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| Tasty morsels of cultural delight |
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When I was a boy, there was a railroad track we drove across every day that ran very close to a brick factory building; and on the side of the building, there was a sign that read "Will Not Clear A Man." Growing up, I always wondered about that sign. When I was older, I realized what it meant. Trains often had railroad men hanging onto the sides of them, for various reasons. That sign was there to tell the engineer that the space between the building and train was too narrow to accommodate a man hanging onto the side of it: he would be knocked off. Today, our culture is very much like the side of that building: it is designed to knock a man - a real man - off the side of the train he is riding so he cannot "clear" it. It throws obstacles in his path that become increasingly harder to "clear." MORE |
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John Frankenheimer (The Manchurian Candidate, Seconds, The Horsemen) cut his directorial teeth on television in its golden era (the 1950's and 60's), and is today probably the second best director of thrillers after Hitchcock. From his time in television, he mastered the art of black and white realism which was so popular in the 60's. It is the brutality of his realism, among other things, that makes him such a powerful director of the thriller genre. There isn't a romantic bone in his body, which is why he's not one of my favorite directors. But I appreciate him. The Train may very well be his masterpiece. It is the little known but true story of how the Nazi's tried to steal the art treasures of Paris near the end of World War II. On the very eve of the Allies marching in, the Nazi's were transporting the works of Picasso, Degas and others out via train. MORE |
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| I love trains, planes and automobiles; but I hate train stations, airports and highways. I love the idea of traveling, of "going somewhere," and of speed; but I hate the congestion, confusion and hurrying that result when traveling people converge. It used to be possible to avoid those times and places. But today, it seems our entire culture has become one big train station. What's tragic is that our churches seem to have followed suit. MORE |
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| Sir Walter Scott was the first, and is still considered one of the best, historical novelists of all time. His first novel, Waverly, which concerns itself with the Jacobite rebellion in Scotland in 1745, was published in 1814 and was an overwhelming success. He followed that with two dozen other Waverly novels, including Rob Roy in 1818. In 1819, he began a new series of novels based on medieval England and Europe, beginning with Ivanhoe. Ivanhoe is still considered one of his best and most endearing works. MORE |
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The word "story" comes from the word "history." Since all words retain the basic nature of their root, originally all stories were considered to be historical or true. They were narratives of real people and events. There was no such thing as a fictional or non-historical story. When people were sitting around the fire at night, and someone said, "Tell us a story," what they were saying was, "Tell us some history about ourselves." MORE |
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When I was an adolescent, I was a huge H. G. Wells fan. I loved his imagination, as well as his academic precision. Not only was he a fiction writer, he was a scientist, an historian, a sociologist and a teacher. Along with Jules Verne, he is known as the Father of Science Fiction. The War Of The Worlds is one of four of his books that are considered masterpieces and have been made into films. (The others are The Time Machine, The Invisible Man and The First Men In The Moon.) MORE |
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| 12 Angry Men was groundbreaking drama when it appeared on CBS's Studio One in 1954. The script, by television writer Reginald Rose (The Defenders), features an all-male ensemble cast in which the characters are nameless jury members in a murder trial. A teenage boy has been accused of knifing his father, and the evidence includes the body, the boy's knife and several witnesses.
Only one member of the jury believes the boy on trial may be innocent (Henry Fonda). The others are totally convinced of his guilt. Over the course of the film, they debate the evidence and, one-by-one, change their minds. How that happens is what makes this such a remarkable film, and one of the true gems of screenwriting. MORE |
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| I wrote an article not long ago called "Truth vs Facts," in which I showed the difference between the two, and I was taken to task over it by some people who believe there is no difference. But there is. Facts can be proven, truth can't. I cannot prove to you that Jesus Christ rose from the dead, even if my life depended on it. All I can do is believe it. But I can prove to you that I'm fifty-five years old and the son of Waitsel and Rose Ann Smith.
Similarly, opinions cannot be proven. That is something truth and opinions have in common, and why we tend to argue about those things. Unfortunately, many Christians see the two as the same. MORE |
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| No one does the innocence of childhood, the passion of youth and the pathos of adulthood like the Italians. They really understand the various stages of life. They are earthy, robust people, in touch with their emotions. Their films are the same. Besides passion, they infuse their culture, and even their religion, with humor. All this comes through in Cinema Paradiso. It is a wonderful masterpiece of youth and love that reflects filmmaker Tornatore's own journey through life MORE |
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| Like most Americans, I am seduced by the big blockbuster films. But, more and more, I have come to appreciate and love the "little" films: films that are personal, that focus on intimate relationships, that show us inside the human heart. I think I am becoming that way as I realize more and more what I want from life: intimacy. I want to know someone else as well as I think I know myself. MORE |
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| This month we're featuring our Flash animations. Enjoy! MORE |
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| © 2007 Waitsel Smith. All Rights Reserved. |
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