movie Quotes: Nora Charles: "I read where you were shot five times in the tabloids". Nick Charles: "It's not true. He didn't come anywhere near my tabloids".[23] 2007: AFI's 100 Years...100 Movies (10th Anniversary Edition)[24] 2008: AFI's 10 Top 10: Mystery Film[25] Box office The Thin Man earned total theater rentals of $1,423,000, with $818,000 from the US and Canada and $605,000 in other foreign rentals, resulting in a profit of $729,000.[1][2] Trailer Duration: 3 minutes and 16 seconds.3:16Subtitles available.CC Trailer for The Thin Man The trailer contained specially filmed footage in which Nick Charles (William Powell) is seen on the cover of the Dashiell Hammett novel The Thin Man. Nick Charles then steps out of the cover to talk to fellow detective Philo Vance (also played by Powell) about his latest case. Charles mentions he hasn't seen Vance since The Kennel Murder Case, a film in which Powell played Vance, released in October 1933, just seven months prior to the release of The Thin Man. Charles goes on to explain to Vance that his latest case revolves around a "tall, thin man" (referring to Clyde Wynant's character), just before clips of the film are shown. Adaptations The Thin Man was dramatized as a radio play on an hour-long broadcast of Lux Radio Theatre on June 8, 1936. William Powell, Myrna Loy, Minna Gombell, Porter Hall, William Henry, and Thomas Jackson reprised their film roles, and W. S. Van Dyke was host.[26][27] Home media Long available on VHS and DVD, The Thin Man was released on Blu-ray Disc by the Warner Archive Collection on July 30, 2019. The 1080p high-definition master was made from a 4K restoration based on new transfers of the picture's best surviving film elements, with digital correction of a multitude of defects seen in earlier home-media releases. Blu-ray.com reported that the film "looks exceptional and, aside from a true 4K option, will likely never get a better home video release". Extras include the theatrical trailer, the 1936 Lux Radio Theatre broadcast, and the 1958 second-season premiere of the NBC television series.[28][29] In popular culture The TV series The Thin Man ran from 1957 through 1959, starring Peter Lawford and Phyllis Kirk.[30] In the 1976 comedy spoof movie Murder by Death, the characters of Nick and Nora Charles became Dick and Dora Charleston, played by David Niven and Maggie Smith.[31][32] In the 2005 animated film Hoodwinked!, the character Nicky Flippers, a frog detective voiced by David Ogden Stiers, was based on Nick Charles. Creators Rachel Cohn and David Levithan named their lead characters in the 2008 film Nick & Norah's Infinite Playlist as an homage to the characters in The Thin Man.[33] The 2022 science fiction novel The Spare Man by Mary Robinette Kowal is a sci-fi take on the Nick and Nora characters, but set in space.[34]

1986 SYNOPSISEdward Said, a Palestinian living in New York, examines Western attitudes to the Arabs and finds their origins in the Crusades, Hollywood and European empire building. He sees the Palestinian fate as the result of years of Western interference. One of the ten episodes of The Arabs: A Living History. https://www.youtube.com/watch?v=ukGnR2akr_4 https://mubi.com/en/us/films/the-shadow-of-the-west

Oct 20, 2008 In the first episode of a special two-part film Rageh Omaar looks at why Islam has come to be described by some people as a "very American faith". He traces its history in the US and talks to American Muslims about how their belief is compatible with the principles of American democracy. https://www.youtube.com/watch?v=QYXX3hXS_S8

Jan 2, 2014 Girls of the Red Mosque - The Red Mosque is promoting Taliban principals and their schoolgirls are attempting to force Sharia law on the community. For downloads and more information visit: http://www.journeyman.tv/?lid=57362 Exclusive! As news emerges of the death of Red Mosque leader Abdul Ghazi, we offer you extracts of a rare interview with him. Meet the militant schoolgirls from Pakistan who want to 'Talibanise' their country. Students from the Red Mosque are adopting vigilante tactics to punish those accused of offending Islam. Brandishing sticks and clad in heavy niqabs, a mob of angry women step up their campaign for Sharia law. These women are accused of using kidnapping and torture to get their way. "They broke down the door with axes", complains one woman, suspected of being a prostitute. "Then they put ropes around our necks and dragged us out like dogs". She claims the Mosque's followers; "beat me with sticks and pulled out my toenails." Inspired by early success, radicals at the Red Mosque issued a list of demands to the government. When these were rejected, the mosque set up its own Sharia court, in defiance of the government, and went looking for people to arrest. According to Mosque founder, Mullana Ghazi, they have been forced to take these actions because; "The system is not working. The police are not policing". But others see the women of the Red Mosque as a media sideshow. As Imran Khan states; "how can a couple of hundred women threaten a country of 160 million?" Produced by - SBS. Ref - 3506 Journeyman Pictures is your independent source for the world's most powerful films, exploring the burning issues of today. We represent stories from the world's top producers, with brand new content coming in all the time. On our channel you'll find outstanding and controversial journalism covering any global subject you can imagine wanting to know about. https://www.youtube.com/watch?v=MFVxNZbtH8A

Aug 1, 2007 #AlJazeeraEnglish #Witness Producer: Farah Durrani Rageh Omaar's special on the Red Mosque in running for prestigious award. In the days leading up to the storming of the Red Mosque, Al Jazeera's Rageh Omaar gained exclusive access. He and his team were the last TV crew inside the mosque before the siege began and filmed the last interview with Abdul Rashid Ghazi, one of the mosque's leaders, before his death. Facebook: / aljazeera Instagram: https://instagram.com/aljazeera/?ref=... Twitter: / ajenglish Website: http://www.aljazeera.com/ google+: https://plus.google.com/+aljazeera/posts #AlJazeeraEnglish #Witness

Aug 1, 2007 Subscribe to our channel http://bit.ly/AJSubscribe In the days leading up to the storming of the Red Mosque, Al Jazeera's Rageh Omaar gained exclusive access. He and his team were the last TV crew inside the mosque before the siege began and filmed the last interview with Abdul Rashid Ghazi, one of the mosque's leaders, before his death. At Al Jazeera English, we focus on people and events that affect people's lives. We bring topics to light that often go under-reported, listening to all sides of the story and giving a 'voice to the voiceless.' Reaching more than 270 million households in over 140 countries across the globe, our viewers trust Al Jazeera English to keep them informed, inspired, and entertained. Our impartial, fact-based reporting wins worldwide praise and respect. It is our unique brand of journalism that the world has come to rely on. We are reshaping global media and constantly working to strengthen our reputation as one of the world's most respected news and current affairs channels. Social Media links: Facebook: / aljazeera Instagram: https://instagram.com/aljazeera/?ref=... Twitter: / ajenglish Website: http://www.aljazeera.com/ google+: https://plus.google.com/+aljazeera/posts https://www.youtube.com/watch?v=RrKEaOeZs2o&t=94s

Aug 1, 2007 Subscribe to our channel http://bit.ly/AJSubscribe In the days leading up to the storming of the Red Mosque, Al Jazeera's Rageh Omaar gained exclusive access. He and his team were the last TV crew inside the mosque before the siege began and filmed the last interview with Abdul Rashid Ghazi, one of the mosque's leaders, before his death. At Al Jazeera English, we focus on people and events that affect people's lives. We bring topics to light that often go under-reported, listening to all sides of the story and giving a 'voice to the voiceless.' Reaching more than 270 million households in over 140 countries across the globe, our viewers trust Al Jazeera English to keep them informed, inspired, and entertained. Our impartial, fact-based reporting wins worldwide praise and respect. It is our unique brand of journalism that the world has come to rely on. We are reshaping global media and constantly working to strengthen our reputation as one of the world's most respected news and current affairs channels. Social Media links: Facebook: / aljazeera Instagram: https://instagram.com/aljazeera/?ref=... Twitter: / ajenglish Website: http://www.aljazeera.com/ google+: https://plus.google.com/+aljazeera/posts Transcript Follow along using the transcript. https://www.youtube.com/watch?v=1yIaCB9q5ng