Posts Tagged ‘France’
Stream Three Colors Trilogy Online
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Stream Three Colors Trilogy Online.
Movie Title: Three Colors Trilogy Three Colors Trilogy is available for streaming or downloading. |
The unhurried enormous Polish director Krzysztof Kieslowski cleverly “adapted” the three French ideals — liberty, equality, fraternity — into three thought-provoking modern-day dramas about people who cope with personal losses and tragedies. In BLUE, the first of the trilogy, a widow tries to space herself free (and find liberty) from her emotional baggages. The second film, WHITE, is about a jilted man’s irascible place to accumulate even (thus, equality) with his ex-wife. The last film, RED, which is also Kieslowski’s final film before he died in 1996, is about a lonely obsolete man who is embittered by the memories of his youth and finds accidental companionship (fraternity) with a young model. All three films are understated in their tone, economical in their dialogs, elliptical in their editing and plotting (there are some mind-boggling flashbacks and flash forwards in WHITE), and haunting in their atmosphere.
The references to the three French ideals are actually quite tenuous, and in fact more and more so as the trilogy progresses. BLUE is the only one that deals with the ideal of “freedom” (albeit emotional freedom) in a concrete map, titillating us to ponder its meanings and its attainability. WHITE treats the understanding of “equality” in a rather subversive and satiric intention, and it clearly wants us to rethink its meanings rather than accepting it at face value. And RED has to do with “fraternity” only circumstantially, and has more to do with the deny of destiny, and how our past is linked to our note. The three films are dwelling not fair in France, but also in Poland and Switzerland, and WHITE has primarily Polish dialogs. Hence, a sort of universality is intended.
The three films are also linked in various ways. All three films involve an unfaithful lover who dies, in one intention or another. All three films involve a chance encounter between the distressed protagonist and a sympathetic observer — the widow and the mistress in BLUE, Karol and Mikolaj in WHITE, the retired think and the model in RED. Both BLUE and WHITE are about people who fade to recent surroundings to race from his or her shy pasts. And RED, ironically, is about someone who never leaves his home in order to wallow in his self-pity.
Buy,Download, Or Stream Three Colors Trilogy! Click Here
Kieslowski had done this sort of thing before. In 1988, he “adapted” the Ten Commandments into ten one-hour, modern-day dramas, collectively titled DECALOGUE, that beget us rethink the meanings of the commandments. In the segment for “Thou Shalt Not Engage,” for instance, we contemplate the kidnapping (the theft) of a child from her adopted parents by her natural mother, who thinks she has a moral to her custody. Thus, it turns clear-cut proper ideals into real-world dramas that have no clear-cut solutions or judgments.
Miramax released long-awaited Region-1 DVDs for the Three Colors trilogy, and they all have suitable video transfers and rewarding extra material. Kieslowski expert Annette Insdorf provides fine running commentaries for all three films. She analyzes the visual, aural, and editorial techniques, the thematic significance, as well as how the final films deviate from their fresh screenplays. She points out that Kieslowski films often deal with abstract concepts, such as fate, death, and difficulty, in very concrete ways. She makes an observant tell about the apparent twist of fate in the opening of BLUE: if the hitchhiker were picked up by the family, the ensuing tragedy might not occur. She points out that the dream-like wedding scene in WHITE, which many take is a flashback, could also be a flash forward (a very enchanting, and plausible, conception) . She offers her interpretations to the many symbolisms in the films, such as the frequent fades to shaded in BLUE, the recurring shot of a stooped outmoded person at a garbage bin, the significance of the concerto music in BLUE, the tango theme in WHITE, and the bolero pick up in RED. She also explains the intentionally cryptic endings of WHITE and RED.
Each disc comes with several featurettes that comprise about 100 minutes of interviews and commentaries by the cast and crew, Insdorf, film critic Geoff Andrew, and film director Agnieszka Holland. The BLUE and WHITE discs also believe some early short films by Kieslowski: CONCERT OF WISHES, THE TROLLEY, THE FACE, THE OFFICE. All three discs own a intriguing segment called “Kieslowski’s Cinema Lesson,” in which the director explains his intentions in one particular scene. The WHITE and RED discs own behind-the-scenes footage of Kieslowski giving directions on the space. For Kieslowski fans, perhaps the most poignant clip in these supplements is that of Kieslowski announcing his retirement at the ’94 Cannes festival, included on the RED disc.
The Three Colors Trilogy comprises 3 advantageous films (Bleu/Blanc/Rouge) by the tedious, spacious director Krzysztof Kieslowski. The films employ the symbolism expressed by the colors of the French flag for their themes (liberty, equality, fraternity) . The Three Colors is Kieslowski’s crowning achievement, and Rouge, his final film, is probably his masterpiece. That’s saying something, because some of his previous films (Decalogue, The Double Life of Veronique) are among the greatest films of the last 20 years! I saw Bleu (with Juliette Binoche) a long time ago and was very impressed. It’s a murky but beautful movie, about a composer’s widow and how she copes with life after his death. Blanc (with Julie Delpy) is about life for a man after he is unceremoniously dumped by his wife; it’s the lightest and most comedic of the three films. Rouge (with Irene Jacob) is my well-liked and explores the heart-broken (and platonic) relationship that develops between a young lady and an older man. Jacob is quite simply a goddess, and if you can bound your eyes away from her long enough to pay attention to the movie, you’ll glean this is a thematically rich film with solid, subtle performances (Kieslowski was nominated for a Best Director Oscar for Rouge in 1995) . I am lucky enough to have a DVD of Rouge which has a ton of extras (making of, deleted scenes, soundtrack samples, trailers, film-making lesson by the director, Cannes festival interviews, extended interviews with editor, director, and *sigh* Irene Jacob) . I enjoy the upcoming Miramax DVDs withhold these features (with subtitles), which are in French. More Americans should experience these films. They are so well-made and lovingly crafted that they establish to shame all the multi-million dollar, shallow, explosion-fests routinely shovelled out by Hollywood nowadays. Next to Stanley Kubrick and Akira Kurosawa, Krzysztof Kieslowski’s death in the 1990s is one of the most tragic for cinema. Younger filmmakers should hope one day to come even an iota of the MANY shiny masterpieces created of these film masters. Gape The Three Colors Trilogy! This is film-making at its finest and totally a 5 STAR recommendation!
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Stream Three Colors Trilogy Movie Online
|
Stream Three Colors Trilogy Movie Online.
Movie Title: Three Colors Trilogy Three Colors Trilogy is available for streaming or downloading. |
The slack mountainous Polish director Krzysztof Kieslowski cleverly “adapted” the three French ideals — liberty, equality, fraternity — into three thought-provoking modern-day dramas about people who cope with personal losses and tragedies. In BLUE, the first of the trilogy, a widow tries to state herself free (and earn liberty) from her emotional baggages. The second film, WHITE, is about a jilted man’s snide station to secure even (thus, equality) with his ex-wife. The last film, RED, which is also Kieslowski’s final film before he died in 1996, is about a lonely dilapidated man who is embittered by the memories of his youth and finds accidental companionship (fraternity) with a young model. All three films are understated in their tone, economical in their dialogs, elliptical in their editing and plotting (there are some mind-boggling flashbacks and flash forwards in WHITE), and haunting in their atmosphere.
The references to the three French ideals are actually quite tenuous, and in fact more and more so as the trilogy progresses. BLUE is the only one that deals with the ideal of “freedom” (albeit emotional freedom) in a concrete blueprint, intriguing us to ponder its meanings and its attainability. WHITE treats the idea of “equality” in a rather subversive and satiric blueprint, and it clearly wants us to rethink its meanings rather than accepting it at face value. And RED has to do with “fraternity” only circumstantially, and has more to do with the relate of destiny, and how our past is linked to our indicate. The three films are situation not honest in France, but also in Poland and Switzerland, and WHITE has primarily Polish dialogs. Hence, a sort of universality is intended.
The three films are also linked in various ways. All three films involve an unfaithful lover who dies, in one design or another. All three films involve a chance encounter between the distressed protagonist and a sympathetic observer — the widow and the mistress in BLUE, Karol and Mikolaj in WHITE, the retired consider and the model in RED. Both BLUE and WHITE are about people who depart to unusual surroundings to run from his or her terrified pasts. And RED, ironically, is about someone who never leaves his home in order to wallow in his self-pity.
Buy,Download, Or Stream Three Colors Trilogy! Click Here
Kieslowski had done this sort of thing before. In 1988, he “adapted” the Ten Commandments into ten one-hour, modern-day dramas, collectively titled DECALOGUE, that originate us rethink the meanings of the commandments. In the segment for “Thou Shalt Not Bewitch,” for instance, we examine the kidnapping (the theft) of a child from her adopted parents by her natural mother, who thinks she has a suitable to her custody. Thus, it turns clear-cut legal ideals into real-world dramas that have no clear-cut solutions or judgments.
Miramax released long-awaited Region-1 DVDs for the Three Colors trilogy, and they all have apt video transfers and rewarding extra material. Kieslowski expert Annette Insdorf provides advantageous running commentaries for all three films. She analyzes the visual, aural, and editorial techniques, the thematic significance, as well as how the final films deviate from their fresh screenplays. She points out that Kieslowski films often deal with abstract concepts, such as fate, death, and danger, in very concrete ways. She makes an observant issue about the apparent twist of fate in the opening of BLUE: if the hitchhiker were picked up by the family, the ensuing tragedy might not occur. She points out that the dream-like wedding scene in WHITE, which many choose is a flashback, could also be a flash forward (a very inviting, and plausible, conception) . She offers her interpretations to the many symbolisms in the films, such as the frequent fades to dusky in BLUE, the recurring shot of a stooped passe person at a garbage bin, the significance of the concerto music in BLUE, the tango theme in WHITE, and the bolero regain in RED. She also explains the intentionally cryptic endings of WHITE and RED.
Each disc comes with several featurettes that comprise about 100 minutes of interviews and commentaries by the cast and crew, Insdorf, film critic Geoff Andrew, and film director Agnieszka Holland. The BLUE and WHITE discs also occupy some early short films by Kieslowski: CONCERT OF WISHES, THE TROLLEY, THE FACE, THE OFFICE. All three discs acquire a involving segment called “Kieslowski’s Cinema Lesson,” in which the director explains his intentions in one particular scene. The WHITE and RED discs acquire behind-the-scenes footage of Kieslowski giving directions on the station. For Kieslowski fans, perhaps the most poignant clip in these supplements is that of Kieslowski announcing his retirement at the ’94 Cannes festival, included on the RED disc.
The Three Colors Trilogy comprises 3 helpful films (Bleu/Blanc/Rouge) by the tedious, colossal director Krzysztof Kieslowski. The films exercise the symbolism expressed by the colors of the French flag for their themes (liberty, equality, fraternity) . The Three Colors is Kieslowski’s crowning achievement, and Rouge, his final film, is probably his masterpiece. That’s saying something, because some of his previous films (Decalogue, The Double Life of Veronique) are among the greatest films of the last 20 years! I saw Bleu (with Juliette Binoche) a long time ago and was very impressed. It’s a gloomy but beautful movie, about a composer’s widow and how she copes with life after his death. Blanc (with Julie Delpy) is about life for a man after he is unceremoniously dumped by his wife; it’s the lightest and most comedic of the three films. Rouge (with Irene Jacob) is my current and explores the dejected (and platonic) relationship that develops between a young lady and an older man. Jacob is quite simply a goddess, and if you can slouch your eyes away from her long enough to pay attention to the movie, you’ll derive this is a thematically rich film with solid, subtle performances (Kieslowski was nominated for a Best Director Oscar for Rouge in 1995) . I am lucky enough to absorb a DVD of Rouge which has a ton of extras (making of, deleted scenes, soundtrack samples, trailers, film-making lesson by the director, Cannes festival interviews, extended interviews with editor, director, and *sigh* Irene Jacob) . I beget the upcoming Miramax DVDs keep these features (with subtitles), which are in French. More Americans should experience these films. They are so well-made and lovingly crafted that they assign to shame all the multi-million dollar, shallow, explosion-fests routinely shovelled out by Hollywood nowadays. Next to Stanley Kubrick and Akira Kurosawa, Krzysztof Kieslowski’s death in the 1990s is one of the most tragic for cinema. Younger filmmakers should hope one day to near even an iota of the MANY incandescent masterpieces created of these film masters. Eye The Three Colors Trilogy! This is film-making at its finest and totally a 5 STAR recommendation!
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Soldeu ski resort hotel accommodation and map – Andorra
Andorra’s supergroup of resorts – Grau Roig, Pas de la Casa and Soldeu-El Tarter – has teamed up with Canillo and Encamp to form the area known as ‘Grandvalira’.
Six settlements make up Grandvalira: Encamp, a decent-sized Andorran town close to the capital Andorra la Vella, which is connected to the Grandvalira lifts via a 6km cable-car link; Canillo, an old, charming village (and once-private ski area) that became part of the Soldeu-El Tarter system in 2003 ; Grau Roig, which is little more than an activity centre built high on the slopes; and the three main resorts of Pas de la Casa (a purpose-built resort on the border with France) and the naturally linked towns of Soldeu and El Tarter. Pas (as most call it) is widely hailed as an ugly collection of modern buildings built primarily for those looking to pop over the border and indulge in some duty-free shopping. It is also the undisputed party capital of Andorra, catering for the younger crowd who want to hit the bars as hard as they hit the slopes. If you’re looking for a picturesque town with plenty of activity at night then Soldeu is the place to head. Its neighbour El Tarter is a slightly quieter, more family-friendly version, but with good links to Soldeu.
Stream Empires – Napoleon Online
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Stream Empires – Napoleon Online.
Movie Title: Empires – Napoleon Empires – Napoleon is available for streaming or downloading. |
This is a nice PBS production on Bonaparte, and can help as a splendid introduction to the period, but it glosses over considerable about that challenging era. I understand that to truly do the emperior justice a bio noteworthy longer than this would be required. Unfortunately we go from Austerlitz, to Russia in 1812 and then hasten up to Waterloo!
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The first half of the program which shows the miniature Corsican’s childhood and rise to power is noble, but the second objective breezes through too worthy in such a short time. I also had a spot with David McCulloghs narration. He sounds too American for a European subject like this. I kept thinking is this Ken Burn’s Civil War again!
The selection of supposed experts and historians was uninspired. Only John Elting was worth while, the others made simple and often foolish statements. Missing were David Chandler, Christopher Duffy and many other illustrious Napoleanic historians who would have breathed fire into this stiff production. No novel biographers of Napolean were included at all!
Buy,Download, Or Stream Empires – Napoleon! Click Here
PBS assign together a glorious dry production here. Even the music is a bit bland, and there is so mighty magificent music from this period. Missing also is Wellington’s magnificent Peninsular Campaign in Spain, the celebrated “Spanish Ulcer” of Nappy. Even the 1815 Campaign gets crunched with no explanation about the earlier battles of the campaign, and marshal Blucher’s considerable near attend with the Prussians at Waterloo. There is no discussion about Napolean’s illustrious Marshals who contributed so distinguished to the flavor and character of his regime. This is basically a work about Napolean the man, and small else. The viewer should understand this.
A nice, but very bland, incomplete production, adequate for those who know miniature or nothing about the period, but frustrating for the good scholar of that tempestuous time. I give it four stars at least for the pains, but not for its roar.
The disc contains four hours of commentary, two hours per side of the disc. The style is uniform throughout. There is one narrator.
The following concerns only the first hour, of the four hour documenetary. During the first hour, there are about 25 dim and white ink sketches, 45 color paintings, and numerous motion pictures of landscapes. The motion pictures indicate scenes from Napoleon’s birthplace, the island of Corsica. We watch Corsica’s seashore, grazing sheep, Napoleon’s childhood home, and Corsica’s craggy mountains. Later, the live scenes prove the palace at Versailles, close-ups of numerous statues, priests (actors) conducting ceremonies, church bells swinging and ringing, and soldiers (actors) firing cannons.
From time to time, we glance one of several French scholars, speaking in French with a charming steady French accent, and voiceover from the English-speaking commentator. (Fancy that cute French accent.)
The first hour discloses the following facts and events:
We learn the fact that Napoleon rose through the ranks on the basis of his ability, rather than from influence from his parents or ancestors. We learn of Napoleon’s parents, his father Carlo a 23 year former University student, and later a lawyer and Corsican politician, and his mother Litetsia, strong-willed mother of eight surviving children. We learn of the prefer of Corsica by the French.
Then, the film discloses Napoleon’s travel to France at the age of nine, to commence schooling on a military scholarship, and later entrance in the Royal Military Academy in Paris at age 15. We learn that he was teased at school, for being a foreigner from Corsica, and that he initially hated everything French. At age 16, Napoleon started out his career at the age of 16, as a second lieutenant, learning to fire cannons and make gun carriages. Briefly, Napoleon had second thoughts about a military career, and wrote a book about Corsica. The French Revolution, with its dramatic milestone of July 14, 1789, and dismantling of the French institution of privileges, provided room for advancement in the military, especially for men (like Napoleon) having no particular connection with nobility.
At the age of 23, Napoleon left the French army and entered politics in Corsica. He led a political party that opposed an established, elderly politician (Pasquale Paoli), but this backfired, and Napoleon was exiled from Corsica. On June 10, 1793, Napoleon left Corsica with his siblings and mother for France. The film then provides commentary on Robespierre and the Reign of Anxiety. At age 24, Napoleon became an artillery captain. He was sent abet south to Toulon, on the flee, to drive out the British. His forces won, and at the age of 24, Napoleon was promoted to Brigadier General.
But later on, he felt like he was in a career rut, and felt downhearted.
Later on, opportunity knocked. There was a diminutive rebellion in Paris (October 5, 1795), and Napoleon was called to set aside it down. He did, and killed 100 French rebels, and three weeks later was promoted to paunchy general (age 26) .
Then, Napoleon met Marie Josephe Rose de Beauharnais (known as “Josephine”), a widow from Martinique, 32 years obsolete with two children. Her husband had died on the guillotine. At that time, Josephine’s boyfriend was a distinguished Frenchman, Paul Berras. For example, Paul Berras was paying her rent for her living quarters, a cottage. Napoleon had his eyes on Josephine, because she was connected to many great men (her boyfriends) and because she had poise and charm. They married on March 9, 1796. The honeymoon lasted only two days, because he was asked to lead an army in Italy. Napoleon was promoted (in section because of his connection to Paul Berras) to Supreme Commander of all French forces in Italy, where the mission was to drive the Austrian army out of northern Italy.
On April 2, 1796, Napoleon led his soldiers against the Piedmontese in the mountains of Northern Italy. His military technique was to spread out his soldiers, let them reach to the enemy, whereupon the soldiers would then converge in a focused situation and attack. On April 26, the Piedmontese surrendered.
Then, the film provides some commentary about Napoleon’s continual letters to Josephine.
After defeating the Piedmontese, Napoleon marched to Lodi, an Italian town overrun by Austrian soldiers. Both sides were lined up on opposite sides of a river, firing at each other. Then, Napoleon crossed the bridge and drove the Austrians away (but did not actually defeat the Austrian army) . At that point, Napoleon began to judge that he was invincible in military matters, and the people of France agreed with this assessment.
On May 5, 1796, Napoleon entered Milan, a town in Northern Italy, and drove out the Austrian army. Milan welcomed Napoleon as a liberator. Napoleon made himself head of the provisional Italian government. The first hour of the documentary concludes at this point.
By the destroy of the four hour documentary, we learn that Napoleon’s most principal accomplishments were the establishment of the French Civil Code which codified the principles of the French Revolution and abolished feudal privileges, the establishment of the station secondary schools (lycees), the creation of Egyptology (24 volume book on Egypt; discovery of Rosetta Stone), and the building of canals, bridges, and reservoirs.
However, we also learn that Napoleon was one of the more destructive nuisances in the history of the world, for example, because of his massacre of the Spanish, and because of his march upon Moscow. Please also notice that as Emperor, he ran a police place complete with a French version of the KGB (government spies) and forcibly prevented freedom of speech and of the press.
FOUR STARS for the Napoleon disc from PBS Home Video. The camera lovingly caresses each painting and dismal and white ink drawing. The documentary does a friendly job at sticking to the facts of the subject matter at hand, namely, Napoleon and his main squeeze, Josephine. The DVD dwells method too remarkable on Josephine’s hanky-panky, and on Napoleon’s hanky-panky. Hence, if I were a school teacher, I might hesitate in showing the DVD to my classroom. The attention spent to Josephine is at the expense of more essential matters.
I have these criticisms.
First, the disc needs a page showing thumbnail pictures of all of the paintings and drawings, with an identification of the titles and artists.
Second, the disc fails to mention Napoleon’s defeat at the hand of Toussaint L’Overture. Toussaint L’Overture, a veteran slave, led an uprising against the French in St.Domingue (Haiti) and drove out the French by method of a slave rebellion. At this time, St.Domingue was, for France, and extremely important source of sugar, cotton, and indigo. Napoleon’s wife, Josephine, had been born on the nearby island of Martinique, and her family owned a plantation on St.Domingue. To opinion the broad report, what we study is a outmoded slave defeating Napoleon, a man eminent for taking control of Austria, Poland, and Italy.
Third, the disc fails to mention the Louisiana Buy. In spring of 1803, Napoleon needed money to wage war against Egypt and the English. So he decided to sell the Louisiana Territory to the U.S. The stamp was 15 million dollars, and to catch the money, Jefferson borrowed 15 million dollars from an English bank. The goal of the English was to ensure that the French would never maintain territory south of Canada, while the French goal was to gather money to fight the English. The treaty of the Louisiana Steal was signed in May 1803, and two months later, Jefferson sent Louis and Clark to witness the modern territory.
A disc from The History Channel, called THE FRENCH REVOLUTION, provides an sterling companion to the Napoleon disc. FIVE STARS for the FRENCH REVOLUTION disc from The History Channel.
But only FOUR STARS for the NAPOLEON disc from PBS HOME VIDEO. NAPOLEON was produced by David Grubin. Whatever possessed Mr.Grubin to omit Napoleon’s relationships with the Fresh World? He fails to mention Napoleon’s defeat at the hands of a used slave, and fails to mention the Louisiana Occupy. There is plot too great focus on Josephine. One gets the overall impression that Mr.Grubin was writing for a women’s magazine, or for Dr.Phil, or for Oprah. The disc contains arrangement too grand “information” about hanky-panky. The disc sets a unpleasant example to children. The disc teaches children to dwell on hanky-panky, to perceive hanky-panky, and to achieve that hanky-panky has some relevance to more titanic things, such as the conquest of one nation over another.
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