Cleopatra chronicles the struggles of Cleopatra VII, the young Queen of Egypt, to resist the imperialist ambitions of Rome.
Despite being a critical failure, it won four Academy Awards. It was the highest grossing film of 1963, earning US $26 million ($57.7 million total), yet made a loss due to its cost of $44 million, the only film ever to be the highest grossing film of the year yet to run at a loss. http://en.wikipedia.org/wiki/Cleopatra_(1963_film)
The Age of Stupid is a film about climate change, but it’s not An Inconvenient Truth: Part Deux. Whereas the purpose of Al Gore’s 2006 box office hit was to shake us from our slumber of self-comforting denial, Stupid is designed to take hold of our heads and smash our faces repeatedly into a table until we get up and do things differently.
It’s indicative of how the debate has shifted over the last few years that Stupid does not spend time linking climate change with greenhouse gas emissions. The film states that less than 1% of climate scientists believe that there is any doubt about that link (even if this number rises to 60% when the general public are asked their opinion). The debate is over at long last, so the intention of Stupid is to use human stories to illustrate what a serious pickle our species has got itself into. http://www.imdb.com/title/tt1300563/
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Director Davis Guggenheim eloquently weaves the science of global warming with Mr. Gore’s personal history and lifelong commitment to reversing the effects of global climate change. A longtime advocate for the environment, Gore presents a wide array of facts and information in a thoughtful and compelling way. “Al Gore strips his presentations of politics, laying out the facts for the audience to draw their own conclusions in a charming, funny and engaging style, and by the end has everyone on the edge of their seats, gripped by his haunting message,” said Guggenheim. An Inconvenient Truth is not a story of despair but rather a rallying cry to protect the one earth we all share. “It is now clear that we face a deepening global climate crisis that requires us to act boldly, quickly, and wisely,” said Gore.
Kobayashi wants his audience to feel the soul crushing persistence of evil that war represents and no one who does make it through all three parts of “The Human Condition” can remain untouched. Each part has its own title (“No Greater Love” — Part I; “Road to Eternity” — Part II; and “A Soldier’s Prayer” — Part III) ) and the first and last parts even have their own intermissions. http://www.offoffoff.com/film/2008/the_human_condition.php
After the success of Strike (1924), Sergei Eisenstein was commissioned by the Soviet government to make a film commemorating the uprising of 1905. Eisenstein’s scenario, boiled down from what was to have been a multipart epic of the occasion, focussed on the crew of the battleship Potemkin. Fed up with the extreme cruelties of their officers and their maggot-ridden meat rations, the sailors stage a violent mutiny. This, in turn, sparks an abortive citizens’ revolt against the Czarist regime. The film’s centerpiece is staged on the Odessa Steps, where in 1905 the Czar’s Cossacks methodically shot down rioters and innocent bystanders alike. To Eisenstein, this single bloody incident was the crucible of the successful 1917 Bolshevik revolution, and the result was the “Odessa Steps sequence,” which is often considered the most famous sequence ever filmed; it is certainly one of the most imitated, perhaps most overtly by Brian De Palma in The Untouchables (1987). This triumph of Eisenstein’s “rhythmic editing” technique occurs in the middle of film, not as the climax, as more current film structure might do it. All the actors in the film were amateurs, selected by Eisenstein because of their “rightness” as types for their roles. Pictorial quality varies from print to print, but even in a duped-down version, Battleship Potemkin is must-see cinema. http://www.youtube.com/movie/battleship-potemkin