Pass the 
Friday, March 11, 2011
How To Convert % (w/w) To %(w/v)
TRIP " Silver Bullet "DJANGO
Pass the Blog de Luis Antonio Santana every Friday to go read your comic on "Silver Bullet" .
Pass the 
Wednesday, March 9, 2011
Homemade Gurkha Knife
DJANGO
1966 Italy / Spain
Director: Sergio Corbucci . Interpreters
: Franco Nero, Loredana Nusciak, José Bódalo , Eduardo Fajardo, Angel Alvarez, Rafael Albaicin, Gino Pernice, Luciano Rossi, Jose Terron, Silvana Bacci, Simon Arriaga, Ivan Scratuglia, Erik Schippers, Jose Canalejas , Remo de Angelis, Rafael Vaquero, Guillermo Mendez. Screenplay
: Sergio and Bruno Corbucci.
Photo: Enzo Barboni. Mounting
: Baragli Nino and Sergio Montanari.
Music: Luis Enríquez Bacalov.
Producers: Sergio Corbucci and Manolo Bolognini.
SYNOPSIS : Django is an enigmatic gunslinger who wanders aimlessly and dragging a coffin pit two factions (a group of Confederates led by Colonel Jackson and some Mexican revolutionaries headed by General Rodriguez) that vie for control a semi-abandoned village on the border between Mexico and the United States.
This is a spaghetti that film became a cult favorite among fans of this subgenre and was instrumental in the development of western made in Europe. The film begins with a coffin carried by a man and ends with a plane of a cross on which rests a colt, between the two images tells a story with marked religious connotations of sin, guilt and redemption (the gunman after being subjected to brutal torture he realizes that has been driven by greed and just what should have been done much earlier). The religious references are numerous: the hero behaves like an avenging angel who frees the oppressed, even seeking their own benefit, of a "military " foreign (we are in a borderland between Mexico and the U.S.), the first person who saves a prostitute named Mary who, like Mary Magdalene, will be true throughout the film, the character is betrayed and tortured by those who came to deliver, the foreign army is composed of forty men, magic number that is repeated in the Scriptures, the owner of the saloon that will support you after have been tortured and protect Mary is called Nathaniel, Hebrew name that means something as a gift of God are numerous references to the cross-fire as a purifier of sins, and so on.
Co, 1966 with its director Sergio Corbucci, who had already participated in two eurowesterns ("Slaughter in the Grand Canyon" and "Minnesota Clay" ) became one of the greatest representatives of this subgenus, while its star Franco Nero, who had acted as an actor in a film, it became one of the biggest stars of Westerns made in Europe . Also repeated on two other collaborative core projects first: "Pay to Kill" and "Peers" both set in full Mexican revolution and in which Nero almost repeated the same character of European mercenaries.
The great success of spaghetti, for me, is that Corbucci carried further the principles and findings of Sergio Leone:
By moving the action from the sunny landscapes of Almeria to the muddy landscape of Madrid and surroundings (the film was shot basically in Colmenar Viejo and La Pedriza) brings out the dirty aesthetic, Feist and disheveled, showing us characters who, with his clothes soiled and muddy, move by real mud. And this must be added a ghost town abandoned semi decadent and in which only remain the owner of the saloon and a decrepit prostitutes (the presentation of them is great).
There is a greater glorification of violence. The movie is not only one of the spaghetti in which there are more dead, at least the ones I've seen, but is characterized by rawness, and pointed in his previous westerns of the violent scenes: Mary flogging the presentation of Jackson in a kind of target shooting with Mexicans, famous in which General Rodriguez, who shows us how cruel and sadistic as Jackson, he cuts off the ear of one of Jackson's men and forces to eat (which inspired Tarantino to another no less famous in his "Reservoir Dogs" ) or one in which the director is recreated Rodriguez while men fractured hands Django (idea would resume in, superior to me, "Into Great Silence" ). So no wonder that in 1966 had problems being released in some countries (in Spain was released in Britain censured and could not see, from what I read, until 1993)
are promoted the characteristic traits of Leo's antihero, and increase its brevity and its amorality (both Man without a name and Manco, although characterized by their greed, are capable of carrying out some kind of action shows some generosity on the other hand, while looking Django here, almost to the end, his own benefit).
Moreover, Corbucci gives us a handful of scenes of high impact, unlike what happens in most of the spaghetti, remain in memory:
-The beginning with the protagonist dragging the coffin (the symbol of a painful past) through the mud is hypnotic and you hooked to the film, besides showing a man who seems to wander without a fixed course.
"The confrontation with the men of Jackson holding Django Gun is great.
"The outcome is marvelous and a visual richness seldom surpassed in this subgenre, and it shows us, finally, a hero in a supreme effort to get back to the straight path abandoned it long ago.
And all this must be added an outstanding job of setting work of one of the greatest practitioners of this subgenre, Carlo Simi, and a great soundtrack of Argentina Luis Enriquez Bacalov that has a great theme song highly successful in his day, repeated throughout the film in different variations and a successful and varied number of incidental issues, some Mexican-inspired, fully inserted into the action but obviously not up to the principal.
As for interpretations, Franco Nero I think is gorgeous as the gunman lethal short, because we know that in a country where "a word is too little and two" have to be very hard to survive. With him Loredana Nusciak woman of great beauty, perfectly fits the role of Mary the prostitute who will save Django and who, with his attitude, get it redeems and two great side developed a successful career with numerous appearances in this subgenre: Eduardo Fajardo as the chief American and José Bódalo as the head of the robbers, two people representing two sides of same coin. Both comply with their roles, but I sincerely believe that they could have gotten more out if they had developed more characters that are fairly stereotyped as racist the first Southern man with a behavior close to that of Ku Kus Klan, while the second is presented as a somewhat uneducated Mexican, womanizer and party animal. I think special mention must be made by Angel Alvarez, another of those great English film side, which is Nathaniel embodying perfect.
So much for that, to me, are the positive aspects of the film to explain the fame of it, but I think, having seen three times in the last year, which weakens it in the history ( suspiciously similar to "A Fistful of Dollars" ) and after about forty minutes of fast paced and a great work in the direction of Corbucci, the film drops drastically in the central part approximately from the unnecessary scene the fight in the mud of the prostitutes and the arrival of Mexican bandits, and will not return to pick up the portentous graveyard scene. In this part it seems that the film lurching and history, as well as losing credibility, is characterized by uncertainty. Even the work becomes more routine Corbucci.
Through a friend I can see the full version goes on sale in Argentina with a quality far superior to the edition sold pretty sloppy at the time by Filmax. Let's see if once taken such as English distributors.
In short, despite its imperfections, which in any case I think they are lower than their findings, a film in the evolution of the spaghetti western that summarizes how few stylistic and thematic characteristics of this subgenre. Therefore essential for any fan who wants to understand what was done in the western Europe.
SCORE:
HISTORY: 7
AMBIENTE: 10
ADDRESS: 8
ACTORS: 8
MUSIC: 8
MEDIA: 8.2
Additional Review
This is a spaghetti that film became a cult favorite among fans of this subgenre and was instrumental in the development of western made in Europe. The film begins with a coffin carried by a man and ends with a plane of a cross on which rests a colt, between the two images tells a story with marked religious connotations of sin, guilt and redemption (the gunman after being subjected to brutal torture he realizes that has been driven by greed and just what should have been done much earlier). The religious references are numerous: the hero behaves like an avenging angel who frees the oppressed, even seeking their own benefit, of a "military " foreign (we are in a borderland between Mexico and the U.S.), the first person who saves a prostitute named Mary who, like Mary Magdalene, will be true throughout the film, the character is betrayed and tortured by those who came to deliver, the foreign army is composed of forty men, magic number that is repeated in the Scriptures, the owner of the saloon that will support you after have been tortured and protect Mary is called Nathaniel, Hebrew name that means something as a gift of God are numerous references to the cross-fire as a purifier of sins, and so on.
Co, 1966 with its director Sergio Corbucci, who had already participated in two eurowesterns ("Slaughter in the Grand Canyon" and "Minnesota Clay" ) became one of the greatest representatives of this subgenus, while its star Franco Nero, who had acted as an actor in a film, it became one of the biggest stars of Westerns made in Europe . Also repeated on two other collaborative core projects first: "Pay to Kill" and "Peers" both set in full Mexican revolution and in which Nero almost repeated the same character of European mercenaries.
The great success of spaghetti, for me, is that Corbucci carried further the principles and findings of Sergio Leone:
By moving the action from the sunny landscapes of Almeria to the muddy landscape of Madrid and surroundings (the film was shot basically in Colmenar Viejo and La Pedriza) brings out the dirty aesthetic, Feist and disheveled, showing us characters who, with his clothes soiled and muddy, move by real mud. And this must be added a ghost town abandoned semi decadent and in which only remain the owner of the saloon and a decrepit prostitutes (the presentation of them is great).
There is a greater glorification of violence. The movie is not only one of the spaghetti in which there are more dead, at least the ones I've seen, but is characterized by rawness, and pointed in his previous westerns of the violent scenes: Mary flogging the presentation of Jackson in a kind of target shooting with Mexicans, famous in which General Rodriguez, who shows us how cruel and sadistic as Jackson, he cuts off the ear of one of Jackson's men and forces to eat (which inspired Tarantino to another no less famous in his "Reservoir Dogs" ) or one in which the director is recreated Rodriguez while men fractured hands Django (idea would resume in, superior to me, "Into Great Silence" ). So no wonder that in 1966 had problems being released in some countries (in Spain was released in Britain censured and could not see, from what I read, until 1993)
are promoted the characteristic traits of Leo's antihero, and increase its brevity and its amorality (both Man without a name and Manco, although characterized by their greed, are capable of carrying out some kind of action shows some generosity on the other hand, while looking Django here, almost to the end, his own benefit).
Moreover, Corbucci gives us a handful of scenes of high impact, unlike what happens in most of the spaghetti, remain in memory:
-The beginning with the protagonist dragging the coffin (the symbol of a painful past) through the mud is hypnotic and you hooked to the film, besides showing a man who seems to wander without a fixed course.
"The confrontation with the men of Jackson holding Django Gun is great.
"The outcome is marvelous and a visual richness seldom surpassed in this subgenre, and it shows us, finally, a hero in a supreme effort to get back to the straight path abandoned it long ago.
And all this must be added an outstanding job of setting work of one of the greatest practitioners of this subgenre, Carlo Simi, and a great soundtrack of Argentina Luis Enriquez Bacalov that has a great theme song highly successful in his day, repeated throughout the film in different variations and a successful and varied number of incidental issues, some Mexican-inspired, fully inserted into the action but obviously not up to the principal.
As for interpretations, Franco Nero I think is gorgeous as the gunman lethal short, because we know that in a country where "a word is too little and two" have to be very hard to survive. With him Loredana Nusciak woman of great beauty, perfectly fits the role of Mary the prostitute who will save Django and who, with his attitude, get it redeems and two great side developed a successful career with numerous appearances in this subgenre: Eduardo Fajardo as the chief American and José Bódalo as the head of the robbers, two people representing two sides of same coin. Both comply with their roles, but I sincerely believe that they could have gotten more out if they had developed more characters that are fairly stereotyped as racist the first Southern man with a behavior close to that of Ku Kus Klan, while the second is presented as a somewhat uneducated Mexican, womanizer and party animal. I think special mention must be made by Angel Alvarez, another of those great English film side, which is Nathaniel embodying perfect.
So much for that, to me, are the positive aspects of the film to explain the fame of it, but I think, having seen three times in the last year, which weakens it in the history ( suspiciously similar to "A Fistful of Dollars" ) and after about forty minutes of fast paced and a great work in the direction of Corbucci, the film drops drastically in the central part approximately from the unnecessary scene the fight in the mud of the prostitutes and the arrival of Mexican bandits, and will not return to pick up the portentous graveyard scene. In this part it seems that the film lurching and history, as well as losing credibility, is characterized by uncertainty. Even the work becomes more routine Corbucci.
Through a friend I can see the full version goes on sale in Argentina with a quality far superior to the edition sold pretty sloppy at the time by Filmax. Let's see if once taken such as English distributors.
In short, despite its imperfections, which in any case I think they are lower than their findings, a film in the evolution of the spaghetti western that summarizes how few stylistic and thematic characteristics of this subgenre. Therefore essential for any fan who wants to understand what was done in the western Europe.
SCORE:
HISTORY: 7
AMBIENTE: 10
ADDRESS: 8
ACTORS: 8
MUSIC: 8
MEDIA: 8.2
Additional Review
Thursday, March 3, 2011
Complementary Therapies Orthodox Treatment
32 CALIBRE KILLER
Calibre Killer 32
Italy
1967
Director: Alfonso Brescia Cast: Peter Lee Lawrence, Hélène Chanel, Agnès Spaak, Alberto Dell'Acqua, Jenny Slade, Andrea Bosic, Mirko Ellis, Massimo Righi, John Bartha, John Taylor, Stephen Wild, Roberto Dell'Acqua, Nello Pazzafini, Stephen Wilde, Michael Bolt, Gregory West, Joseph Holls, Giovanni Ivan Scratuglia, Silvio Bagolini, Claudio Ruffini, Luigi Bonds, Guido Tonti
Screenplay: Palli Gicca
Photography: Fulvio Testi
Music: Robby Poitevin
Silver , who likes to be called Mr. Silver is a very peculiar gunman characterized by his dandyism and his good manners. After freeing some Mexicans of his oppressive employer, will be hired by the forces of a people in order to find out who is behind a series of robberies at the measures, as well as the murder of the passengers in the last assault.
the 1967 Italian production, ie at the height of spaghetti, directed by Alfonso Brescia under the pseudonym Al Bradley (like the director most of the participants in the film are American names to facilitate the distribution of western), an SUV that began in the peplum and continued with the spaghetti, a giallo, poliziescos, fantasy and science fiction, comedy, etc., and in this case try, for me, so failed to combine the typical detective film with the western.
for which it received from a script by Lorenzo Gica Palli (writer resume as a writer and director, in 1972 the character of Silver in the lower "Deadly Pursuit" , this time played by Gianni Garko ) that develops the story in a jumbled, progression-free and with a succession of scenes in which events occur for free (the protagonist from the first moment the identity of two of the assailants because yes, the deputy sheriff accused of conquistador hardly know ...), cheesy and ridiculous (like the scene where it's love between the protagonist and Sara, the daughter of slain book, which is solved with a couple of those Silver usual phrases supposedly deep but actually quite topical: "It's not an idiot, referring to the deputy Judel and Sara's fiance is in love and lovers behave like idiots" "Marry Judel, will make you happy . have the habit of losing battles, eventually you will see that not a bad attribute for a husband ". So if he says ...) or embarrassing (the sequence Sara bank's final beating Judel and saying that he has ruined everything is more like a vaudeville). In addition, there is a vacuous dialogue and quite grotesque, which does not help the horrible dubbing of the film, pretending to be solemn: "Unfortunately I can not shoot a woman. I like too. Then I thank you ".
The address, on the other hand, Alfonso Brescia has seemed routine, except in some isolated and the night scene of the confrontation between Silver and Spot, a fact shown in the typical and topical fights, stuck in the plot with a shoehorn and announce that somehow which would be comical spaghetti scrimmages, which are awkwardly shot. In addition the Director fails to provide the required tension and suspense to a film that much of your footage is like detective movies in this sense is very significant for me the scene of the failed game of cards.
On the positive side, it would indicate basically two
-The soundtrack composed by Robby Poitevin that has a good theme repeated throughout the film and that even the protagonist whistles, which identifies the subject with him. Interestingly, I do not know if it's only in the copy I've seen in a scene you hear the main theme composed by Ennio Morricone for "Guns do not discuss" .
-Silver's character himself, a fine gentleman and bon vivant, who rejects the colt 45 and shoot silver bullets (because of their name) away from the typical anti-heroes of the spaghetti and clear record of two mythical characters of this subgenus: Sabata and, above all, Sartana. It is also of a cowboy-adventurer who works for money but has its own code of honor (at a time says "You man of his word, like me" , later stating: "I play fair, I've always done" and end commenting "Just kill criminals, even if they are, give them a chance" ).
To give life to this character was chosen in me a casting error, Peter Lee Lawrence, actor Alfonso Brescia to collaborate on several occasions, which is not all bad but I think that age is not doing its part, also because I think his physical features did not fit tough-guy roles and experienced. The rest of the cast I recognized Alberto Dell'Acqua, under the pseudonym Kitosch Cole, another actor with features and quite limited childish plays Spot, a quite absurd that aims to learn the craft of Silver. Also appear Mirko Ellis, interpret that before turning to spaghetti had appeared in many peplums, as the sheriff of the population; Andrea Bosic, a certain resemblance to Robert Shaw, as the banker who hires Silver, Helene Chanell under the name Sherrill Morgan, who plays the worldly Dolly the saloon owner, Nello Pazzaffini as Red Carter, the role of Fitch, a character that looks like an excuse to shoot a long sequence of fight in the saloon and Massimo Righi (Max Dean) in Judel paper, the giddy deputy sheriff from the beginning and not knowing why he rowed to Silver (the characteristics of this character would be taken up by Gica Palli in that "Persecution deadly ). All of them are limited to comply clear that their characters are not for more.
Ultimately, for me, a mediocre spaghetti made with a very limited budget, a fact evident in the scarcity of locations (a mine, a village and a cottage), which lacks even a Good shooting and I felt a little heavy.
SCORE:
HISTORY: 3
AMBIENTE: 3
ADDRESS: 4
ACTORS: 5
MUSIC: 6
MEDIA: 4.2 
Italy
1967
Director: Alfonso Brescia
Screenplay: Palli Gicca
Photography: Fulvio Testi
Music: Robby Poitevin
Silver , who likes to be called Mr. Silver is a very peculiar gunman characterized by his dandyism and his good manners. After freeing some Mexicans of his oppressive employer, will be hired by the forces of a people in order to find out who is behind a series of robberies at the measures, as well as the murder of the passengers in the last assault.
the 1967 Italian production, ie at the height of spaghetti, directed by Alfonso Brescia under the pseudonym Al Bradley (like the director most of the participants in the film are American names to facilitate the distribution of western), an SUV that began in the peplum and continued with the spaghetti, a giallo, poliziescos, fantasy and science fiction, comedy, etc., and in this case try, for me, so failed to combine the typical detective film with the western.
for which it received from a script by Lorenzo Gica Palli (writer resume as a writer and director, in 1972 the character of Silver in the lower "Deadly Pursuit" , this time played by Gianni Garko ) that develops the story in a jumbled, progression-free and with a succession of scenes in which events occur for free (the protagonist from the first moment the identity of two of the assailants because yes, the deputy sheriff accused of conquistador hardly know ...), cheesy and ridiculous (like the scene where it's love between the protagonist and Sara, the daughter of slain book, which is solved with a couple of those Silver usual phrases supposedly deep but actually quite topical: "It's not an idiot, referring to the deputy Judel and Sara's fiance is in love and lovers behave like idiots" "Marry Judel, will make you happy . have the habit of losing battles, eventually you will see that not a bad attribute for a husband ". So if he says ...) or embarrassing (the sequence Sara bank's final beating Judel and saying that he has ruined everything is more like a vaudeville). In addition, there is a vacuous dialogue and quite grotesque, which does not help the horrible dubbing of the film, pretending to be solemn: "Unfortunately I can not shoot a woman. I like too. Then I thank you ".
The address, on the other hand, Alfonso Brescia has seemed routine, except in some isolated and the night scene of the confrontation between Silver and Spot, a fact shown in the typical and topical fights, stuck in the plot with a shoehorn and announce that somehow which would be comical spaghetti scrimmages, which are awkwardly shot. In addition the Director fails to provide the required tension and suspense to a film that much of your footage is like detective movies in this sense is very significant for me the scene of the failed game of cards.
On the positive side, it would indicate basically two
-The soundtrack composed by Robby Poitevin that has a good theme repeated throughout the film and that even the protagonist whistles, which identifies the subject with him. Interestingly, I do not know if it's only in the copy I've seen in a scene you hear the main theme composed by Ennio Morricone for "Guns do not discuss" .
-Silver's character himself, a fine gentleman and bon vivant, who rejects the colt 45 and shoot silver bullets (because of their name) away from the typical anti-heroes of the spaghetti and clear record of two mythical characters of this subgenus: Sabata and, above all, Sartana. It is also of a cowboy-adventurer who works for money but has its own code of honor (at a time says "You man of his word, like me" , later stating: "I play fair, I've always done" and end commenting "Just kill criminals, even if they are, give them a chance" ).
To give life to this character was chosen in me a casting error, Peter Lee Lawrence, actor Alfonso Brescia to collaborate on several occasions, which is not all bad but I think that age is not doing its part, also because I think his physical features did not fit tough-guy roles and experienced. The rest of the cast I recognized Alberto Dell'Acqua, under the pseudonym Kitosch Cole, another actor with features and quite limited childish plays Spot, a quite absurd that aims to learn the craft of Silver. Also appear Mirko Ellis, interpret that before turning to spaghetti had appeared in many peplums, as the sheriff of the population; Andrea Bosic, a certain resemblance to Robert Shaw, as the banker who hires Silver, Helene Chanell under the name Sherrill Morgan, who plays the worldly Dolly the saloon owner, Nello Pazzaffini as Red Carter, the role of Fitch, a character that looks like an excuse to shoot a long sequence of fight in the saloon and Massimo Righi (Max Dean) in Judel paper, the giddy deputy sheriff from the beginning and not knowing why he rowed to Silver (the characteristics of this character would be taken up by Gica Palli in that "Persecution deadly ). All of them are limited to comply clear that their characters are not for more.
Ultimately, for me, a mediocre spaghetti made with a very limited budget, a fact evident in the scarcity of locations (a mine, a village and a cottage), which lacks even a Good shooting and I felt a little heavy.
SCORE:
HISTORY: 3
AMBIENTE: 3
ADDRESS: 4
ACTORS: 5
MUSIC: 6
MEDIA: 4.2
Wednesday, March 2, 2011
How Long Does It Take A Dislocated Toe To Heal
Telly Savalas
American Actor (New York 1924 - New York 1994) whose real name was Aristotle Savalas.
Born into a family of Greek immigrants, after studying psychology at the University of Columbia participated in World War 2 and at the end it started to work as a journalist on ABC News. His vocation as an actor was late and after having participated in several TV episodes that met Burt Lancaster became a great friend and gave him the chance to debut in film with the foreboding police role in the drama "Young Wild " directed in 1961 by John Frakenheimer, with both back next year to coincide with the great " Man of Alcatraz " for which he was nominated for an Oscar. That same year he participated in another great film, the intense thriller directed by J. Lee Thompson "Cape Fear" alongside Gregory Peck and Robert Mitchum and returning to play detective.
During this decade worked tirelessly usually because of their physical appearance, playing hard men when not evil or psychotic. So he was seen in blockbusters like "The Greatest Story Ever Told" of George Stevens in which he portrays Pontius Pilate, "Genghis Khan" with Omar Shariff and Stephen Boyd or war "The battle the Ardennes " film shot in Spain and starring a great cast headed by Henry Fonda, all of 1965, also appeared in westerns " The path of vengeance " (1968) that directed by Sidney Pollack, with whom he collaborated on the remarkable "The Slender Thread" , he was again paired with Burt Lancaster and "McKenna's Gold" (1969) with J again . Lee Thompson and Gregory Peck, or the war "Dirty Dozen" directed by Robert Aldrich in 1967 who provided a great role as a soldier upset and "Kelly's Heroes" (1970), with a tone comedy, given the opportunity to work with Clint Eastwood.
the seventies, which will continue to combine film and television, will be characterized by its appearance in European co-productions of all genres among which "Horror Express" directed by Eugenio Martín or "Capricorn One" by Peter Hyams and, above all, his role as Lt. Kojak in the series of the same name, during the six years that remained on the air (1973-1978), 118 episodes were broadcast.
is in this decade when it can be seen in several spaghetti, debuting in this subgenre with mediocre "A Town Called Bastard" (1971) with Robert Shaw and participating during Euro 1972 in three more westerns, most notably "One reason to live and to die," directed by Tonino Valerii , in addition to starring "To hell gringo" a western road between Spain and Hungary.
In the next two decades, and until his death, continues to work at a good pace especially in television productions, in reinterpreting some Lt. Kojak, while their appearances the cinema were spaced increasingly little interest in films, among them stands out his participation in the film Jesus Franco "Predators of the Night" (1987).
died in 1994 as a result of prostate cancer an actor who always associate with your detective hat and her lollipop.
Filmography SW
Filmography SW
1971 .- A Town Called Hell
1972 .- The children of the day and night
1972 .- The challenge of Pancho Villa
1972 .- A reason to live and to die / / / Additional Review
1972 .- The children of the day and night
1972 .- The challenge of Pancho Villa
1972 .- A reason to live and to die / / / Additional Review
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