TV

This two-part TV movie was, of course, sparked by the November 1978 mass suicide of 913 people at the South American religious “colony” of Jonestown. The catalyst for this tragedy was cult-leader Reverend Jim Jones (played by Powers Boothe, who won an Emmy for his performance), head of the so-called People’s Temple. The film traces the life of Jones from his days as an idealistic 1960s activist. He drifts into penny-ante confidence scams and bed-hops from woman to woman, before electing to pass himself off as a modern messiah–eventually believing his own feverish sermons. The climactic scenes are chillingly staged in a near-documentary fashion, with Puerto Rico and Georgia substituting for Guyana. Ned Beatty plays the ill-fated Representative Leo Ryan, while James Earl Jones has a cameo as 1930s religious-leader Father Divine; most of the other main characters are composites of real people. Originally broadcast April 15 and 16, 1980, The Guyana Tragedy was adapted by Ernest Tidyman from the Washington Post and Charles A. Krause’s Guyana Massacre: An Eyewitness Account.Read More »

Kate works in the nuclear industry. She is concerned about the way things are being run. So she smuggles out some Plutonium to prove how easy it is. She tries to pass it on to protest groups, but nobody is interested as they have their own agendas.Read More »

Originally made for television, a psychotic blackmails his beloved by demolishing areas of the city until she goes out with him.Read More »

Quote:
When the SS Festivale sets sail from New York to France, its 3,000 passengers include Pulitzer Prize-winning author Harold Columbine and 146 members of the Church of the Cosmic Path, led by Father Craig Dunleavy, their charismatic messiah. Seizing control of the ship, Dunleavy demands $70 million in gold, intending to kill everyone onboard once it’s paid. Without knowing which passengers are cultists and warned that 12 will die for every hijacker harmed, Columbine and the captain search for a way to save 3,000 lives before Dunleavy makes good on his threat. Based on a novel by screenwriter Ernest Lehman, this mini-series was broadcast over three nights in November 1979. -LetterboxdRead More »

‘These refuseniks have all been denied visas to go to Israel. Some are in prison, others are suffering KGB harassment even as I speak… the point of asking you here is to find ways of mounting a barrage of publicity in the media. To act as horseflies, if you like, on the Kremlin’s rump.’Read More »

Plot Summary
Based on the mid-eighteenth century novel by Cao Xueqin, Beijing’s CCTV’s version of “A Dream in Red Mansions” (aka Dream of the Red Chamber) is known by many to be the ultimate and best adaptation of the story either on TV or film. It is a story about the tragic love of Jia Baoyu and Lin Daiyu, and the prosperity and decline of the four notable feudal ruling-class families of Jia, Shi, Wang and Xue. Daiyu is a beautiful and talented girl, but prone to ill health. The intelligent and carefree Baoyu, nonetheless, shows love toward her over the years and puts up with her sensitivity and ill-tempered personality. They, along with their family-favored and tactful cousin Xue Baochai, reside in the Grand View Garden. Read More »

A hunting expedition becomes a deadly game of cat-and-mouse when a big-game hunter decides to eliminate the only witness to an accidental shooting: his guide.Read More »

A false accusation leads the philosopher Socrates to trial and condemnation in 4th century BC Athens.

It was filmed in Spain with French actors in the principal roles — including Socrates and his wife Xanthippe. These actors spoke French during the shooting and dubbed themselves afterward. It is therefore much more authentic than the Italian dubbing currently available, and reveals a far more intelligent Socrates.Read More »

As a model, one can see working the essential virtues of the Godardian question in a relatively unknown work from 1978 [recte 1976]—a two-minute video clip for a popular song by Patrick Juvet, Faut Pas Rêver.

As is the case with all the brief forms invented by Godard, this little opus is not in the least a minor work. It is made up of two shots: first, a medium fixed shot of a little girl who is eating an apple for her afternoon snack after coming home from school; she is responding to her mother, whom we don’t see (the voice of Anne-Marie Miéville is recognisable) and who asks her about her day, while the little girl watches, distractedly, a television set that is supposedly broadcasting the song of Patrick Juvet (whom we don’t see either) In this everyday dialogue, we find the emergence of a fundamental critical question that, in the mid-1970s, must have been perceived as quite violent (at that time we were right in the middle of the Giscardian regime, and it would take seven more years for the left to come to power).Read More »