'In 1904, in Dublin, James Joyce chats up Nora Barnacle, a hotel maid recently come from Galway. She enchants him with her frank, direct and uninhibited manner, and before long, he's convinced her to come with him to Trieste, where he has a job with Berlitz. Over time, Nora pulls him through phobias, tolerates his drinking, takes in his brother Stan, and bests Joyce at 'the writin' game' to bring him back to Italy from Dublin where he's gone to open a cinema. But his sexual jealousy threatens the relationship and sends her back to Galway with the children. Is there any way to tame Jim's green-eyed monster? And, will the lad ever get his stories published?'

Filmed along the same lines as What the Bleep, The Secret, and The Celestine Prophecy. This too will be an interactive motion picture that delves into the questions everyone has been asking for centuries. How do I become Wealthy? What do I do with my ideas? How can someone find their passion? What does it take to truly be Happy? We already understand there are different answers for different people on what 'medium' they used to create success for themselves in these areas, yet we want to go deeper. We want to know (and so does the world) what were the actual STEPS that todays leaders took toward success and the sequence of events that took place to make it all come together.

Walter (Dick Miller) is a busboy overly impressed with the cool cats who hang out at The Yellow Door coffee house, and he wonders how to become "hip." When he accidentally kills his landlady's pet cat, Walter panics and covers it with clay. His prayers are answered, and before he knows it he's the "cat's meow" of the art world. His talent develops and -- surprise! -- he can sculpt humans the same way, too.

Genre: Drama | History
Director:Fernando Cerchio
Runtime:Italy:106 min | USA:97 min
Country:Italy
Language:English
Color:Color (Eastmancolor)
Year :1961
Queen Of The Nile (1961)
Vincent Price delivers a deliciously sinister performance as an evil priest who hatches a plot to ensure the beautiful Nefertiti (Jeanne Crain) marries the pharaoh by imprisoning the young sculptor (Edmund Purdom) she truly loves. Romantic sword and sandal epic from Italy also stars Amedeo Nazzari, Liana Orfei. AKA: "Nefertiti, Queen of the Nile." 97 min. Soundtrack: English (dubbed). Dubbed in English.

They don`t really go to Mars, they go to Venus, but first they go to New Orleans. While working at a missile base, Bud Abbott and Lou Costello inadvertently launch a rocket ship with themselves aboard. After a wild ride around New York City (the Statue of Liberty ducks when the rocket heads her way), Bud and Lou land in the outskirts of New Orleans. The boys are convinced that they`ve reached Mars, and their faith in this supposition is affirmed when they come across several strangely costumed `creatures` (actually revellers at the Mardi Gras).

Let the wildlife documentaries roll in. I suppose it's lucrative enough to make a film based on animals both in wildlife, or in captivity, protecting them from the threat of extinction. You can name such films with ease, starting from the award winning March of the Penguins, to the fictional story The Fox & the Child and to the latest screened here in Panda Diary. The Meerkats took a bow at last year's Tokyo International Film Festival, and while we may not be that familiar with this species, the story weaved into this documentary has universal themes going back to basics on survival.

From Wikipedia::

Creating Rem Lezar is a children's musical film starring Jack Mulcahy, Jonathan Goch and Courtney Kernaghan. Released by Valley Studios in 1989 as a direct-to-video release.

The film was written, directed, produced and choreographed by Scott Zakarin, as well as having a starring role as "Vorock" the fear-mongering face and being the co-writer of the musical number's lyrics.

The forces of evil are attempting to recapture a human-inhabited earthlike planet that has been liberated by rebels. The son of one of the rebel leaders, an electronic genius, searches the galaxy for a hero and finds Captain Zoom, star of a 1950's TV series. He is transported to the planet as its savior, which role he must play despite himself.

When You're Strange, written and directed by the award-winning Tom DiCillo, is the first feature
documentary released on The Doors. Graced by the narration of Johnny Depp, it carries the audience
through the journeys of vocalist Jim Morrison, keyboardist Ray Manzarek, guitarist Robby Krieger,
and drummer John Densmore. This 90-minute presentation features never-before-seen rare archival film,
pulled from their inception in 1966 to Morrison s passing in 1971.
These snapshot scenes of the band s history is as much an intimate experience, as it is revealing.

In 1951, Dore Schary replaced Louis B. Mayer as head of MGM but when Schary himself was ousted from that job in 1956, he went to New York and produced the highly successful play, Sunrise at Campobello. He then formed his own production company, and as his first film, chose the Nathanael West novella, Miss Lonelyhearts. It had been filmed before, as Advice to the Lovelorn (1933), which played the story for laughs. West's works are notoriously difficult to translate to film, both because they are laden with symbolism, and because they are so relentlessly grim and downbeat. Yet Lonelyhearts (1959) is considered by many to be the best film adaptation of a West work.

To many Americans — millions, really — the name Fran Lebowitz doesn’t mean much. But in certain precincts, vital to the cultural functioning of both coasts, she is famously a friend, a crank, a climber, a cautionary tale, an iconoclast and a mouth. In “Public Speaking,” Martin Scorsese’s enormously enjoyable and perceptive documentary about her, Ms. Lebowitz’s endearing narcissism is a study in the notion that arrogance and insecurity are largely two sides of the same cocktail coaster.

This documentary-style video captures the porn scene right at its very beginnings. The format is straightforward, with a panel of 'experts' who discuss various issues related to censorship and sex. Their rather dry analysis is then illustrated by a series of searing clips depicting their ideas. And that's where this fllick really takes off. The clips feature some of porn's earliest stars, from shapely Tina Russell to leggy Darby Lloyd Rains. These feverish flower children prove once and for all that there's nothing new under the sun. They do a little bit of everything with sultry smiles on their faces. Fantasy becomes reality in this eye-opening look at hippie-era hi jinx.

In an Orwellian dystopia of unknown date, an omnipotent army of suited, turtle-necked, bowler-hat clad overseers monitor citizens for illegal acts -- including sex, violence, politics and display of emotions -- in an effort to force peace on the world. Loudspeakers instruct that "The Monitors are your friends." Underground, a right-leaning resistance movement plots the overthrow.

'Stars and Bars,' U.S. As Land of the Odd
By VINCENT CANBY
Published: March 18, 1988
LEAD: Toward the middle of ''Stars and Bars,'' Henderson Dores (Daniel Day-Lewis), a New York art-auction-house representative, arrives in Atlanta to register at one of those multi-story theme parks that are now the fashion in hotels in this country. The room clerk, smiling, gives Henderson his key and says, ''Follow the path through the atrium, then take the scenic elevator to the 35th floor.
Toward the middle of ''Stars and Bars,'' Henderson Dores (Daniel Day-Lewis), a New York art-auction-house representative, arrives in Atlanta to register at one of those multi-story theme parks that are now the fashion in hotels in this country. The room clerk, smiling, gives Henderson his key and says, ''Follow the path through the atrium, then take the scenic elevator to the 35th floor.''
It's another adventure for the impeccably tailored Henderson, an upper-middle-class Englishman for whom America is a coast-to-coast Disneyland. He makes his way through a man-made jungle of flora and chirping fauna to arrive at a boat landing. A smiling attendant greets him, draws up a canoe and directs him to paddle across to the elevator bank.

Alla Nazimova’s version of the venerable Dumas drama is set in modern-day Paris, and is highlighted by art director Natasha Rambova’s Art Nouveau production design.

Armand, fresh from the provinces, discovers a captivating Marguerite in Paris, surrounded by sycophantic leaches. While his devotion rescues Marguerite from her superficial ‘friends,’ it cannot lift her from the increasingly gloomy feeling of impending doom. Armand’s father insists Marguerite give up Armand to save the family from the scandal of her injudicious past. Tragically, she agrees, jettisons her relationship and returns to Paris and her old cohorts. Armand falls into a fast-paced and destructive lifestyle to forget and punish Marguerite. Eventually, gravely ill and in the hands of creditors, Marguerite’s last moments are spent thinking of Armand.

Nazimova is oddly enchanting as a jaded and, of course, tubercular nouveau riche Marguerite. Rudolph Valentino is a subdued yet still passionate Armand. Arthur Hoyt as the count appears in another of his ineffectual characters, for which he was known. And, while he was not a major director, Ray Smallwood does a good job of bringing in a glossy production worthy of the yet-to-be-formed MGM studio.

There is enough Nazimova posing, to show off her fabulously-designed wardrobe, to satisfy the most lingering of fashion show fleas. Also, Nazimova’s big hair is every bit the inspiration for the look of the Bride of Frankenstein. But, ultimately, the production design and its surprisingly entertaining performances make this film a pleasure to discover and revisit. — Carl Bennett [silentera.com]

Among all the Rankin-Bass-Muller holiday treats, this one is an underappreciated gem. It's clearly not as well-known as several of the others, probably because it's only marginally a specifically Christmas story, is not associated with a popular Christmas carol, etc. However, in our family we like this one every bit as much as any of the others, if not more. The plot is more emotionally engrossing, the original songs are terrific, and there are some particularly appealing and fascinating characters developed. This story works successfully in different ways for different agegroups

An Independent Television Service and God Bless the Child Prods. co-production in association with the National Black Programming Consortium. Produced by Byron Hurt, Sabrina Gordon. Executive producers, Stanley Nelson, Sally Jo Fifer. Directed, written by Byron Hurt.


Narrator: Byron Hurt.

This is the Preview version of Touch of Evil found in the mid 1970s. This version is 15-minutes longer than the theatrical version that eventually made it to theaters in 1958. The longer preview version was for many years presumed to be Orson Welles' preferred cut. When Welles saw the preview version, he wrote his famous 58-page memo, a pitiful attempt to undo the damage.

This is the story of the clock-like operations of a giant, big city New Orleans hotel. The ambitious yet loyal manager wrestles with the round-the-clock drama of its guests. A brazen sneak thief, who nightly relieves the guests of their property, is chased though the underground passages of the hotel. The big business power play for control and the thrilling crash of an elevator add to the excitement.