They must never have seen or heard of [i]Sword of Doom[/i], 1966 with Tatsuya Nakadai and Toshiro Mifune
The choreography of swordfighting in movies is certainly at an aesthetic high point of development in this film. You could go for pages about the early duel's war of nerves, or the sword fight in the snow at night. Has edge play ever been made more beautiful? I seriously doubt it. This scene alone makes the film worthy of preservation and, redistribution by the high brow folks at Criterion, and worth the watching. At the conclusion of "Sword" there is of course a climactic battle in which an infinite number of killers surround and attack Nakadai's antihero. He slashes and stabs his way through them, wave after wave, but they never stop coming, and killing them seems to inflict a greater and greater toll of suffering upon Nakadai, the supposedly remorseless killer. The fighting never stops, we just withdraw and fade out from the scene. He was doomed to be bad, and this endless accumulation of guilt and suffering is the sentence he serves out in his life and/or afterlife. It's an existentialist (by way of Camus), Buddhist, 60s countercultural triumph of exploitation flick gone-art-house from a director who is reputed to have done nothing good before it or after it. But I'll concede that, compared with TVs Spartacus, there isn't a lot of beefcake on view. I mean you don't get to see a lot of well muscled, tanned and oiled leg and bum. If that's the Ranker's gripe against Sword of Doom, then they have a point. Everyone has their favorites I guess.
Agave plants are slow growing (as you might expect of a desert plant) and require 8-12 years to mature to the point the pinas are big enough to flower and harvest for making booze. Which means that only one eighth of your planted acreage could be harvested in a given year - whether you are considering the planted acreage of one planter or the agave production of the whole world. Even in Mexico, agave can only be grown here and there in about one third of Mexico's land area. (Tequila, as registered Denomination of Origin product, can only be made from a specific variety of agave from a handful of states and localities.)
Most biofuels proposals are dubious and make little sense, but this one is just pure nonsense. You would use alcohol from agave plants to power your car to get from one part of a post-Apocalyptic Cormac McCarthy novel to another, because there was literally nothing else to use as fuel, not as part of a viable civilization.
Mooninites are not impressed by your pathetic, wimpy Terrestial bling. It probably can't even be embedded in teeth and lacks anything resembling a chain. It is going to Cash-4-Gold right now, to fund the purchase of Lottery tickets.
Whatever that fellow is using for a shampoo/conditioner should probably be avoided by travelers to N.Z. Unless you know rare parrots are your bag, baby.
To correct myself about where The Shining was filmed: wherever I typed Pinewood Studios, substitute Elstree Studios. The lot used for exterior shots was owned by MGM (also in Britain) near the Elstree sound stages.
If you get the DVD of the Shining you can see some behind the scenes stuff filmed by Kubrick's daughter. Included in this material you'll follow some of the actors through hallways and down stairs into the set of the main Overlook Hotel's great room - which will dispel any doubts some people may have about whether these scenes were shot at Pinewood Studios in Britain. Also you see how some supporting areas in Pinewood Studios were converted into the Overlook's kitchen and pantry areas. It was amazing to learn how the effect of natural sunlight in the Overlook's great room was done: massive banks of lights and mirrors around the windows, blazing in. It looks like sun glaring on snow on camera, and apparently it kept the main set hot as an oven.
The model for the interior design of the Overlook is the Ahwahnee Lodge near Yosemite Park. http://www.webportal.com/ahwahnee/
There were a couple of exterior establishing shots that use the Timberline Lodge on Mt. Hood. The actual scenes with action and dialog that are set outdoors including the last action sequence set at nighttime during snowstorm (Danny's escape through the window, then Wendy's escape and getting into Dick Halloran's Snowcat, etc.) were shot on a lot in Britain. Which means a massive exterior facade of the Lodge had to be built and ungodly amounts of sea salt and polystyrene fluff were used to create the blizzard effect.
If you look at the exterior shots that show the Lodge and the mountain behind it you will see that there is no hedge maze - and more importantly there is NO PLACE where the hedge maze could possibly be. The mountain slopes away in every direction. For me that spatial discontinuity adds some atmospheric eeriness to the movie. You wouldn't necessarily be aware of the discontinuity on a first time viewing, but it registers somehow on a subliminal level. All of a sudden, just magically appearing, or like an hallucination, the hedge maze is there. Then it's not there in a snowed-in establishing shot. Then it's there again. There are other discrepancies or discontinuities involving the maze, which may or may not have been intentional. Seen from above (an omiscient pov, or perhaps in Jack's "shining" hallucination) the maze is larger and more symmetrical than it is on the plan of the maze seen in a map outside of it as Wendy and Danny walk into it.
It's so wrogn - on so many levels. The @ symbol is illegal in domain name records, so www.info@kronlund can't be a url for the real estate agent's website - not even if "kronlund" were a toplevel domain which it isn't. Even if it were meant as an email address, with "www.info" as the intended recipient, it's still missing the toplevel domain suffix. And excuse me but, "LOKALER UTHYRES" "WWW.INFO@KRONLUND"? Stop shouting already. (Just take his caps lock key away) Besides which, that's not even English.
The choreography of swordfighting in movies is certainly at an aesthetic high point of development in this film. You could go for pages about the early duel's war of nerves, or the sword fight in the snow at night. Has edge play ever been made more beautiful? I seriously doubt it. This scene alone makes the film worthy of preservation and, redistribution by the high brow folks at Criterion, and worth the watching. At the conclusion of "Sword" there is of course a climactic battle in which an infinite number of killers surround and attack Nakadai's antihero. He slashes and stabs his way through them, wave after wave, but they never stop coming, and killing them seems to inflict a greater and greater toll of suffering upon Nakadai, the supposedly remorseless killer. The fighting never stops, we just withdraw and fade out from the scene. He was doomed to be bad, and this endless accumulation of guilt and suffering is the sentence he serves out in his life and/or afterlife. It's an existentialist (by way of Camus), Buddhist, 60s countercultural triumph of exploitation flick gone-art-house from a director who is reputed to have done nothing good before it or after it. But I'll concede that, compared with TVs Spartacus, there isn't a lot of beefcake on view. I mean you don't get to see a lot of well muscled, tanned and oiled leg and bum. If that's the Ranker's gripe against Sword of Doom, then they have a point. Everyone has their favorites I guess.
Most biofuels proposals are dubious and make little sense, but this one is just pure nonsense. You would use alcohol from agave plants to power your car to get from one part of a post-Apocalyptic Cormac McCarthy novel to another, because there was literally nothing else to use as fuel, not as part of a viable civilization.
The model for the interior design of the Overlook is the Ahwahnee Lodge near Yosemite Park.
http://www.webportal.com/ahwahnee/
If you look at the exterior shots that show the Lodge and the mountain behind it you will see that there is no hedge maze - and more importantly there is NO PLACE where the hedge maze could possibly be. The mountain slopes away in every direction. For me that spatial discontinuity adds some atmospheric eeriness to the movie. You wouldn't necessarily be aware of the discontinuity on a first time viewing, but it registers somehow on a subliminal level. All of a sudden, just magically appearing, or like an hallucination, the hedge maze is there. Then it's not there in a snowed-in establishing shot. Then it's there again. There are other discrepancies or discontinuities involving the maze, which may or may not have been intentional. Seen from above (an omiscient pov, or perhaps in Jack's "shining" hallucination) the maze is larger and more symmetrical than it is on the plan of the maze seen in a map outside of it as Wendy and Danny walk into it.
The @ symbol is illegal in domain name records, so www.info@kronlund can't be a url for the real estate agent's website - not even if "kronlund" were a toplevel domain which it isn't. Even if it were meant as an email address, with "www.info" as the intended recipient, it's still missing the toplevel domain suffix. And excuse me but, "LOKALER UTHYRES" "WWW.INFO@KRONLUND"? Stop shouting already. (Just take his caps lock key away) Besides which, that's not even English.