derekwsparks

HOMEGROWN: THE COUNTER-TERROR DILEMMA explores the real and perceived threat of homegrown Islamic extremism in America today through first-hand accounts from those on the front lines of this battle - family members of convicted terrorists, those trying to persuade young people from embracing extremism, Muslim Americans facing fear and suspicion in their communities, victims of terrorist attacks, and insights from experts and prosecutors who worked homegrown terrorist cases. Among the questions the film raises: Why are American citizens signing up for ISIS? How big is the threat, and how effective have the efforts of US counter-terrorism agencies been in combatting homegrown terrorism? What are the unintended consequences of such efforts? And, what freedoms and values do we sacrifice in our efforts to track down established and nascent extremists in our midst? https://www.imdb.com/title/tt5497132/

Premiered Jun 22, 2023 The Why Files: Operation Podcast Play War Thunder now and get a massive, free bonus pack including vehicles, boosters and more: https://playwt.link/thewhyfiles2023 War Thunder is a highly detailed vehicle combat game containing over 2000 playable tanks, aircrafts and ships spanning over 100 years of development. Immerse yourself completely in dynamic battles with an unparalleled combination of realism and approachability. It was a sunny afternoon on June 24th, 1947, and Kenneth Arnold was flying his small aircraft over Mineral, Washington. He was heading to Yakima but took a slight detour to look for a lost US Marine Corps plane. If he could find it, he’d collect a nice reward. Flying near Mount Rainier, he spotted a shiny object in his plane's mirror. Then, he saw multiple flashes of light. It looked like a group of aircraft, flying in formation. But something was wrong - these 'aircraft' didn't have tails. And they were flying faster than anything he’d ever seen. After about two minutes, the objects vanished near Mount Adams. When Kenneth landed in Yakima, he immediately told his friends and airport staff about his bizarre experience. By the time he reached Pendleton, Oregon, his story had spread. Reporters were eager to hear it. In describing the odd movement of these objects, Kenneth said it was like a teacup saucer skipping across a lake. At that moment, the term “flying saucer” was born. And over the next two weeks, events would unfold that would affect every person on Earth. And change the course of history. #Aliens #Roswell #UFOs 〰〰〰〰〰〰〰〰〰〰〰〰〰〰〰〰〰〰 EXECUTIVE PRODUCERS: Gino Gentile Jennifer Gentile AJ Gentile Patreon Members THANK YOU MODS: jengen13 (Mrs. Why Files) Victoria Young Loolykins JohnnyBGood Cricket Hybrid Paul Rohrbaugh Runelady Mischief Guilty Kiam Timothy Weal Messor Synful Zanythos - Reddit Original Jim - Reddit 〰〰〰〰〰〰〰〰〰〰〰〰〰〰〰〰〰〰 SOURCES & LINKS http://vincentamatoauthor.com/wp-cont... https://ia802804.us.archive.org/26/it... https://archive.org/details/witnessto... https://archive.org/details/roswellin... http://roswellproof.homestead.com/ http://www.roswellproof.com/index.html https://www.liquisearch.com/roswell_u... https://www.wikiwand.com/en/Operation... 〰〰〰〰〰〰〰〰〰〰〰〰〰〰〰〰〰〰 🙏 SUPPORT THE WHY FILES 🙏 / thewhyfiles (Fun, Free Perks!) 👽 BUY WHY FILES MERCH 👽 👽 https://shop.thewhyfiles.com (Code: LIZZIDPEEPLE for 10% off first order) 👽 💬 CHAT WITH US ON DISCORD 💬 💬 https://thewhyfiles.com/discord 💬 〰〰〰〰〰〰〰〰〰〰〰〰〰〰〰〰〰〰 🌐 OFFICIAL WEB SITE: https://thewhyfiles.com 🕵️ Submit a topic, suggestion or just say hi: 🕵️ https://thewhyfiles.com/tips 🎨 Have a product suggestion or want to design artwork for TWF? 🎨 https://thewhyfiles.com/merch 📸 BE A WHY FILES MODEL (and get free stuff!) 📸 Send a photo of you/family/friends watching TWF, 📸 wearing TWF gear, using TWF merchandise: 📸 https://thewhyfiles.com/wild 〰〰〰〰〰〰〰〰〰〰〰〰〰〰〰〰〰〰 🎧 THE PODCAST VERSION 🎧 🎧 https://thewhyfiles.com/podcast 🎧 〰〰〰〰〰〰〰〰〰〰〰〰〰〰〰〰〰〰 ▪TWF ON THE WEBS ▪ / thewhyfiles ▪ / omgthewhyfiles ▪ / omgthewhyfiles ▪https://www.rumble.com/thewhyfiles ▪https://thewhyfiles.locals.com ▪ / thewhyfiles ▪ / omgthewhyfiles 〰〰〰〰〰〰〰〰〰〰〰〰〰〰〰〰〰〰 🐠 BETTER CHANNELS TO WATCH: 🐠 / hecklefishmoriarty 🤓 / thewhyfilesbackstage 00:05 Intro 01:19 Sponsor 03:13 Roswell 47:38 Sponsor Button 47:59 Credits

Oct 31, 2023 #justStopOil More than 60 Just Stop Oil protesters have been arrested after the activist group carried out a demonstration in Westminster on Monday morning. Demonstrators laid down and sat on the floor of every corner of Parliament Square after marching around the central London road in orange hi-vis jackets. Many of the protesters were then placed into handcuffs by police after refusing to move off the floor. The Metropolitan Police posted on social media: “Officers have arrested 62 Just Stop Oil activists who were in the road in Parliament Square”. They added that its officers had arrived “within four minutes of receiving the initial report”. The police force said the arrests were made under section seven of the Public Order Act. Become a Scottish Sun Subscriber and hit the bell to be the first to know Read The Sun: http://www.theScottishsun.co.uk Like The Sun on Facebook: / thescottishsun Follow The Sun on Twitter: / scottishsun #ecoprotesters #justStopOil https://www.youtube.com/watch?v=UxryivPUIno

This is about a crime fighting newspaperman. Brad McKay, played by Lee Tracy, whom I have never heard of, works with the police to solve a case involving $100k and some murders. He is wisecracking and thinks his way, rapidly, out of the surprises. Visit: VintageNewscast.com Addeddate 2008-12-22 22:28:07 Color B&W Identifier thepayoff Sound sound Year 1935

Jigsaw by Fletcher Markle Publication date 1949 Usage Public DomainCreative Commons Licensepublicdomain Topics Crime, Drama, Film-Noir Publisher Tower Pictures Inc. The plot is about a shadowy group called the Crusaders, which has been organizing itself into a power center. Its poster shows a handsome Aryan lad against the waving American flag. Their slogan, "Join The Crusaders -- Fight for America!". The implication is clear...the Crusaders will be against anyone who doesn't look, sound or believe the way that Aryan poster boy does. When a columnist is killed while looking into the Crusaders, Howard Malloy finds himself appointed a special prosecutor. He also finds himself in a noxious mess that combines crime, nativism and the reactionary beliefs of some of the privileged few. You can play the amusing Hollywood game of Spot the Star Cameo. In unbilled bits that last a second or two are such luminaries as Burgess Meredith, John Garfield, Marsha Hunt, Everett Sloane, Henry Fonda and Marlene Dietrich. Contact Information www.k-otic.com Addeddate 2008-03-19 08:27:51 Color black & white Director Fletcher Markle Identifier Jigsaw_ Run time 70 min Sound sound Year 1949

Feb 18, 2009 Learn the arabic alphabet song turmusaya education song with all three vowels on each letter https://www.youtube.com/watch?v=joaa_H3ejoM

Premiered May 18, 2023 The Why Files: Operation Podcast ✅ Install Raid for Free Mobile and PC: https://clik.cc/90IHC and get a special starter pack with an Epic champion Drake 🎉Log into the game for 7 days between now and July 24th and get a free legendary champion Artak Surviving The Sixth Extinction: Are we too late? Of all the species that have ever existed on Earth, 99% of them are gone. Most of those were wiped out during what are known as "Mass Extinction Events". Since life emerged on our planet, there have been five mass extinctions. Sometimes these events last many years. But sometimes a mass extinction can happen very, very suddenly. Some scientists think we're on the verge of a sixth mass extinction. Others think it's already begun. But the question everybody asks is: "Is there anything we can do to stop it?" #ExtinctionEvent #Mystery #EndOfTheWorld 〰〰〰〰〰〰〰〰〰〰〰〰〰〰〰〰〰〰 EXECUTIVE PRODUCERS: Gino Gentile Jennifer Gentile AJ Gentile Patreon Members THANK YOU MODS: jengen13 (Mrs. Why Files) Daniel Van Auken Victoria Young Loolykins JohnnyBGood Cricket Brett Hybrid Stephanie Paul Rohrbaugh Runelady Mischief Guilty Kiam Timothy Weal Messor Zanythos - Reddit Original Jim - Reddit 〰〰〰〰〰〰〰〰〰〰〰〰〰〰〰〰〰〰 LINKS What if the pole shifts? • CIA Classified Book about the Pole Sh... 〰〰〰〰〰〰〰〰〰〰〰〰〰〰〰〰〰〰 🙏 SUPPORT THE WHY FILES 🙏 / thewhyfiles (Fun, Free Perks!) 👽 BUY WHY FILES MERCH 👽 👽 https://shop.thewhyfiles.com (Code: LIZZIDPEEPLE for 10% off first order) 👽 💬 CHAT WITH US ON DISCORD 💬 💬 https://thewhyfiles.com/discord 💬 〰〰〰〰〰〰〰〰〰〰〰〰〰〰〰〰〰〰 🌐 OFFICIAL WEB SITE: https://thewhyfiles.com 🕵️ Submit a topic, suggestion or just say hi: 🕵️ https://thewhyfiles.com/tips 🎨 Have a product suggestion or want to design artwork for TWF? 🎨 https://thewhyfiles.com/merch 📸 BE A WHY FILES MODEL (and get free stuff!) 📸 Send a photo of you/family/friends watching TWF, 📸 wearing TWF gear, using TWF merchandise: 📸 https://thewhyfiles.com/wild 〰〰〰〰〰〰〰〰〰〰〰〰〰〰〰〰〰〰 🎧 THE PODCAST VERSION 🎧 🎧 https://thewhyfiles.com/podcast 🎧 〰〰〰〰〰〰〰〰〰〰〰〰〰〰〰〰〰〰 ▪TWF ON THE WEBS ▪ / thewhyfiles ▪ / omgthewhyfiles ▪ / omgthewhyfiles ▪https://www.rumble.com/thewhyfiles ▪https://thewhyfiles.locals.com ▪ / thewhyfiles ▪ / omgthewhyfiles 〰〰〰〰〰〰〰〰〰〰〰〰〰〰〰〰〰〰 🐠 BETTER CHANNELS TO WATCH: 🐠 / hecklefishmoriarty 🤓 / thewhyfilesbackstage https://www.youtube.com/watch?v=-jtqMGKaw6c

Premiered Aug 31, 2023 The Why Files: Operation Podcast Play War Thunder now with my link, and get a massive, free bonus pack including vehicles, boosters and more: https://playwt.link/thewhyfiles2023 Thanks War Thunder for sponsoring this video! War Thunder is a highly detailed vehicle combat game containing over 2000 playable tanks, aircrafts and ships spanning over 100 years of development. Immerse yourself completely in dynamic battles with an unparalleled combination of realism and approachability. Your world is an illusion. Your choices are irrelevant. Your friends, your family, and everyone around you are just manifestations of your mind. You’re a trapped animal in a cage: a virtual reality created more than 250,000 years ago for a single purpose: to use you as food. Your emotions are food for those who created the cage. Feelings of happiness and joy are digestible. But those emotions are nowhere near as nourishing as sadness, malice, and especially anger. Pain on a small scale is good, but pain due to war, famine, and pandemics? That’s even better. You’re born, you grow, and you spend the first third of your life learning how to live in a society that barely knows you exist. Maybe you get married, have kids, maybe even grandkids. Then, you die - and the pain ends. But death is just the beginning. Because now, you get to do it all over again. #Aliens #Moon #Conspiracy 〰〰〰〰〰〰〰〰〰〰〰〰〰〰〰〰〰〰 EXECUTIVE PRODUCERS: Gino Gentile Jennifer Gentile AJ Gentile Patreon Members THANK YOU MODS: jengen13 (Mrs. Why Files) Victoria Young Loolykins JohnnyBGood Cricket Hybrid Paul Rohrbaugh Mischief Guilty Kiam Timothy Weal Messor Synful Snowcrash Original Jim 〰〰〰〰〰〰〰〰〰〰〰〰〰〰〰〰〰〰 SOURCES & LINKS Humans are not from Earth: a scientific evaluation of the evidence by Ellis Silver https://amzn.to/45oK9kb The Biggest Secret: The Book That Will Change the World by David Icke https://amzn.to/3R2ALhT http://viewzone.com/anomaluna1.html https://www.abovetopsecret.com/forum/... https://en.wikipedia.org/wiki/Reptili... 〰〰〰〰〰〰〰〰〰〰〰〰〰〰〰〰〰〰 🙏 SUPPORT THE WHY FILES 🙏 / thewhyfiles (Fun, Free Perks!) 👽 BUY WHY FILES MERCH 👽 👽 https://shop.thewhyfiles.com (Code: LIZZIDPEEPLE for 10% off first order) 👽 💬 CHAT WITH US ON DISCORD 💬 💬 https://thewhyfiles.com/discord 💬 〰〰〰〰〰〰〰〰〰〰〰〰〰〰〰〰〰〰 🌐 OFFICIAL WEB SITE: https://thewhyfiles.com 🕵️ Submit a topic, suggestion or just say hi: 🕵️ https://thewhyfiles.com/tips 🎨 Have a product suggestion or want to design artwork for TWF? 🎨 https://thewhyfiles.com/merch 📸 BE A WHY FILES MODEL (and get free stuff!) 📸 Send a photo of you/family/friends watching TWF, 📸 wearing TWF gear, using TWF merchandise: 📸 https://thewhyfiles.com/wild 〰〰〰〰〰〰〰〰〰〰〰〰〰〰〰〰〰〰 🎧 THE PODCAST VERSION 🎧 🎧 https://thewhyfiles.com/podcast 🎧 〰〰〰〰〰〰〰〰〰〰〰〰〰〰〰〰〰〰 ▪TWF ON THE WEBS ▪ / thewhyfiles ▪ / omgthewhyfiles ▪ / omgthewhyfiles ▪https://www.rumble.com/thewhyfiles ▪https://thewhyfiles.locals.com ▪ / thewhyfiles ▪ / omgthewhyfiles 〰〰〰〰〰〰〰〰〰〰〰〰〰〰〰〰〰〰 🐠 BETTER CHANNELS TO WATCH: 🐠 / hecklefishmoriarty 🤓 / thewhyfilesbackstage https://www.youtube.com/watch?v=r8p44wQMtNE

Oct 31, 2023 In today's true crime documentary, we're covering the case of Daniel Marsh and analyzing it from an educational legal and psychological perspective.

The Universal Film Manufacturing Company was not known in the silent era as premier producer of motion pictures. Yet, in 1916 they produced a film that could not be made effectively without expensive special effects and special photography. The novel had previously been made as short films in 1907 by Georges Méliès and in 1913 by French company ÃÂclair.) Marshalling the expertise underwater experts Ernest and George Williamson, Universal financed the extensive production which would require location photography, large sets, exotic costumes, sailing ships, and a full-size navigable mock-up of the surfaced submarine Nautilus. https://archive.org/details/20000LeaguesUndertheSea

Sep 26, 2023 What is common between Radical Islamist militias. We go undercover to find out. Twitter: / realstoriesdocs Facebook - / realstorieschannel Instagram - @realstoriesdocs https://www.youtube.com/watch?v=keqZb6YrVO4

Nov 5, 2023 SAQQARAH At the heart of Saqqara, the largest necropolis in Egypt, which was built around 2600 BC, is the Step Pyramid of Djoser. It is surrounded by a wall, covered in hieroglyphics which form a priceless book of the dead, the greatest body of texts in all humanity. This pyramid, with its unusual design, is the first and most complex of all. Under Djoser's reign, there was a veritable architectural revolution with the construction of mankind's first high-reaching monument, built entirely of stone. Kilometres of secret galleries stretch out beneath Djoser. Their conception and building were an incredible technical accomplishment for the people of Egypt. Documentary: The Pyramids: Solving the Mystery - EP1: Saqqara, the First Pyramid Directed by: Lionel Langlade Production: Label News #documentary #freedocumentary #history #egypt #pyramid #saqqara #necropolis https://www.youtube.com/watch?v=bea0SAtASPo

Nov 30, 2021 A popular YouTuber has died, just days after assuring fans he wasn’t dead. Apetor, a Norwegian man with over 1.2 million subscribers, posted his last video on November 22nd with the title “I am Not Dead, I am 57 Today.” Eckhoff’s partner said he was in an icy lake for too long while filming a video. He was “picked up by divers and sent by air ambulance” to the hospital, where he died from his injuries a day later. Apetor’s videos embraced the joy in both travel and everyday life. https://www.youtube.com/watch?v=S33WT_jBl_s

After the Thin Man is a 1936 American murder mystery comedy film directed by W. S. Van Dyke and starring William Powell, Myrna Loy and James Stewart. A sequel to the 1934 feature The Thin Man, the film presents Powell and Loy as Dashiell Hammett's characters Nick and Nora Charles. The film also features Elissa Landi, Joseph Calleia, Jessie Ralph, Alan Marshal and Penny Singleton (billed under her maiden name as Dorothy McNulty). Plot Nick and Nora Charles return from vacation on New Year's Eve to their home in San Francisco, where Nora's stuffy family expects the couple to join them for a formal dinner. Nick is disliked by Nora's aunt Katherine, the family matriarch, as his immigrant heritage and experience as a "flatfoot" are considered beneath Nora's station. Nora's cousin Selma tells Nora that her husband Robert has been missing for three days. David Graham is Selma's earlier fiancé and an old friend of Nora's family. He offers to pay Robert $25,000 to leave and grant Selma a divorce. Nora successfully badgers Nick into helping to locate Robert. Lobby card for After the Thin Man (1936) Robert is at the LiChi Club, a Chinese nightclub, where he has been in an affair with Polly, the club's star performer. Unknown to Robert, Polly and club owner Dancer plan to steal the money that David will pay Robert. Polly's brother Phil Byrnes wants money from her, but Dancer throws him out, just as Nick and Nora arrive looking for Robert. They tell Robert about David's offer and he agrees to it. After being paid off, Robert goes back into Aunt Katherine's home to retrieve some clothes and say goodbye to Selma, who begs him not to leave. Nick sees Dancer and nightclub co-owner Lum Kee each leave the club separately at the same time. Robert leaves at the stroke of midnight and is shot dead in the foggy street. David finds Selma standing over Robert, a pistol in her hand. Lt. Abrams considers Selma the prime suspect, and her fragile mental state only strengthens his belief. Selma insists that she never fired her gun, but her claim cannot be backed up as David had thrown the gun into San Francisco Bay, thinking she was guilty. Nick begins to investigate to find the actual murderer. Someone throws a rock with a note tied to it through Nick and Nora's window. The note accuses Polly and Dancer of conspiring to kill Robert while revealing that Phil Byrnes is an ex-con and Polly's husband. Lt. Abrams has found several checks from Robert to Polly, including one for $20,000, but Nick carefully compares them and sees that all but one are forgeries. Nick and Lt. Abrams find Phil murdered in his hotel room. Nick investigates Polly's apartment and discovers that someone using the name Anderson had bugged it from the apartment above. While in the upper apartment, Nick hears Dancer enter Polly's home. Nick pursues Dancer into the basement, but Dancer fires a round of bullets at Nick and disappears. Nick discovers the body of the building custodian, Pedro. Nora identifies Pedro as the former gardener from her father's estate. She finds a photo in Pedro's room of him with their other servants. Lt. Abrams says someone tried to call Nick from the building just before Pedro was killed. Nick has Lt. Abrams gather all the suspects in the Anderson apartment. Dancer and Polly confess that they had intended to use a forged check to steal Robert's money but claim that they are innocent of murder. David says that he has not seen Pedro in six years but remembers his long white mustache. But Nick notices that in the picture from six years ago that Nora had found, Pedro had a small, dark mustache, and Nick infers that David saw Pedro recently. Nick now reconstructs the murder. David is revealed to be Anderson. He hated Robert for taking Selma from him, and also secretly hated Selma for leaving him. He rented the apartment so that he could eavesdrop on Polly and Robert and kill them in the apartment. Instead, he killed Robert on the street and tried to frame Selma for the murder. While spying on Polly, he overheard Phil's real identity and Phil's plan to blackmail David. David murdered Phil and threw the message rock as a diversion. However, Pedro had recognized David as the mysterious Anderson, so David killed him as well. David brandishes a pistol and threatens to kill Selma and then himself. Lum Kee flings his hat in David's face, allowing Nick and Lt. Abrams to overpower him. This surprises Nora because Nick had Lum Kee's brother sent to prison for bank robbery, but Lum Kee explains: "I don't like my brother. I like his girl. You my friend." Nick and Nora leave San Francisco by train for the East Coast, accompanied by Selma. Later, alone with Nora, Nick notices that she is knitting a baby's sock and suddenly realizes that she is pregnant. Nora gently chides him, saying, "And you call yourself a detective." Cast The cast is listed in order as documented by the American Film Institute.[2] William Powell as Nick Charles, called "Nicholas" by Aunt Katherine Myrna Loy as Nora Charles James Stewart as David Graham Elissa Landi as Selma Landis Joseph Calleia as "Dancer" Jessie Ralph as Aunt Katherine Forrest Alan Marshal as Robert Landis Teddy Hart as Casper Sam Levene as Lieutenant Abrams Penny Singleton as Polly Byrnes (credited as Dorothy McNulty) William Law as Lum Kee George Zucco as Dr. Kammer Paul Fix as Phil Byrnes Skippy as Asta Harlan Briggs as Burton Forrest (uncredited) Harlan Briggs: Burton Forrest Maude Turner Gordon as Helen (uncredited) Tom Ricketts as Henry, the butler (uncredited) Zeffie Tilbury as Aunt Lucy (uncredited) Esther Howard as the woman at LiChi Club who says "Hello, handsome" to Nick (uncredited) Production The film's storyline was written by Dashiell Hammett based on his characters Nick and Nora, but not on a particular novel or short story. Albert Hackett and Frances Goodrich wrote the original screenplay. The film was the second of six feature films based on the characters of Nick and Nora: The Thin Man (1934) 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) Reception The film was nominated for an Oscar in 1937 for Best Writing, Screenplay.[3] Review aggregator Rotten Tomatoes lists the film with a score of 100% based on reviews from 18 professional critics, with a rating average of 7.65/10.[4] After the Thin Man grossed a domestic and foreign total of $3,165,000: $1,992,000 from the U.S. and Canada and $1,173,000 elsewhere. It returned a profit of $1,516,000.[1] Radio adaptation An hour-long radio adaptation of After the Thin Man was presented on the CBS Lux Radio Theatre on June 17, 1940. Powell and Loy reprised their roles.[5] References in other media The film is name-checked by the 1938 American mystery novel The Listening House by Mabel Seeley during an interlude in which the book's protagonist goes to see a film called After the Dark Man. Home media After the Thin Man was released on Blu-ray by the Warner Archive Collection on January 26, 2021.[6] https://en.wikipedia.org/wiki/After_the_Thin_Man

A Tale of Two Cities is a 1935 film based upon Charles Dickens' 1859 historical novel, A Tale of Two Cities, set in London and Paris. The film stars Ronald Colman as Sydney Carton and Elizabeth Allan as Lucie Manette. The supporting players include Edna May Oliver, Reginald Owen, Basil Rathbone, Lucille La Verne, Blanche Yurka, Henry B. Walthall and Donald Woods. It was directed by Jack Conway from a screenplay by W. P. Lipscomb and S. N. Behrman. The film was nominated for the Academy Award for Best Picture and Best Film Editing. The story is set in France and England and spans several years before and during the French Revolution. It deals with the evils that precipitated the Revolution and with an innocent family and their friends caught up in the horrors of the Terror. Charles Darnay, a French aristocrat who has rejected his rank and moved to England, and Sidney Carton, an alcoholic English advocate, both fall in love with Lucie Manette. Lucie has brought her father to England to recover from 18 years of unjust imprisonment in the Bastille. Lucie befriends Carton and later marries Darnay. In the end, Carton saves Darnay's life by taking his place at the guillotine. The film is generally regarded as the best cinematic version of Dickens' novel and one of the best performances of Colman's career.[2] Plot The film opens with a portion of the famous introduction to the novel: “ It was the best of times, it was the worst of times, it was the season of Light, it was the season of Darkness, we had everything before us, we had nothing before us... In short, it was a period very like the present...” Lucie Manette (Elizabeth Allan) and her servant and companion Miss Pross (Edna May Oliver) are informed by elderly banker Mr. Jarvis Lorry (Claude Gillingwater) that her father, Dr. Alexandre Mannette (Henry B. Walthall) is not dead, but has been a prisoner in the Bastille for eighteen years before finally being rescued. She travels with Mr. Lorry to Paris to take her father to her home in England. Dr. Manette has been cared for by a former servant, Ernest De Farge (Mitchell Lewis), and his wife (Blanche Yurka) who own a wine shop in Paris. The old man's mind has given way during his long ordeal, but Lucie's tender care begins to restore his sanity. On the return trip across the English Channel, Lucie meets Charles Darnay (Donald Woods), a French aristocrat who, unlike his uncle, the Marquis St. Evremonde (Basil Rathbone), is sympathetic to the plight of the oppressed and impoverished French masses. He has denounced his uncle, relinquished his title, changed his name and is going to England to begin a new life. The marquis has Darnay framed for treason, but he is defended by barrister C.J. Stryver (Reginald Owen) and his highly proficient but cynical colleague Sydney Carton (Ronald Colman). Carton goes drinking with Barsad (Walter Catlett), the main prosecution witness and tricks him into admitting that he framed Darnay. When Barsad is called to testify, he is horrified to discover that Carton is a member of the defense. He recants his testimony to save himself, and Darnay is acquitted. Following the trial, Carton is thanked by Lucie. He quickly falls in love with her. Darnay confesses to Dr. Manette he is the nephew of the Marquis St. Evremonde; Manette forgives him, but reserves the right to tell Lucie himself. On their way to church, Lucie meets Carton and invites him to join them and he accepts. Afterwards, she invites him into their home to celebrate Christmas, but he declines because he has been drinking. Lucie and Carton eventually become close friends. Carton has hopes that Lucie will requite his love, but one day she tells him that she is engaged to Darnay. Lucie and Darnay marry and have a daughter, also named Lucie, who is very fond of Carton. By this time, the French Revolution is beginning. Charles' uncle, the Marquis St. Evremond is one of its first victims, stabbed in his sleep by a man whose child had been fatally run down by his coach. The long-suffering peasants vent their fury on the aristocrats, condemning scores daily to Madame Guillotine. Darnay is tricked into returning to Paris and is arrested. Lucie and Dr. Manette travel to Paris to save Darnay. Manette pleads for mercy for his son-in-law, but Madame De Farge, seeking revenge against all the Evremondes, convinces the tribunal to sentence Darnay to death, using a letter Dr. Manette wrote while in prison, cursing and denouncing the entire Evremonde family. Upon learning of Darnay's imprisonment, Carton travels to Paris to comfort Lucie. Carton consults Mr. Lorry and tells him of his plan to rescue Darnay. Carton discovers Barsad is also in Paris and works as a spy in the prisons. Carton overcomes Barsad's reluctance to help him with his scheme to rescue Darnay by threatening to reveal that Barsad had been a spy for the Marquis St. Evremonde. Barsad takes Carton to visit Darnay in his cell; Carton renders Darnay unconscious with ether, switches clothes with him, and finishes the letter Darnay has been writing to Lucie and puts it in Darnay's pocket. Darnay is carried out of the cell without anyone noticing the switch. While Lucie prepares to return to England, Madame De Farge goes to provoke her into denouncing the Republic, but she is intercepted by Miss Pross inside the now-vacated apartment. Pross knows why Madame De Farge has come and is determined to stop her. The two women fight and De Farge pulls out a pistol, but in the ensuing struggle, Pross kills her. Darnay, Lucie, little Lucie, Lorry and Pross all escape safely. While awaiting execution, a condemned, innocent seamstress (Isabel Jewell) who was sentenced at the same time as Darnay, notices Carton has assumed his identity. She draws comfort from his bravery and sacrifice as they ride together to the guillotine. As Carton stands at the foot of the guillotine, drums roll and then fade away as the camera rises up past the guillotine to the city and the sky above. His voice is heard saying, "It's a far, far better thing I do than I have ever done. It's a far, far better rest I go to than I have ever known." Cast Ronald Colman as Sydney Carton. Colman had long wanted to play Sydney Carton on film. He was even willing to shave off his moustache.[3] Elizabeth Allan as Lucie Manette Edna May Oliver as Miss Pross Reginald Owen as C.J. Stryver Basil Rathbone as Marquis St. Evremonde Blanche Yurka as Madame Therese De Farge (Madame Defarge in the book), in her film debut Henry B. Walthall as Dr. Alexandre Manette Donald Woods as Charles Darnay Walter Catlett as John Barsad Fritz Leiber as Gaspard H. B. Warner as Theophile Gabelle Mitchell Lewis as Ernest De Farge Claude Gillingwater as Jarvis Lorry Billy Bevan as Jerry Cruncher Isabel Jewell as the Seamstress Lucille LaVerne as The Vengeance Tully Marshall as a Woodcutter Fay Chaldecott as Lucie Darnay, a child Eily Malyon as Mrs. Cruncher E. E. Clive as Judge in Old Bailey Lawrence Grant as a Prosecutor Robert Warwick as Judge at tribunal Ralf Harolde as a Prosecutor John Davidson as Morveau Tom Ricketts as Tellson Jr. Donald Haines as Jerry Cruncher Jr. Barlowe Borland as Jacques Production Filming ran from June 4, 1935, to August 19, 1935[4] The picture premiered in New York City on December 15, 1935. The closing credits spell the name De Farge. Dickens spelled it Defarge in the novel. According to TCM's Genevieve McGillicuddy, “Selznick had no trouble finding a lead actor... Ronald Colman had coveted the part since he began his career and knew the novel intimately. In an interview seven years before being cast as Sydney Carton, Colman reflected on Dickens' forte for characterization, stating that Carton 'has lived for me since the first instant I discovered him in the pages of the novel.' "[5] In the book, Carton and Darnay are supposed to be as alike as twins. According to TCM, Selznick wanted Colman to play both roles, but Colman refused because of his experience with The Masquerader (1933). Selznick later commented, "I am glad now that he held out for that, because I think a great deal of the illusion of the picture might have been lost had Colman rescued Colman and had Colman gone to the guillotine so that Colman could go away with Lucie." In 1937, Colman did play a dual role for Selznick in The Prisoner of Zenda.[2] Judith Anderson, May Robson, Emily Fitzroy and Lucille LaVerne all tested for Madame De Farge. LaVerne's portrayal in another role, as "The Vengeance", inspired the character of the Evil Queen in Disney's Snow White and the Seven Dwarfs: She provided the voices for both the Queen and the hag. Blanche Yurka, a noted Broadway actress at the time, made her film debut playing Madame De Farge.[2] Reception Andre Sennwald wrote in The New York Times of December 26, 1935: "Having given us 'David Copperfield', Metro-Goldwyn-Mayer now heaps up more Dickensian magic with a prodigally stirring production of 'A Tale of Two Cities' ... For more than two hours it crowds the screen with beauty and excitement, sparing nothing in its recital of the Englishmen who were caught up in the blood and terror of the French Revolution ... The drama achieves a crisis of extraordinary effectiveness at the guillotine, leaving the audience quivering under its emotional sledge-hammer blows ... Ronald Colman gives his ablest performance in years as Sydney Carton and a score of excellent players are at their best in it ... Only Donald Woods's Darnay is inferior, an unpleasant study in juvenile virtue. It struck me, too, that Blanche Yurka was guilty of tearing an emotion to tatters in the rôle of Madame De Farge ... you can be sure that 'A Tale of Two Cities' will cause a vast rearranging of ten-best lists."[6] The Marquis St. Evrémonde was nominated for the 2003 American Film Institute list AFI's 100 Years...100 Heroes & Villains.[7] https://en.wikipedia.org/wiki/A_Tale_of_Two_Cities_(1935_film)

Assunta Spina is a 1915 Italian silent film. Outside Italy, it is sometimes known as Sangue Napolitano ("Neapolitan Blood"). Plot Assunta Spina is a laundress living in Naples, engaged to a violent butcher named Michele Mangiafuoco. She is also courted intensely by Raffaele. When she accepts Raffaele's offer to dance during an open air feast in Posillipo, as she feels Michele is ignoring her, tragedy strikes. Michele, blinded by rage, slashes her face and is subsequently arrested. During the trial she bears witness in order to rescue him, saying he never wounded her, but the jury does not believe her. She is enticed by the court vice-chancellor to strike a bargain—Michele will stay in the nearby prison of Naples instead of Avellino, and at the end of the punishment Michele will kill the vice-chancellor before Assunta's eyes. She must take responsibility for the act before the eyes of the police in order to save her man. Production The original novel from which the story was taken was written by Salvatore di Giacomo, and had been adapted to a successful theatre drama in 1909. Before Francesca Bertini became a famous actress, she would perform in this drama as a walk-on in the laundry scenes. Five years later, when she had started her career as a film actress, she and actor-director Gustavo Serena adapted the drama for film. Bertini is sometimes listed as co-director of the film. Bertini claimed with some support that she was the director of the film.[1] The film stock was colorized with 4 colors and distributed worldwide by Caesar Film.[citation needed] Cast Francesca Bertini - Assunta Spina[1] Gustavo Serena - Michele Boccadifuoco Carlo Benetti - Don Federigo Funelli Luciano Albertini - Raffaele Amelia Cipriani - Peppina Antonio Cruichi - Assunta's father Alberto Collo - Officer Alberto Albertini Legacy This section possibly contains original research. Please improve it by verifying the claims made and adding inline citations. Statements consisting only of original research should be removed. (December 2014) (Learn how and when to remove this template message) Francesca Bertini fully displayed her talent for the first time, introducing a new style of acting on the Italian silver screen.[1] Her performance is generally rated as extraordinary,[citation needed] and in polar opposition to the work of writer and dramatist Gabriele D'Annunzio, who was very popular at the time. Scene from Assunta Spina For example, the movie Cabiria by Giovanni Pastrone (1914)—one of the first known films where a camera moves through scenes while filming—was once considered a masterpiece at least in part because D'Annunzio had written the captions, but to modern moviegoers they seem excessively emphatic and redundant. The same can be said of the marked gestures of many actors and actresses of the silent era. Bertini wanted to end this affected behavior, so she focused on realism. Her performances bear a closer resemblance to reality because of some acting devices: never look into the camera, use everyday gestures, and so on. This acting style also reduced the need for captions explaining the action. Other versions In 1930 the plot of Assunta Spina inspired a new film by Roberto Roberti. Another was produced in 1948, directed by Mario Mattoli, with Anna Magnani and Eduardo De Filippo as the protagonists.

The Coward is a 1915 American silent historical war drama film directed by Reginald Barker and produced by Thomas H. Ince. Ince also wrote the film's scenario with C. Gardner Sullivan, from a story Ince had bought from writer (and future director) Edward Sloman. The film stars Frank Keenan and Charles Ray.[2] John Gilbert also appears in an uncredited bit part.[3] A copy of The Coward is preserved at the Museum of Modern Art.[4] Plot Set during the American Civil War, Keenan stars as a Virginia colonel, with Charles Ray as his weak-willed son. The son is forced, at gunpoint, by his father to enlist in the Confederate States Army. He is terrified by the war and deserts during a battle. The film focuses on the son's struggle to overcome his cowardice. Cast Frank Keenan as Col. Jefferson Beverly Winslow Charles Ray as Frank Winslow Gertrude Claire as Mrs. Elizabeth Winslow Nick Cogley as a Negro Servant Charles K. French as a Confederate Commander Margaret Gibson as Amy Minnie Provost as Mammy John Gilbert as a Young Virginian (uncredited) Bob Kortman as a Union Officer (uncredited) Leo Willis as a Union Soldier (uncredited) Reception The Coward was both a critical and financial success and helped to launch Charles Ray's career.[3] Criticism Unusually at the time, the main character is not presented as a gallant Southerner who is eager to fight in the war.[5] The acting in this film was much more natural than earlier films, with cutting and camera angles helping the actor's use of facial expressions and pauses to convey dramatic tension.[6] https://en.wikipedia.org/wiki/The_Coward_(1915_film)

Martyrs of the Alamo (also known as The Birth of Texas) is a 1915 American historical war drama film written and directed by Christy Cabanne. The film is based on the historical novel of the same name by Theodosia Harris, and features an ensemble cast including Sam De Grasse, Douglas Fairbanks, Walter Long and Alfred Paget.[1] Fairbanks role was uncredited, and was his first role in film, although his first starring role, in The Lamb, was released prior to this picture.[2] The film features the siege of Béxar, the Battle of the Alamo, and the Battle of San Jacinto. While making claims to historical accuracy, the film depicts the Mexican population in San Antonio in 1836 as a group of ill-mannered drunks. One scene depicts a Mexican officer verbally assaulting a white woman and making advances on her. The white woman reports the incident to her husband, Almeron Dickinson, who in turn shoots the Mexican officer. In his book Remembering the Alamo, author Richard R. Flores, argues that the negative portrayal of the Mexican population is due to racism toward Mexicans in 1915, the year the film was produced.[3] A copy of the film is preserved at the Library of Congress.[1] Cast Sam De Grasse as Silent Smith (Deaf Smith) Allan Sears as David Crockett Walter Long as Santa Anna Alfred Paget as James Bowie Fred Burns as Almeron Dickinson John T. Dillon as Colonel Travis Douglas Fairbanks as Joe/Texan Soldier Juanita Hansen as Old Soldier's Daughter Ora Carew as Mrs. Dickinson Tom Wilson as Sam Houston Augustus Carney as Old Soldier

Jan 26, 2019 The Sacred City presents compelling evidence that suggests the holy city of Mecca is in the wrong location and that the worlds 1.6 billion Muslims are praying in the direction of the wrong city. Compiling evidence from both historic sources and new technologies point to the correct location in this seismic, revelatory new film. In this startling and original documentary, writer and historian, Dan Gibson, shows that descriptions of Mohamed’s original holy city – as detailed in the Qur’an and Islamic histories, do not match that of the Mecca we know today. If true this could shake Islam to it’s roots, because every Muslim is required to pray towards the ‘forbidden gathering place’. If Dan Gibson is right, Muslims are praying in the wrong direction. In the film ‘The Sacred City’ we set out his evidence from within Islamic and ancient histories – while also using modern technologies - to track down the biggest secret of the last fifteen hundred years. Gibson not only finds the location of the original Mecca but also provides a convincing argument as to how such a great misunderstanding in Islamic history came about. While clearly controversial, The Sacred City is respectful of Islam’s prophet, and does not dispute the events of the Qur’an; but shows how a deliberate attempt was made to hide from Islam, secrets that impact every Muslim today. The evidence is compelling and fascinating. In a time when the world agenda is being set by Islam, it is more important than ever for the origins and history of this world religion to be examined afresh. This is an important documentary with world-wide appeal for both religious and secular audiences. Beautifully filmed in the ruins and deserts of the middle east, the film is a detective story that investigates the dawn of Islam and will become the most talked about film for years to come. It's like Netflix for history... Sign up to History Hit, the world's best history documentary service, at a huge discount using the code 'TIMELINE' ---ᐳ http://bit.ly/3a7ambu You can find more from us on: https://www.facebook.com/timelineWH https://www.instagram.com/timelineWH This channel is part of the History Hit Network. Any queries, please contact owned-enquiries@littledotstudios.com https://www.youtube.com/watch?v=JOWFPTzK7D4

For the 1956 film, also directed by Cecil B. DeMille, see The Ten Commandments (1956 film). The Ten Commandments Theatrical release poster Directed by Cecil B. DeMille Story by Jeanie MacPherson Produced by Cecil B. DeMille Starring Theodore Roberts Charles De Roche Estelle Taylor Julia Faye Richard Dix Rod La Rocque Leatrice Joy Nita Naldi Cinematography Bert Glennon Peverel Marley Archibald Stout J. F. Westerberg Edited by Anne Bauchens Color process Technicolor Production company Famous Players–Lasky Corporation Distributed by Paramount Pictures Release dates December 4, 1923 (Los Angeles premiere) December 21, 1923 (New York City premiere) Running time 136 minutes Country United States Languages Silent English intertitles Budget $1.5 million[1] Box office $4.2 million[1][2] The Ten Commandments is a 1923 American silent religious epic film produced and directed by Cecil B. DeMille. Written by Jeanie MacPherson, the film is divided into two parts: a prologue recreating the biblical story of the Exodus and a modern story concerning two brothers and their respective views of the Ten Commandments. Lauded for its "immense and stupendous" scenes, use of Technicolor process 2, and parting of the Red Sea sequence,[3] the expensive film proved to be a box-office hit upon release.[4] It is the first in DeMille's biblical trilogy, followed by The King of Kings (1927) and The Sign of the Cross (1932). The Ten Commandments is one of many works from 1923 that entered the public domain in the United States in 2019.[5] Plot Duration: 2 hours, 16 minutes and 13 seconds.2:16:13 The Ten Commandments The film has two parts: the Prologue, the epic tale of Moses; and the Story, in a modern setting and involving living by the Ten Commandments. The prologue The opening statement explains that modern society mocked Judeo-Christian morality until it witnessed the horrors of World War I; it then beseeches the viewer to return to the Commandments, calling them "the fundamental principles without which mankind cannot live together. They are not laws—they are the LAW." From there, the Book of Exodus is recounted, starting just after the ninth plague. After their flight from Egypt, and the Crossing of the Red Sea, Moses climbs Mount Sinai and witnesses the Commandments given as writing in the sky, which he then carves into stone tablets. When he returns, he finds the Israelites have fallen into debauchery and built a golden calf to worship. Furiously, he smashes the Commandments, deeming the Israelites unworthy. An Israelite man and woman seducing each other find, to the horror of both, that the woman has hideous sores covering her hands and is unclean, prompting her to beg Moses to be cleansed. Moses calls on God's power and lightning destroys the calf. The story Two brothers, John and Dan McTavish, live with their mother Martha, a believer in Biblical inerrancy. The two brothers make opposite decisions; John follows his mother's teaching of the Commandments, becoming a carpenter living on meager earnings, and Dan, now an avowed atheist who is convinced the Commandments offer him nothing, vows to break every one of them and rise to the top. Martha evicts Dan from her house. He stops at a lunch wagon. There, Mary, an impoverished but beautiful young woman, steals a bite of Dan's sandwich, triggering a madcap chase after her. She takes refuge in the McTavish house, where John convinces his mother to take Mary in for the night. John also convinces Dan to set aside his grievance and stay; he introduces Dan to Mary. Dan quickly wins Mary over with his freewheeling ways. Martha's strict observance of the Sabbath causes friction when Dan and Mary dance on Sunday, and, although John tries to convince his mother to show grace, Dan and Mary decide it's time to run off together. Three years later, Dan has become a corrupt contractor. He earns a contract to build a massive cathedral and decides to cut the amount of cement in the concrete to dangerously low levels, pocketing the money saved and becoming very rich. He puts John, still a bachelor, in charge of construction, hoping to use him to provide her mother the gifts that she refuses to accept from Dan. Dan cheats on Mary with Sally, a Eurasian adulteress. One day, Martha visits John at his work site; a wall collapses on her. Fatally injured, with her last words, she tells Dan she spent too much time trying to teach fear, not love, of God. Now out of money, Dan learns a muckraker tabloid threatens to expose his operation. His business partner recommends a $25,000 bribe to stop publication, but lacking the funds, Dan instead attempts suicide – his partner stops him, solely because he refuses to take the fall alone, and demands the money. He goes to Sally's brothel to take back expensive pearls he gave her, but Sally refuses, revealing she smuggled herself into the country from Molokai through a contraband jute shipment and is thus infected with leprosy, likely infecting Dan as well. In a rage, he kills Sally and attempts to flee to Mexico on a motorboat (Defiance), but rough weather sends him off course and he crashes into a rocky island. His dead body is among the wreckage. Mary, fearing herself also infected, stops by John's office to say goodbye, but John insists on taking her in. As he reads Mary the New Testament story of Jesus healing the lepers (re-enacted on screen, with Jesus shown only from behind), a light shows Mary's hands not to be scarred at all, and that her perceived scars had disappeared in the light. Throughout the film, the visual motif of the commandments' tablets appears in the sets, with a particular commandment appearing on them when relevant to the story. Cast Prologue Theodore Roberts as Moses, The Lawgiver Charles De Roche as Rameses, The Magnificent Estelle Taylor as Miriam, The Sister of Moses Julia Faye as The Wife of Pharaoh Pat Moore (billed as Terrence Moore) as The Son of Pharaoh James Neill as Aaron, Brother of Moses Lawson Butt as Dathan, The Discontented Clarence Burton as The Taskmaster Noble Johnson as The Bronze Man Story Edythe Chapman as Mrs. Martha McTavish Richard Dix as John McTavish, her son Rod La Rocque as Dan McTavish, her son Leatrice Joy as Mary Leigh Nita Naldi as Sally Lung, a Eurasian Robert Edeson as Redding, an Inspector Charles Ogle as The Doctor Agnes Ayres as The Outcast Production The idea for the film was based upon the winning submission to a contest in which the public suggested ideas for DeMille's next film.[2] The winner was F. C. Nelson of Lansing, Michigan; the first line of his suggestion read: "You cannot break the Ten Commandments—they will break you."[2] Production on the film started on May 21, 1923, and ended on August 16, 1923.[2] Writing The four main characters of the modern story (from left to right): John McTavish, a carpenter; his mother, Mrs. Martha McTavish; his sister-in-law, Mary Leigh; and his brother, Dan McTavish Jeanie MacPherson, the film's screenwriter, first thought to "interpret the Commandments in episodic form".[2] Both she and DeMille eventually decided on an unusual two-part screenplay: a biblical prologue and a modern story demonstrating the consequences of breaking the Ten Commandments.[2] In a treatment for the film, MacPherson described the four main characters of the modern story: There are four people in the modern story of The Ten Commandments, and they view these Commandments in four different ways. There is Mrs. McTavish, the mother, who keeps the Commandments the wrong way. She is narrow. She is bigoted. She is bound with ritual. She is a representative of orthodoxy, yet withal she is a fine, clean, strong woman just like dozens we all know. There is a girl, Mary Leigh, who doesn't bother about the Ten Commandments at all. She is a good kid, but she has spent so much time working that she hasn't learned the Ten Commandments... Dan McTavish knows the Ten Commandments, but defies them. John McTavish is a garden variety of human being, which believes the Ten Commandments as unchanging, immutable laws of the universe. He is not a sissy or a goody-goody, he is a regular fellow, an ideal type of man of high and steadfast principles, who believes the Commandments are as practicable in 1923 as they were in the time of Moses.[2] Filming The Gates of Rameses in one of the film's Technicolor sequences The Exodus scenes were filmed at the Guadalupe-Nipomo Dunes in northern Santa Barbara County.[2] The film location was originally chosen because its immense sand dunes provided a superficial resemblance to the Egyptian desert. Rumor had it that after the filming was complete, the massive sets – which included four 35-foot-tall (11 m) Pharaoh statues, 21 sphinxes, and gates reaching a height of 110 feet, which were built by a small army of 1,600 workers – were dynamited and buried in the sand. Instead, the wind, rain and sand at the Guadalupe-Nipomo Dunes likely collapsed and buried a large part of the set under the ever-shifting dunes. The statues and sphinxes are in roughly the same place they were during filming. In 2012, archaeologists uncovered the head of one of the prop sphinxes; a 2014 recovery effort showed the body of that sphinx to have deteriorated significantly, but a second better-preserved sphinx was discovered and excavated.[6][7] The effort to locate and excavate the set was the subject of a 2016 documentary, The Lost City of Cecil B. DeMille.[8][full citation needed] The parting of the Red Sea scene was shot in Seal Beach, California.[9] The visual effect of keeping the walls of water apart while the Israelites walked through was accomplished with a slab of Jell-O that was sliced in two and filmed close up as it jiggled. This shot was then combined with live-action footage of Israelites walking into the distance to create the illusion.[10][11] Portions of the modern story were filmed in San Francisco, with the cathedral building sequence filmed at the then under construction Sts. Peter and Paul Church on Filbert Street and the adjoining Washington Square. Release Distributed by Paramount Pictures, The Ten Commandments premiered at Grauman's Egyptian Theatre (in Hollywood) on December 4, 1923.[12][13] Critical response Moses leading the Israelites out of Egypt in one of the film's Technicolor sequences On its release, critics praised The Ten Commandments overall; however, the part of the film set in modern times received mixed reviews.[14] Variety, for example, declared the opening scenes alone worth the admission price, but found the remainder of the film disappointing by comparison: "The opening Biblical scenes of The Ten Commandments are irresistible in their assembly, breadth, color and direction [...] They are immense and stupendous, so big the modern tale after that seems puny."[3] According to the review aggregator website Rotten Tomatoes, 86% of critics have given the film a positive review based on 7 reviews, with an average rating of 6.7/10.[15] Box office The Ten Commandments became the highest-grossing film of 1923. The film's box-office returns held the Paramount revenue record for 25 years until it was broken by other DeMille films.[4] The film competed at the box office with Fox's The Shepherd King, and won out overall. Ban in China The movie was banned in the 1930s in China under a category of "superstitious films" due to its religious subject matter involving gods and deities.[16] Remake Main article: The Ten Commandments (1956 film) DeMille directed a second, expanded version of the biblical story in 1956. For the later version, DeMille dropped the modern-day storyline in favor of profiling more of Moses' early life. In 2006, the 1923 film was released on DVD as an extra feature on the 50th Anniversary DVD release of the 1956 film. In the DVD commentary with Katherine Orrison included with the 1923 film, she states that DeMille refilmed several sequences nearly shot-for-shot for the new version, and also had set pieces constructed for the later film that were near-duplicates of what he had used in 1923.[17] On March 29, 2011, Paramount released a new Blu-ray Disc with the 6-disc box set.[18] https://en.wikipedia.org/wiki/The_Ten_Commandments_(1923_film)

A Burlesque on Carmen is Charlie Chaplin's thirteenth film for Essanay Studios, originally released as Carmen on December 18, 1915. Chaplin played the leading man and Edna Purviance played Carmen. The film is a parody of Cecil B. DeMille's Carmen 1915, which was itself an interpretation of the popular novella Carmen by Prosper Mérimée.[1] Chaplin's original version was a tightly paced two-reeler, but in 1916 after he had moved to Mutual, Essanay reworked the film into a four-reel version called A Burlesque on Carmen, or Charlie Chaplin's Burlesque on Carmen, adding discarded footage and new scenes involving a subplot about a gypsy character played by Ben Turpin.[1] This longer version was deeply flawed in pacing and continuity, and not representative of Chaplin's initial conception. Chaplin sued Essanay but failed to stop the distribution of the longer version; Essanay's tampering with this and other of his films contributed significantly to Chaplin's bitterness about his time there. The presence of Essanay's badly redone version is likely the reason that A Burlesque on Carmen is among the least known of Chaplin's early works. Historian Ted Okuda calls the two-reel original version the best film of Chaplin's Essanay period, but derides the longer version as the worst.[2] Further reissues followed, for instance a synchronized sound version in 1928 by Quality Amusement Corporation. It was re-edited from the 1916 Essanay reissue, with a newly shot introduction written by newspaper columnist Duke Bakrak. This version, with rewritten title cards, poor sequencing, and "fuzzy" in appearance from generation loss, can be found today on some budget home video releases.[1] Film preservationist David Shepard studied Chaplin's court transcripts and other evidence to more closely reproduce the original Chaplin cut.[2] This version was released on DVD by Image Entertainment in 1999[3] and has since been restored a second time in HD.[4] Background The story of Carmen was very popular in the 1910s, and two films under this title were released earlier in 1915. One was directed by Raoul Walsh, in which stage actress Theda Bara played Carmen, and the other by Cecil B. DeMille, in which the part was played by opera star Geraldine Farrar.[1] DeMille's film received positive reviews[5] but Chaplin thought it was ripe for parody. Synopsis 1916 advertisement Carmen, a gypsy seductress is sent to convince Darn Hosiery, the goofy officer in charge of guarding one of the entrances to the city of Sevilla, to allow a smuggling run. She first tries to bribe him but he takes the money and refused to let the smuggled goods in. She then invites him to Lillas Pastia's inn where she seduces him. After a fight at the tobacco factory where Carmen works, he has to arrest her but later lets her escape. At Lillas Pastia's inn, he kills an officer who is also in love with her and has to go into hiding and he joins the gang of smugglers. Carmen meets the famous toreador Escamillo and falls in love with him. She accompanies him to a bullfight but Darn Hosiery waits for her and when she tells him that she no longer loves him, he stabs her to death. But it is not for real, Chaplin shows that the knife was fake and both smile at the camera. Review In reviewing the four-reel version of this film that Essanay released in April 1916, four months after Chaplin's contract had expired with the studio, Julian Johnson of Photoplay panned the lengthy re-release of this comedy. Johnson declared, "In two reels this would be a characteristic Chaplin uproar. Four reels is watering the cream." https://en.wikipedia.org/wiki/A_Burlesque_on_Carmen

Plane Crazy is a 1928 American animated short film directed by Walt Disney and Ub Iwerks. The cartoon, released by the Walt Disney Studios, was the first Mickey Mouse film produced, and was originally a silent film. It was given a test screening to a theater audience on May 15, 1928, and an executive from Metro-Goldwyn-Mayer saw the film, but failed to pick up a distributor. Later that year, Disney released Mickey's first sound cartoon, Steamboat Willie, which was an enormous success. Apart from that, Plane Crazy was released again as a sound cartoon on March 17, 1929.[1][2] It was the fourth Mickey film to be given a wide release after Steamboat Willie, The Gallopin' Gaucho and The Barn Dance (1929). Plot Mickey is trying to fly an airplane to imitate Charles Lindbergh. After building his own airplane, he does a flight simulation to ensure that the plane is safe for flight, but the flight fails, destroying the plane. Using a roadster and the remains of his plane to create another plane, he asks his girlfriend Minnie to join him for its first flight after she presents him with a horseshoe for good luck. They take an out-of-control flight with exaggerated, impossible situations. Clarabelle Cow briefly "rides" the aircraft.[4] Mickey uses a turkey's tail as a tail for his plane. Once he regains control of the plane, he repeatedly tries to kiss Minnie. When she refuses, he uses force: he breaks her concentration and terrifies her by throwing her out of the airplane, catching her with the airplane, and he uses this to kiss her. Minnie responds by slapping Mickey and parachutes out of the plane using her bloomers. While distracted by her, Mickey loses control of the plane and eventually crashes into a tree. Minnie then lands, and Mickey laughs at her exposed bloomers. Minnie then storms off, rebuffing him. Mickey then angrily throws the good luck horseshoe given to him by Minnie, and it boomerangs around a tree, hitting him, ringing around his neck, and knocking him out; this causes stars to fly out toward the screen, with one of the stars filling the screen up, ending the film.[5] Production The short was co-directed by Walt Disney and Ub Iwerks. Iwerks was also the sole animator for this short and spent just two weeks working on it in a back room, at a rate of over 700 drawings a day.[6] It is also speculated Hugh Harman and Rudolf Ising might have done work for the short as well.[7][8] The sound version contained a soundtrack by Carl W. Stalling, who recorded it on October 26, 1928, when he was hired, and a month before Steamboat Willie was released.[9] This was the first animated film to use a camera move. The point of view shot from the plane made it appear as if the camera was tracking into the ground.[10] In fact, when they shot this scene, they piled books under the spinning background to move the artwork closer to the camera.[citation needed] Reception The Film Daily (March 24, 1929): "Clever. Mickey Mouse does his animal antics in the latest mode via areoplane. [sic] The cartoonist has employed his usual ingenuity to extract a volume of laughs that are by no means confined to the juveniles. The sound effects are particularly appropriate on this type of film, and certainly add greatly to the comedy angle with the absurd squeaks, yawps and goofy noises."[11] Variety (April 3, 1929): "Walt Disney sound cartoon, produced by Powers Cinephone, one of the Mickey Mouse series of animated cartoons. It's a snappy six minutes, with plenty of nonsensical action and a fitting musical accompaniment. Constitutes an amusingly silly interlude for any wired house. Disney has derived some breezy situations, one or two of them a bit saucy but, considering the animal characters, permissible."[12] Home media The short was released on December 2, 2002 on Walt Disney Treasures: Mickey Mouse in Black and White[13] and on December 11, 2007 on Walt Disney Treasures: The Adventures of Oswald the Lucky Rabbit.[14] Copyright and preservation status The silent version was copyrighted on May 26, 1928, eleven days after it was test screened.[15] The copyright for the silent version was renewed on March 14, 1956.[16] To this day, the silent version that premiered at the test screening has not been found by Disney. The sound version, however, is available. It was copyrighted on August 9, 1930 and was renewed on December 16, 1957,[17] however, the copyright of the film says 1929 (MCMXXIX). The sound version of the film will go in the public domain in 2025 in the United States according to current U.S. copyright law. Legacy In 1930, the story of Plane Crazy was adapted and used for the first story in the Mickey Mouse comic strip. This adaptation, entitled "Lost on a Desert Island," was written by Walt Disney with art by Ub Iwerks and Win Smith.[18] In the Mickey Mouse short The Nifty Nineties (1941), Mickey and Minnie's car runs out of control and runs into a cow. The scene was taken almost directly from Plane Crazy. The cartoon Mickey's Airplane Kit (1999) from the series Mickey Mouse Works and House of Mouse featured a similar premise in which Mickey built his own airplane to impress Minnie. In the feature film Walt Before Mickey, Plane Crazy was featured.[19] Plane Crazy plays in a continuous loop in the Main Street Cinema at Disneyland, albeit silently, next to Steamboat Willie.[20] The airplane, horseshoe, and "How to Fly" book are on display as props from Plane Crazy in the queue of the Mickey & Minnie's Runaway Railway attraction at Disneyland. https://en.wikipedia.org/wiki/Plane_Crazy

Aug 14, 2014 The Islamic State, a hardline Sunni jihadist group that formerly had ties to al Qaeda, has conquered large swathes of Iraq and Syria. Previously known as the Islamic State of Iraq and Syria (ISIS), the group has announced its intention to reestablish the caliphate and has declared its leader, the shadowy Abu Bakr al-Baghdadi, as the caliph. The lightning advances the Islamic State made across Syria and Iraq in June shocked the world. But it's not just the group's military victories that have garnered attention — it's also the pace with which its members have begun to carve out a viable state. Flush with cash and US weapons seized during its advances in Iraq, the Islamic State's expansion shows no sign of slowing down. In the first week of August alone, Islamic State fighters have taken over new areas in northern Iraq, encroaching on Kurdish territory and sending Christians and other minorities fleeing as reports of massacres emerged. VICE News reporter Medyan Dairieh spent three weeks embedded with the Islamic State, gaining unprecedented access to the group in Iraq and Syria as the first and only journalist to document its inner workings. Watch next: "Fighting ISIS-linked snipers in Marawi, Philippines" - http://bit.ly/2sR2GWj Click to watch "Ghosts of Aleppo (Part 1)" - http://bit.ly/Ghosts-of-Aleppo Check out the VICE News beta for more: http://vicenews.com Follow VICE News here: Facebook: / vicenews Twitter: / vicenews Tumblr: / vicenews Instagram: / vicenews Transcript Follow along using the transcript. https://www.youtube.com/watch?v=AUjHb4C7b94

Aug 31, 2021 #September11 #Documentary #FullMovie This is the incredible story of Welles Crowther, a 9/11 hero who tragically died saving others in South Tower on that tragic day. His heroics became known 8 months later due to an unexpected, yet defining object: a red bandana. Subscribe to Janson for more great documentaries: http://pixelfy.me/JansonSubscribe IMDb: https://www.imdb.com/title/tt4687392/ Directed By: Matthew Weiss Starring: Gwyneth Paltrow More Ways to Stream: Amazon: https://pixelfy.me/ManInTheRedBandana... Tubi: https://pixelfy.me/ManInTheRedBandana... #FullMovie #September11 #Documentary https://www.youtube.com/watch?v=X2FvRXZim7E

The Circus is a 1928 silent romantic comedy film written, produced, and directed by Charlie Chaplin. The film stars Chaplin, Al Ernest Garcia, Merna Kennedy, Harry Crocker, George Davis and Henry Bergman. The ringmaster of an impoverished circus hires Chaplin's Little Tramp as a clown, but discovers that he can only be funny unintentionally. The production of the film was the most difficult experience in Chaplin's career. Numerous problems and delays occurred, including a studio fire, the death of Chaplin's mother, as well as Chaplin's bitter divorce from his second wife Lita Grey, and the Internal Revenue Service's claims of Chaplin's owing back taxes, all of which culminated in filming being stalled for eight months.[2] The Circus was the seventh-highest grossing silent film in cinema history taking in more than $3.8 million in 1928.[1] The film continues to receive high praise. Plot At a circus midway, the penniless and hungry Tramp is mistaken for a pickpocket and chased by both the police and the real crook (the latter having stashed a stolen wallet and watch in the Tramp's pocket to avoid detection). Running away, the Tramp stumbles into the middle of a performance and unknowingly becomes the hit of the show. The ringmaster/proprietor of the struggling circus gives him a tryout the next day, but the Tramp fails miserably. However, when the property men quit because they have not been paid, he gets hired on the spot to take their place. Once again, he inadvertently creates comic mayhem during a show. The ringmaster craftily hires him as a poorly paid property man who is always stationed in the performance area of the big top tent so he can unknowingly improvise comic material. The Tramp befriends Merna, a horse rider who is treated badly by her ringmaster stepfather. She later informs the Tramp that he is the star of the show, forcing the ringmaster to pay him accordingly. With the circus thriving because of him, the Tramp also is able to secure better treatment for Merna. After overhearing a fortune teller inform Merna that she sees "love and marriage with a dark, handsome man who is near you now", the overjoyed Tramp buys a ring from another clown. Alas for him, she meets Rex, the newly hired tightrope walker. The Tramp eavesdrops as she rushes to tell the fortune teller that she has fallen in love with the new man. With his heart broken, the Tramp is unable to entertain the crowds. After several poor performances, the ringmaster warns him he has only one more chance. When Rex cannot be found for a performance, the ringmaster (knowing that the Tramp has been practicing the tightrope act in hopes of supplanting his rival) sends the Tramp out in his place. Despite a few mishaps, including several mischievous escaped monkeys, he manages to survive the experience and receives much applause from the audience. However, when he sees the ringmaster slapping Merna around afterward, he beats the man and is fired. Merna runs away to join him. The Tramp finds and brings Rex back with him to marry Merna. The trio go back to the circus. The ringmaster starts berating his stepdaughter, but stops when Rex informs him that she is his wife. When the traveling circus leaves, the Tramp remains behind. He picks himself up and starts walking jauntily away. Cast Charlie Chaplin as The Tramp Al Ernest Garcia as The Circus Proprietor and Ringmaster Merna Kennedy as The Ringmaster's Step-daughter, a Circus Rider Harry Crocker as Rex, a Tight Rope Walker (also a disgruntled property man and a clown) Henry Bergman as an Old Clown Tiny Sandford as The Head Property Man (as Stanley J. Sandford) John Rand as an Assistant Property Man (also a clown) George Davis as a Magician Steve Murphy as a Pickpocket Production Development Chaplin first began discussing his ideas for a film about a circus as early as 1920.[3] In late 1925, he returned from New York to California and began working on developing the film at Charlie Chaplin Studios. Set designer Danny Hall sketched out Chaplin's early ideas for the film, with Chaplin returning to one of his older films, The Vagabond (1916), and drawing upon similar story ideas and themes for The Circus.[4][5] Chaplin was a long time admirer of French comedian Max Linder, who had died in October 1925, and often borrowed gags and plot devices from Linder's films. Some critics have pointed out the similarities between The Circus and Linder's last completed film The King of the Circus.[6] Filming Filming began on January 11, 1926 and the majority was completed by November.[7][8] After the first month of filming, it was discovered that the film negative had been scratched; restoration work was able to eventually adjust the negative.[9] A major fire broke out at Chaplin's studios in September, delaying production for a month.[9][10] Chaplin was served with divorce papers by Lita Grey in December, and litigation delayed the release of the film for another year. Release The Circus finally premiered in New York City on January 6, 1928, at the Strand Theatre,[11] and in Los Angeles on January 27 at the Grauman's Chinese Theatre.[12] It came right at the beginning of the sound film era,[13] with the very first feature sound film, The Jazz Singer (1927), having been released just months earlier. Chaplin composed a new score for the film in 1967, and this new version of the film (see below) was copyrighted in 1968 to "The Roy Export Company Establishment" and released in 1969. Reception Advertisement from 1927 Motion Picture News The Circus was well received by audiences and critics, and while its performance at the box office was good, it earned less than The Gold Rush (1925).[14] Some critics consider it and The Gold Rush to be Chaplin's two best comedies.[15] In The New York Times, Mordaunt Hall reported that it was "likely to please intensely those who found something slightly wanting in The Gold Rush, but at the same time it will prove a little disappointing to those who reveled in the poetry, the pathos and fine humor of his previous adventure." Hall went on to write that there were passages "that are undoubtedly too long and others that are too extravagant for even this blend of humor. But Chaplin's unfailing imagination helps even when the sequence is obviously slipping from grace."[16] Variety ran a very positive review, stating that "For the picture patrons, all of them, and for broad, laughable fun - Chaplin's best. It's Charlie Chaplin's best fun maker for other reasons: because it is the best straightaway story he has employed for broad film making, and because here his fun stuff is nearly all entirely creative or original in the major point."[17] Commenting on the long wait for the film's release, Film Daily wrote that "it was worth it, for, if you are prone to favor superlatives here is an opportunity to coin several fresh ones" and that Chaplin was "as inimitable today as he was in the days of his two-reelers."[18] In The New Yorker, Oliver Claxton wrote that the film was "a little disappointing. There are one or two moments when it is very funny, but there are long stretches when it is either mild or dull."[19] Analysis Film historian Jeffrey Vance views The Circus as an autobiographical metaphor: He joins the circus and revolutionizes the cheap little knockabout comedy among the circus clowns, and becomes an enormous star. But by the end of the movie, the circus is packing up and moving on without him. Chaplin's left alone in the empty circus ring... It reminds me of Chaplin and his place in the world of the cinema. The show is moving on without him. He filmed that sequence four days after the release of The Jazz Singer (the first successful talkie) in New York. When he put a score to The Circus in 1928, Chaplin scored that sequence with "Blue Skies", the song Jolson had made famous, only Chaplin played it slowly and sorrowfully, like a funeral dirge.[20] In his commentary track for the Criterion Collection home video release of the film, Vance notes: Chaplin—a great cinema auteur—revealed his innermost feelings through his films. In The Circus, he fashioned a scenario that places The Tramp within the confines of a circus and, in so doing, documents, celebrates, and memorializes his own position as the greatest clown of his time. And, that accomplishment—beyond the wonderful comedy—ranks The Circus a major Chaplin film of considerable importance.[21] Musical rescoring In 1947, Hanns Eisler worked on music for the film. Eisler then used the music he composed for his Septet No. 2 ("Circus") for flute and piccolo, clarinet in B flat, bassoon, and string quartet. Eisler's sketch of scene sequences and rhythms is in the Hans Eisler Archive in Berlin.[22] In 1967, Chaplin composed a new musical score for the film and a recording of him singing "Swing Little Girl" playing over the opening credits.[23] A new version of the film opened in New York on December 15, 1969, with the new score.[24] It was released in London in December 1970.[25] Awards Charlie Chaplin was originally nominated for three Academy Awards, but the Academy took Chaplin out of the running by giving him a Special Award "for writing, acting, directing and producing The Circus."[25][26] The Academy no longer lists Chaplin's nominations in their official list of nominees, although most unofficial lists include him.[27] Academy Award Nominee Best Director, Comedy Picture Charlie Chaplin Best Actor Charlie Chaplin Best Writing (Original Story) Charlie Chaplin Preservation The Academy Film Archive preserved The Circus in 2002.[28] Home media The Circus was released on Blu-ray and DVD by the Criterion Collection in 2019, which include trailers of the film, archival footage from the production, and an audio commentary track by Chaplin biographer Jeffrey Vance.[21] The film's copyright was renewed, so it will not go into the public domain until 2024.[29] Legacy The iconic image of the Tramp walking alone but jauntily into the distance that concluded several of Chaplin's earlier shorts, appears here for the first and only time in any of his feature-length film. (Modern Times had the Tramp with a companion.) The closing scene from The Circus is shown as the ending in both the 1992 biopic Chaplin and a 2021 documentary, The Real Charlie Chaplin.