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The film made me realise how much of her life was not in her hands. All the images coming out of Iraq at the time were images of war. One storyline follows a young Sunni boy without a father in Baghdad, another shows you the followers of the Shia cleric Moqtada al-Sadr in the south, and in the third you’re with a Kurdish family in the north who are happy the Americans are there. It also tracks how Iraq has changed from one generation to the next. With Buena Vista Social Club, it was as if Wim Wenders put aside the sanctions, the politics, and played with the language of music. These musicians and their stories moved people, whatever their politics. The film put you on the streets of Havana, you saw how people ate, how they interacted with each other, the way they danced and sang. Even without being political, the film is political, because it shows you what life was like inside Cuba at a time when the only perspective you got on the country was through a news lens. It’s centred on a murder that took place in 1976: a young man stole a car, picked up a hitchhiker called Randall Adams and later a policeman was shot and killed by someone in the car. Adams was given a life sentence for the murder but Morris’s documentary showed, by exploring the testimony and the way the police put the case together, that he had been wrongly accused. A year after the film came out, Adams was released from prison. That was the bit about the movie that really shook me. It was a gripping drama but it also had an impact in the real world. It tells the story of the Columbine high school massacre and the investigations that followed, but more than that it tells you about the National Rifle Association, about gun violence, about how schools in Michigan had become battlegrounds. His interview with Charlton Heston, who was the NRA’s president at that time, was very powerful and I remember the scene where he goes into a bank and gets a free hunting rifle for opening an account. On the way out, he asks: “Do you think it’s a little dangerous handing out guns at a bank? He told the story beautifully and he asked the questions a viewer would want to ask. KF. I remember he took me on a trip to New York when I was eight years old and I ended up watching it over and over again. I’d never been out of the UK and suddenly I was seeing this extreme wealth on show in New York and at the same time being hit by the extreme poverty in my dad’s film.

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Jan-Christopher Horak initiated another restoration in the late 1990s, drawing upon newly surfaced footage from various archives. It was an improvement, but still probably far from the original. Still, as Drossler makes clear, with luck this version is only one more step toward a semblance of the original. More prints may surface—even, perhaps a nearly complete one like the miraculous Metropolis print that was, against the odds, found in South America. There’s still about half an hour missing, but at 151 minutes, there’s a lot more of the film than most viewers will have seen before. Again there is a second disc with documentaries on Pabst, including The Other Eye, an overview of his career. This time there are optional English subtitles, though the format is also Pal. It’s a network narrative, coincidentally with the same star who played in Hollywood’s quintessential network narrative, Grand Hotel, seven years later. Most of the main characters live on the same street in 1921 Vienna, where the primary centers for interaction are the queue for the butcher’s shop and the brothel hidden behind a dress shop. There are many characters who come and go in complicated scenes. I was also struck by the use of wide-angle lenses and depth staging (as above). Pabst has definitely gone up a notch in my estimation as a result of this release. Edition Filmmuseum has also released a collection of four short features Nielsen made during the 1910s. She worked frequently with emigre Danish director Urban Gad, to whom she was married, but he directed only the third of these four. The others were respectively made by Magnus Stifter, Heinz Schall, and Edmund Edel. (David’s essay on the Danish company Nordisk discusses some of Gad’s films and his 1919 book on filmmaking. The films average about 60 minutes each. She wasn’t afraid to play gawky, plain girls but could also convincingly embody a glamorous woman of the world. Some of her films are terrific, some not so much, but they’re always worth watching for her performances. In terms of subject matter, it’s not one of his most likable films, with a rather silly plot about a pharaoh falling in love with a commoner.

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Sam is going to become a maester I think, whether we have two seasons left or not. For Arya or Jon it sounds great, for Dany or Tyrion sounds horrible. All his possible King's Landing material is pretty much finished now anyway as well. Maybe if Cersei went to Casterly Rock and Jaime became hand of the king and Brienne the head of the guards, then you can maybe add five years because then nothing would need to happen. We'd cut back to Brienne haven proven herself to her lessers, Jaime failing a bit as Hand but keeping a good grasp of security, and Cersei half drunk and crazy. The only way we'll ever see Maester Samwell is if there's some five-year flash forward at the end showing us where all the surviving characters ended up. No way Stannis and Bolton just sit in their respective castles for five years. Also, I don't think it's a coincidence that the North ends up having the best plot, since it's the location that was really meant to have plot ongoing at this point in time. I almost wish he had just left the characters for whom the gap really worked out of the book, and just reintroduced them in Winds to kind of approximate the gap. People would've cried bloody murder about no Arya, but man that Mercy scene would've been great if it had gotten to play its originally intended role of being our first reintroduction to Arya. GRRM has been trying to get them to make more episodes per season for years but the budget simply isn't there. And things are going to get bigger (more expensive) than ever at the end of the series. Or they can use GRRM's other tactic and make the finale into a movie. I have a feeling something is going to interrupt his training. He'll realize he doesn't need it - he's studied enough or maybe he'll become a wizard. I don't know. Maybe someone will take him under his wing. Or maybe he'll just get elected Master of the Citadel by his manipulating friends, despite being the youngest for centuries and then will have a gruff maester hate him and he has him killed and then kills the boy and no, I don't know. I think Sam's story, if I can be hopeful for a moment in this grim dark bittersweet world, is that he'll realize all these fucking vows they keep pushing on him because the world doesn't feel he's worthy are pure shit. He has a girl, he has a kid, in many ways he's already a family man.

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, who was called a Blackfyre. Bloodraven was called a kinslayer when he killed Daemon. Sorta, Daemon Blackfyre eventually decided to make a claim for the throne after being convinced that King Daeron was not his father's son, but rather the son of Aemon the Dragonknight. Daemon was a bastard son of Aegon the unworthy and Daena Targaryen, legitimized on Aegon's deathbed, so he felt he had the better claim. The Blackfyres was the house of Daemon Blackfyre, his last named based on the (supposedly lost) Targaryen Valerian steel blade named Blackfyre that was passed down from king to king. While Aegon did legitimize all his bastards on his deathbed, Daeron was still born first. Of course, the followers of Daemon claimed that by bestowing Blackfyre on Daemon, Aegon made his choice clear as to who he wanted as his heir. While Daeron was the bastard son of Aegon IV and Aegon's first cousin, Daena, who was the daughter of Aegon III, there wasn't particularly any argument over who had the better claim to the throne, AFAIK. Though this background seems to be stuff they probably won't get into. I doubt they bother to edit it unless the show ever makes any effort to really talk about who Bloodraven is and where he came from, the Blackfyre rebellion, etc. I don't think any of that has been mentioned on the show, has it. Now, if for some reason they decide to bring that stuff up in the show, perhaps because there's not enough to keep track of already, and say Bran goes back and sees the younger Bloodraven being sent to the Wall with the young Maester Aemon because for some reason that ends up being important. hen yeah maybe it's worth fixing because show-watchers know Aemon wasn't 1000 years old. But I suspect they'll pretty much leave his backstory out of it, so in the show continuity it just doesn't really matter. And there was no question of Aegon IV's legitimacy as ruler, but there were questions if DaeRon was actually his son. That was just one of the many reasons DaeMon rebelled. True, but don't the Targaryens practice something more akin to semi-Salic law (females can only inherit in the complete absence of male heirs, not just brothers). One I would like to see is Brienne with Melisandre or Davos. A conversation where one of them talks about Stannis or Renly. A chat about their respective failed kings and the shadow baby could be quite.

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I could be slow but I have no idea what you just said lol. I'm starting to read Follett's century trilogy, hopefully it'll be as good as pillars I want Arya to kill Baelish. Baelish is smart, he knows Sansa is worth a thousand times more as a virgin, and as potentially the last living Stark kid. All of the horrors she's been forced to endure since leaving Winterfell would have broken her if she were truly just the angsty, naive, shallow teenage girl from book one that we all thought she was. She is a survivor and I really believe she has it in her to become a major player in the Game - especially now, because of her proximity to Littlefinger. I am gonna be seriously disappointed if, for the rest of the series, she continues to be nothing but a powerless political pawn to be used by others. It's probably too much to hope for, though. rolleyes: (Edit) P. . I would LOVE to see an Arya and Sansa family reunion for the above-mentioned sneaky rampage. I definitely think she's a changed (for the better) version of Sansa. But I think that means she will become more manipulative and self aware, like Baelish. I'm not so certain that she will play a huge role in avenging the Starks. But I think Jon Snow will be fighting the Others (in addition to whatever the hell else he can try to accomplish) and Arya will be doing the Stark vendetta killings. If anything, I think Sansa's transition has made her more like Baelish, rather than more like a Stark. I don't think she's worried about honor, but rather she's learning how to play the game of thrones, particularly how to gain power. TLDR: I think Sansa will play the game as long as it continues to benefit her, whereas someone like Arya will be motivated purely out of righting past wrongs. I think it would be a mistake to underestimate sweet little innocent Sansa. It's probably too much to hope for, though. rolleyes: Yeah I agree with this completely.

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