History Buffs
Published on 18 Sep 2016History Buffs is back! To thank you all for your patience while I’ve been away on holiday, I’m starting off with Master and Commander!
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Master and Commander: The Far Side of the World is a 2003 American epic historical drama film written, produced and directed by Peter Weir. The film stars Russell Crowe as Captain Jack Aubrey and Paul Bettany as Dr. Stephen Maturin. The film, which cost $150 million to make, was a co-production of 20th Century Fox, Miramax Films, Universal Pictures, and Samuel Goldwyn Films, and released on November 14, 2003 to critical acclaim. The film’s plot and characters are adapted from three novels in author Patrick O’Brian’s Aubrey–Maturin series, which includes 20 completed novels of Jack Aubrey’s naval career.
At the 76th Academy Awards, the film was nominated for 10 Oscars, including Best Picture. It won in two categories, Best Cinematography and Best Sound Editing and lost in all other categories to The Lord of the Rings: The Return of the King.
May 31, 2019
History Buffs: Master and Commander
May 27, 2019
Victoria & Abdul, a film about “the brown John Brown”
Mark Steyn on the 2017 movie Victoria & Abdul:
As I mentioned on the radio yesterday, May 24th 2019 marks the bicentennial of Queen Victoria. So it would seem appropriate to have a bit of cinematic Victoriana for our Saturday movie date. Her Majesty was an important and consequential figure in almost every corner of the world, and once upon a time the biopics reflected that. But she was to a degree unknown and unknowable, which offers great opportunities to the contemporary biographical sensibility. And so the most notable films of the last two decades belong to a sub-genre of their own: the Queen-Empress and the men who caught the eye of a lonely and isolated woman in the long decades of her widowhood. John Madden’s Mrs Brown (1997) is about the Queen’s relationship with her ghillie; Stephen Frears’ Victoria & Abdul (exactly twenty years later, 2017) is about the Queen’s relationship with her munshi.
Queen Victoria (1819-1901) portrait by Bassano, 1882.
Photo via Wikimedia CommonsIf you don’t know what a ghillie is, well, it’s a Scots Gaelic word for a Highland chief’s attendant on a fishing or hunting trip. If you don’t know what a munshi is, hey, relax: Nobody in the Royal Household does either, and so they’re a little taken aback to find that a Hindu waiter brought over to add a bit of imperial exotica to the Golden Jubilee in 1887 has suddenly been promoted to the hitherto unknown position of “Munshi and Indian Clerk to the Queen-Empress”.
A court favorite is always resented by less-favored courtiers – for whatever reason suffices. In Mrs Brown (the below-stairs mocking name for her ghillie-smitten Majesty), the favorite, John Brown, is resented for being a big brawny bit of Highland rough. In Victoria & Abdul, which begins four years after the Highland fling’s sudden death, the new favorite, Abdul Karim, is resented because his insinuating Moghul and Persian airs are regarded as ludicrously above his station.
Yet they all get what’s going on: As one lady-in-waiting at Balmoral titters, Abdul is “the brown John Brown”.
To confirm that we are in the realm of sequel, the Queen in both films is played, splendidly and sympathetically, by Judi Dench, and the supporting characters are largely identical, too – from Henry Ponsonby, the Queen’s Private Secretary, to her long-serving Lady of the Bedchamber, Lady Churchill. As in Mrs Brown, the latter screenplay is disfigured by solecisms. In the earlier film, the script cannot quite decide whether the Private Secretary is “Sir Henry” or “Mr Ponsonby”. In the sequel, Judi Dench sighs that, “I have almost a billion citizens” – not a sentence she would ever have uttered: she had almost a billion subjects – and, as wily old Éamon de Valera would later remark in another context, the concept of “citizenship” was all but unknown in the British Empire. One of her last major legislative acts was to give Royal Assent to the Australian constitution – which she found to be in very poor taste, as the word “Commonwealth” reminded her of Oliver Cromwell.
May 24, 2019
QotD: Politics and culture
… sometimes Mark Steyn seems like the only conservative you can discuss these issues with, because most Republicans think popular culture is beside the point, if not downright dangerous. Steyn, on the other hand, has performed “Kung Fu Fighting” before thousands of people in civic auditoria more accustomed to Mary Kay Cosmetics conventions, so he gets it.
“Social conservatives are always editing pop culture,” says Steyn, “and it’s completely pathetic. Conservatives play to the caricature. Mention a French movie and the crowd turns on you. It’s a reductive view of the world. There are ideological enforcers casting aside works of art because they contain bad words or uncomfortable associations. It’s one of the biggest abdications of the American right. Who gives a crap about who gets elected to the Congressional district in Ohio? — that’s not going to change the culture. It’s movies that move the culture. And if you abdicate that space, you lose. Jeb Bush spent a billion dollars to get 2.8 per cent of the vote in Iowa. Mitt Romney and people like him who have a billion dollars — don’t spend it on politics, buy a TV network! Theatre, movies, music, that’s where the battles are fought. They’ve abdicated that space in the schools. As a result, my kid had to sit through Al Gore’s lousy movie three times. All effective storytelling is inherently conservative — because your choices have consequences. For the Left, nothing has consequences. But the trends are all in the Left’s direction, because the Right got out of the game — they chose to make themselves culturally irrelevant. If you’re not in the same room, having the conversation, there’s not gonna be a solution.”
Mark Steyn, interviewed by John Bloom, “Mark Steyn, Cole Porter and Free Speech”, Quadrant, 2017-05-11.
May 14, 2019
The Broad Fourteens – Royal Navy Motor Torpedo Boats In WWII
PeriscopeFilm
Published on 20 Sep 2017Support Our Channel : https://www.patreon.com/PeriscopeFilm
Made in 1945, THE BROAD FOURTEENS is one of the excellent, dramatized accounts of WWII made by the Ministry of Information for morale purposes. The film shows the first posting, and eventual first action, of a newly-trained motor torpedo boat (MTB) crew. (‘The Broad Fourteens’ is the name given to a patrol area of the North Sea off the Dutch coast.) The film joins the boat and crew at the end of their training (probably HMS Bee, the Coastal Force working up base at Weymouth). The boats featured include 70’ Vosper 1942 class boats, 70’ British Power Boat motor gunboats and MTB 210 — a J Samuel White-built 70’ Vosper which later joined the 13th MTB Flotilla at Dover. The fictional MTB 181 is probably MTB 352, commanded by Lieutenant John M Moore RNVR which joined the 11th MTB Flotilla at Felixstowe after completing her work up. Also featured is MTB 354, commanded by Lieutenant Roland Plugge RN which was the SO’s boat, 5th MTB Flotilla, at Dover. The German flak trawler is in fact an RN Isles Class trawler standing in.
(0:48) Introduces the viewer to how the “broad fourteens” came to exist. Navy training is depicted (2:15). At the training commander’s office (2:25) the film shows the commander and the captain conversing about torpedo and battle experiences and strategies. [Note that they emphasize that Lieutenant Howard is Canadian, although clearly serving in the Royal Navy, as he doesn’t have a “Canada” patch on the shoulder of his uniform.] The crew is shown going through their regular activities. They discuss the previous battles as they are called together. The commander and the captain (5:10) discuss the boat’s impending departure. 5:40 shows the operational base as crews and the commander busily arrive the base. (6:48) operation room as a crew brings a report to the commander. The captain talks about his crew alongside another (7:28). At mark 8:00 the film shows the crew’s residential life. The crew are shown prepping for the first operation as their boats head offshore (9:15) and into the deep sea. The captain is shown calculating the boat’s navigation on his map (10:20). A communication link is established (11:18) and the captain discusses how much longer it is till they get to the operation site. Back at the base (12:20) the crews left converse. The crews are seen at the starmouth arms (14:30), they enjoyed listening to their music at (15:00). The crew takes care of their ship (16:05).
The commander converses with the captain (16:45). The crew are shown in their rooms (17:18). (17:27) is the Starmouth Arms where the crew talk among themselves. The Starmouth Arms manager receives a call which got all crews back to their base (18:40). The commander gives a report (19:20) on the mission and key targets. The meeting closes (20:00) as all crew member are set as they start their engine and move on (21:15). On the deep sea is the navigation map (21:50). At mark 22:20, the crews stops for awhile and takes a break. They move on (22:53). The key target is seen (23:10) and the troops get ready for firing. All crew on set as they wait on the captain to give the go ahead to shoot (23:50). The captain makes the key calculations as the crew stands by for the torpedo release. He gives the go (24:47) and the torpedo is launched out. The torpedo engages the target (25:06). Reports about the operation are documented (25:30) as they proceed to rendezvous point. Two German gun boats are sighted (25:47) as they appear and fire at the crew (26:03). Firing continues till 26:45. There is alarm about fire at the cargo base as a crew is injured (27:00). The fire is attended to as firing continues (27:50). The report about the casualty and the op is documented (28:30). Explosives are launched across the sea towards the enemy gun boats (29:15) as they cool down the heat on them.
Meanwhile back at the base, the film shows the commander (30:00) receiving a visit from his superior, who asks about the mission report as he looks towards the map (30:40). At the battle front, the captain asks about news on the gun boats (31:11) as his underlings all wait in anxiety. The gun boats are sighted (31:38) as they closes on fast towards the crew. At mark 31:53, they opened fire against the boat. A crew is hit (32:15). A gun boat comes in their rescue (33:00) and defeats the enemy boat. Gregory and Johnny are shown wounded. The gun boat (34:00) makes reports and request the course as they depart for home port.
This film is part of the Periscope Film LLC archive, one of the largest historic military, transportation, and aviation stock footage collections in the USA. Entirely film backed, this material is available for licensing in 24p HD, 2k and 4k. For more information visit http://www.PeriscopeFilm.com
May 2, 2019
April 11, 2019
QotD: How to improve David Lynch’s Dune
Dune (1982) is a Lawrence of Arabia pastiche with a mad bucket of half-baked science fiction tropes bolted onto it. It includes so much extraneous, confusing detail from the novel’s world, but when you think of all the things it omits you really get a good sense of why Lynch (or anyone?) could not form it in 2 or 3-hours.
I think there are two things that could be done to fix it. Firstly, remove all the speaking and turn the whole thing into a hallucinatory Lynchean nightmare, perhaps to be accompanied by Brian Eno’s mythic 45-minute album of Dune music. […]
Secondly, use Lynch’s movie as the basis for a full-length animated TV miniseries by rotoscoping it and bringing back the original actors for several hours or so of newly-animated scenes.
Rob Beschizza, “Sorry, David Lynch’s Dune sucks (or does it?)”, Boing Boing, 2017-04-21.
March 31, 2019
QotD: Gandhi’s not-so-non-violent followers
… it is not widely realized (nor will this film tell you) how much violence was associated with Gandhi’s so-called “nonviolent” movement from the very beginning. India’s Nobel Prize-winning poet, Rabindranath Tagore, had sensed a strong current of nihilism in Gandhi almost from his first days, and as early as 1920 wrote of Gandhi’s “fierce joy of annihilation,” which Tagore feared would lead India into hideous orgies of devastation — which ultimately proved to be the case. Robert Payne has said that there was unquestionably an “unhealthy atmosphere” among many of Gandhi’s fanatic followers, and that Gandhi’s habit of going to the edge of violence and then suddenly retreating was fraught with danger. “In matters of conscience I am uncompromising,” proclaimed Gandhi proudly. “Nobody can make me yield.” The judgment of Tagore was categorical. Much as he might revere Gandhi as a holy man, he quite detested him as a politician and considered that his campaigns were almost always so close to violence that it was utterly disingenuous to call them nonviolent.
For every satyagraha true believer, moreover, sworn not to harm the adversary or even to lift a finger in his own defense, there were sometimes thousands of incensed freebooters and skirmishers bound by no such vow. Gandhi, to be fair, was aware of this, and nominally deplored it — but with nothing like the consistency shown in the movie. The film leads the audience to believe that Gandhi’s first “fast unto death,” for example, was in protest against an act of barbarous violence, the slaughter by an Indian crowd of a detachment of police constables. But in actual fact Gandhi reserved this “ultimate weapon” of his to interdict a 1931 British proposal to grant Untouchables a “separate electorate” in the Indian national legislature — in effect a kind of affirmative-action program for Untouchables. For reasons I have not been able to decrypt, Gandhi was dead set against the project, but I confess it is another scene I would like to have seen in the movie: Gandhi almost starving himself to death to block affirmative action for Untouchables.
From what I have been able to decipher, Gandhi’s main preoccupation in this particular struggle was not even the British. Benefiting from the immense publicity, he wanted to induce Hindus, overnight, ecstatically, and without any of these British legalisms, to “open their hearts” to Untouchables. For a whole week Hindu India was caught up in a joyous delirium. No more would the Untouchables be scavengers and sweepers! No more would they be banned from Hindu temples! No more would they pollute at 64 feet! It lasted just a week. Then the temple doors swung shut again, and all was as before. Meanwhile, on the passionate subject of swaraj, Gandhi was crying, “I would not flinch from sacrificing a million lives for India’s liberty!” The million Indian lives were indeed sacrificed, and in full. They fell, however, not to the bullets of British soldiers but to the knives and clubs of their fellow Indians in savage butcheries when the British finally withdrew.
Richard Grenier, “The Gandhi Nobody Knows”, Commentary, 1983-03-01.
March 20, 2019
Over-Analyzing The Iconic Duel in The Princess Bride: How Accurate is It?
Skallagrim
Published on 16 Feb 2019Support My Channel! Download Free ⚔️ Vikings War Of Clans Here
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And Get 200 💰 Gold, And a ⛨ Protective Shield for FREEHave you ever wondered what Inigo Montoya and Westley chatter about while dueling with swords? What is Bonetti’s Defense? Does Thibault really cancel out Capo Ferro? And how realistic is the fighting overall?
You’ll find out in this video.
From the comments:
Skallagrim
2 days agoYes, you caught me… Should have said Thibault’s treatise was published in 1630. He did not write it after his death…
Although that would be pretty badass. Imagine you’re so dedicated to the art of fencing that you become a lich just to finish your work.
March 14, 2019
How Hollywood Helped Hitler | Between 2 Wars | 1926 Part 2 of 2
TimeGhost History
Published on 13 Mar 2019The rise of the media superstar and the rise of Naziism had a lot to do with each other. The early death of one of the first media superstars, Rudolph Valentino in 1926 shows us exactly how and why.
Join us on Patreon: https://www.patreon.com/TimeGhostHistory
Hosted by: Indy Neidell
Directed by: Astrid Deinhard
Written by: Spartacus Olsson
Produced by: Astrid Deinhard
Executive Producers: Bodo Rittenauer, Astrid Deinhard, Indy Neidell, Spartacus Olsson
Creative Producer: Joram Appel
Post Production Director: Wieke Kapteijns
Edited by: Wieke Kapteijns
Research by: Spartacus OlssonColorized Pictures by Olga Shirnina
https://klimbim2014.wordpress.comVideo Archive by Screenocean/Reuters http://www.screenocean.com
A TimeGhost chronological documentary produced by OnLion Entertainment GmbH.
From the comments:
TimeGhost History
2 hours ago
After a week of radio silence, we’re back with another Between Two Wars episodes. We’re continuing in the spirit of where we left off, and enter the crazy and hyped-up world of superstars. We hope that you like our video! If you do, please consider supporting us on Patreon or via our website timeghost.tv. We are still only just managing to cover the minimum that is required to produce this content. Every dollar truly counts. -> https://www.patreon.com/TimeGhostHistory
March 8, 2019
Stephen Fry on Political Correctness and Clear Thinking
The Rubin Report
Published on 4 Apr 2016Stephen Fry (actor and comedian) joins Dave Rubin for a quick discussion about political correctness, clear thinking, V for Vendetta, free speech, and his decision to quit Twitter.
This is a bonus edition of ‘The Sit Down’ on The Rubin Report, filmed on the set of Larry King Now.
What are your thoughts? Comment below or tweet to Dave: https://twitter.com/RubinReport
Watch more on Ora TV: http://www.ora.tv/rubinreport
Find us on Patreon: https://www.patreon.com/rubinreport?ty=h
******
Stephen Fry
Actor, Author, and Comedian
******
Care about free speech? Tired of political correctness? Like discussions about big ideas? Watch Dave Rubin on The Rubin Report. Real conversations, unfiltered rants, and one on one interviews with some of the most interesting names in news and entertainment. Comedians, authors, and influencers join Dave each week to break down the latest in politics and current events. Real people, real issues, real talk.
February 24, 2019
The Hobbit: The Desolation of Warners (Part 3/2)
Lindsay Ellis
Published on 20 Apr 2018Nothing is pure.
From the comments:
Special Agent Washing Tub
2 months agoMe; * watching this and feeling my childhood shatter*
“Why does it hurt so much?”
Lindsay: “BECAUSE IT WAS REAL.”
February 23, 2019
The Hobbit: Battle of Five Studios (Part 2/2)
Lindsay Ellis
Published on 3 Apr 2018So we’ve looked into what the problems were with these movies, the question now is … why? What happened, Peter Jackson? WHAT HAPPENED?
From the comments:
app
5 months agoThat interview clip with John Callen near the end broke my heart. I also grew up with the hobbit and was bored to tears by the movies. But I never thought about the actors of the Dwarves and how important it was that they got pushed aside. The hobbit could have been amazing if it was this band of actors, dressed like dwarves, trying to reclaim their culture and finding out what that really means. It’s a pure idea, and ironically it was corrupted by greed… you reminded me what I loved about the book! :'(
February 22, 2019
The Hobbit: A Long-Expected Autopsy (Part 1/2)
Lindsay Ellis
Published on 27 Mar 2018In which we look back at The Hobbit trilogy and try to give it a fair shake.
Twitter: @thelindsayellis
Patreon: https://www.patreon.com/loosecanon
From the comments:
J Girl
9 months agoWho else is waiting for the next video to be titled “part 2/3” as a slap in the face to the fact that they switched it from two movies to three
February 19, 2019
LOONEY TUNES (Looney Toons): Rookie Revue (1941)
8thManDVD.com™ Cartoon Channel
Published on 8 Dec 2013Random gags around military life, set on an army base. A bugler uses a jukebox to play reveille. In formation, one private has a great deal of trouble remembering what comes after “3”; after he gets it, he decides not to go for the $32 question. In the mess hall, the machine gunners machine gun their food while the bombers catch falling biscuits. The infantry marches for miles – past a “next time, take the train” billboard. The camouflage troops march by, invisibly. We see training substitutes: wooden guns, cars marked “tank” and, alas, a banner marked “parachute” deployed in mid-jump. More training: aerial games (of tic-tac-toe). The anti-aircraft division has target practice, on an aerial shooting gallery. Finally, in an elaborate process, a general provides firing instructions to a big gun; when it hits his own building, he says, “I’m a baaad general.”
8thManDVD.com and all content © 2013 ComedyMX LLC. All rights reserved. Unauthorized use is prohibited.
The looney tunes (commonly mistaken as Looney Toons) series features characters such as bugs bunny, daffy duck & porky pig. The looney tunes cartoons, movies and new looney tunes show have been produced for years. The looney tunes full episodes, produced by the official looney tunes are available on DVD and TV.
February 15, 2019
QotD: The swordfight from The Princess Bride
I cannot, however, pass by that period without noting one moment of excellence; The Princess Bride (1987). Yes, this is classic stagy Hollywood high-line, consciously referring back to precedents including the Flynn/Rathbone scene from fifty years earlier – but in this context there’s no sense of anachronism because the movie is so cheerfully vague about its time period. The swords are basket-hilted rapiers in an ornate Italo-French style that could date from 1550 to their last gasp in the Napoleonic Wars. The actors use them with joy and vigor – Elwes and Patinkin learned to fence (both left- and right-handed) for the film and other than the somersaults their fight scene was entirely them, not stunt doubles. It’s a bright, lovely contrast with the awfulness of most Hollywood sword choreography of the time and, I think, part of the reason the movie has become a cult classic.
Eric S. Raymond, “A martial artist looks at swordfighting in the movies”, Armed and Dangerous, 2019-01-13.
