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"https://www.loc.gov/static/programs/national-film-preservation-board/images/wuthering_heights.jpg", "https://www.loc.gov/static/programs/national-film-preservation-board/images/yankee_doodle_dandy.jpg", "https://www.loc.gov/static/programs/national-film-preservation-board/images/young_mr_lincoln.jpg", "https://www.loc.gov/static/images/share/email.svg", "https://www.loc.gov/static/images/social-media/facebook.svg", "https://www.loc.gov/static/images/social-media/twitter.svg", "https://www.loc.gov/static/images/social-media/youtube.svg", "https://www.loc.gov/static/images/social-media/pinterest.svg", "https://www.loc.gov/static/images/social-media/flickr.svg", "https://www.loc.gov/static/images/social-media/instagram.svg", "https://www.loc.gov/static/images/social-media/itunesU.svg", "https://www.loc.gov/static/images/congress-gov.svg", "https://www.loc.gov/static/images/copyright-gov.svg" ]	[]	[]	[ "" ]	null	[]	null	Brief descriptions of each Registry title can be found here, and expanded essays are available for select titles. The authors of these essays are experts in film history, and their works appear in books, newspapers, magazines and online. Some of these essays originated in other publications and are reprinted here by permission of the author. Other essays have been written specifically for this website. The views expressed in these essays are those of the author and do not necessarily represent the views of the Library of Congress.	en		The Library of Congress	null	Brief descriptions of each Registry title can be found here, and expanded essays are available for select titles. The authors of these essays are experts in film history, and their works appear in books, newspapers, magazines and online. Some of these essays originated in other publications and are reprinted here by permission of the author. Other essays have been written specifically for this website. The views expressed in these essays are those of the author and do not necessarily represent the views of the Library of Congress. In most cases, the images linked to Registry titles listed below were selected from the Library's Prints & Photographs Online Catalog, however some are drawn from other Library collections. View a list of all expanded essays 7th Heaven (1927) "Seventh Heaven" (also referred to as "7th Heaven"), directed by Frank Borzage and based on the play by Austin Strong, tells the story of Chico (Charles Farrell), the Parisian sewer worker-turned-street cleaner, and his wife Diane (Janet Gaynor), who are separated during World War I, yet whose love manages to keep them connected. "Seventh Heaven" was initially released as a silent film but proved so popular with audiences that it was re-released with a synchronized soundtrack later that same year. The popularity of the film resulted in it becoming one of the most commercially successful silent films as well as one of the first films to be nominated for a Best Picture Academy Award. Janet Gaynor, Frank Borzage, and Benjamin Glazer won Oscars for their work on the film, specifically awards for Best Actress, Best Directing (Dramatic Picture), and Best Writing (Adaptation), respectively. "Seventh Heaven" also marked the first time often-paired stars Janet Gaynor and Charles Farrell worked together. Added to the National Film Registry in 1995. Expanded essay by Aubrey Solomon (PDF, 694KB) The 7th Voyage of Sinbad (1958) Special-effects master Ray Harryhausen provides the hero (Kerwin Mathews) with a villanous magician (Torin Thatcher) and fantastic antagonists, including a genie, giant cyclops, fire-breathing dragons, and a sword-wielding animated skeleton, all in glorious Technicolor. And of course no mythological tale would be complete without the rescue of a damsel in distress, here a princess (Kathryn Grant) that the evil magician shrinks down to a mere few inches. Harryhausen's stunning Dynamation process, which blended stop-motion animation and live-actions sequences, and a thrilling score by Bernard Herrmann ("Psycho," "The Day the Earth Stood Still") makes this one of the finest fantasy films of all time. Added to the National Film Registry in 2008. Expanded essay by Tony Dalton (PDF, 900KB) 3:10 to Yuma (1957) Considered to be one of the best westerns of the 1950s, "3:10 to Yuma" has gained in stature since its original release as audiences have recognized the progressive insight the film provides into the psychology of its two main characters that becomes vividly exposed during scenes of heightened tension. Frankie Laine sang the film's popular theme song, also titled "3:10 to Yuma." Often compared favorably with "High Noon," this innovative western from director Delmer Daves starred Glenn Ford and Van Heflin in roles cast against type and was based on a short story by Elmore Leonard. Added to the National Film Registry in 2012. 12 Angry Men (1957) In the 1950s, several television dramas acted live over the airways won such critical acclaim that they were also produced as motion pictures; among those already honored by the National Film Registry is "Marty" (1955). Reginald Rose had adapted his original stage play "12 Angry Men" for Studio One in 1954, and Henry Fonda decided to produce a screen version, taking the lead role and hiring director Sidney Lumet, who had been directing for television since 1950. The result is a classic. Filmed in a spare, claustrophobic style—largely set in one jury room—the play relates a single juror's refusal to conform to peer pressure in a murder trial and follows his conversion of one juror after another to his point of view. The story is often viewed as a commentary on McCarthyism, Fascism, or Communism. Added to the National Film Registry in 2007. Expanded essay by Joanna E. Rapf (PDF, 258KB) 12 Years a Slave (2013) This biographical drama directed by Sir Steve McQueen, and produced by Brad Pitt’s production company, is based on the 1853 slave memoir “Twelve Years a Slave” by Solomon Northup, an African-American free man who was kidnapped in Washington, D.C. by two conmen in 1841, and sold into slavery. He was put to work on plantations in the state of Louisiana for 12 years before being released. The film received nine Academy Award nominations, winning for Best Picture, Best Adapted Screenplay for John Ridley, and Best Supporting Actress for Lupita Nyong’o. Added to the National Film Registry in 2023. 13 Lakes (2004) James Benning's feature-length film can be seen as a series of moving landscape paintings with artistry and scope that might be compared to Claude Monet's series of water-lily paintings. Embracing the concept of "landscape as a function of time," Benning shot his film at 13 different American lakes in identical 10-minute takes. Each is a static composition: a balance of sky and water in each frame with only the very briefest suggestion of human existence. At each lake, Benning prepared a single shot, selected a single camera position and a specific moment. The climate, the weather and the season deliver a level of variation to the film, a unique play of light, despite its singularity of composition. Curators of the Rotterdam Film Festival noted, "The power of the film is that the filmmaker teaches the viewer to look better and learn to distinguish the great varieties in the landscape alongside him. [The list of lakes] alone is enough to encompass a treatise on America and its history. A treatise the film certainly encourages, but emphatically does not take part in." Benning, who studied mathematics and then film at the University of Wisconsin, currently is on the faculty at the California Institute of the Arts (CalArts). Added to the National Film Registry in 2014. Expanded essay by Scott MacDonald (PDF, 316KB) 20 Feet from Stardom (2013) Directed by Morgan Neville and produced by Gil Friesen, “20 Feet from Stardom” uses archival footage and interviews sharing behind-the-scenes experiences, and shining the spotlight on backup singers, including Darlene Love, Merry Clayton, Lisa Fischer, Judith Hill, Jo Lawry, Claudia Lennear, and Tata Vega. Archival footage includes performances with Sting, David Bowie, Ray Charles, Michael Jackson, Elton John, Tom Jones, Ike & Tina Turner, Luther Vandross, and more. A highlight of the film includes an interview with Mick Jagger telling the story of how Merry Clayton came to sing the iconic background vocals on “Gimme Shelter.” Added to the National Film Registry in 2023. 42nd Street (1933) At a little less than 90 minutes, "42nd Street" is a fast-moving picture that crackles with great dialogue and snappily plays up Busby Berkeley's dance routines and and the bouncy Al Dubin-Harry Warren ditties that include the irrepressably cheerful "Young and Healthy" (featuring the adorable Toby Wing), "Shuffle Off to Buffalo" and the title number. A famous Broadway director (Warner Baxter) takes on a new show despite his ill health, then faces disaster at every turn, including the loss of his leading lady on opening night. The film features Bebe Daniels as the star of the show and Berkeley regulars Guy Kibbee, Ginger Rogers, Dick Powell, and Ruby Keeler, whom Baxter implores, "You're going out a youngster, but you've got to come back a star!" Added to the National Film Registry in 1998. 2001: A Space Odyssey (1968) Stanley Kubrick's landmark epic pushed the envelope of narrative and special effects to create an introspective look at technology and humanity. Arthur C. Clarke adapted his story "The Sentinel" for the screen version and his odyssey follows two astronauts, played by Keir Dullea and Gary Lockwood, on a voyage to Jupiter accompanied by HAL 9000, an unnervingly humanesque computer running the entire ship. With assistance from special-effects expert Douglas Trumbull, Kubrick spent more than two years creating his vision of outer space. Despite some initial critical misgivings, "2001" became one of the most popular films of 1968. Billed as "the ultimate trip," the film quickly caught on with a counterculture audience that embraced the contemplative experience that many older audiences found tedious and lacking substance. Added to the National Film Registry in 1991. Expanded essay by James Verniere (PDF, 691KB) 20,000 Leagues Under the Sea (1916) Directed by Stuart Paton, the film was touted as "the first submarine photoplay." Universal spent freely on location, shooting in the Bahamas and building life-size props, including the submarine, and taking two years to film. J. E. Williamson's "photosphere," an underwater chamber connected to an iron tube on the surface of the water, enabled Paton to film underwater scenes up to depths of 150 feet. The film is based on Jules Verne's "20,000 Leagues Under the Sea" and to a lesser extent, "The Mysterious Island." The real star of the film is its special effects. Although they may seem primitive by today's standards, 100 years ago they dazzled contemporary audiences. It was the first time the public had an opportunity to see reefs, various types of marine life and men mingling with sharks. It was also World War I, and submarine warfare was very much in the public consciousness, so the life-size submarine gave the film an added dimension of reality. The film was immensely popular with audiences and critics. Added to the National Film Registry in 2016. Abbott and Costello Meet Frankenstein (1948) Freight handlers Bud Abbott and Lou Costello encounter Dracula and Frankenstein's monster when they arrive from Europe for a house of horrors exhibit. After the monsters outwit the hapless duo and escape, Dracula returns for Costello whose brain he intends to transplant into the monster. Lon Chaney Jr. as the lycanthropic Lawrence Talbot, Bela Lugosi in his final appearance as Dracula and Glenn Strange as the Monster all play their roles perfectly straight as Bud and Lou stumble around them. Throughout the film, Dracula and the Monster cavort in plain view of the quivering Costello who is unable to convince the ever-poised and dubious Abbott that the monsters exist. until the wild climax in Dracula's castle, where the duo are pursued by all three of the film's monstrosities. Expanded essay by Ron Palumbo (PDF, 424KB) Ace in the Hole (aka Big Carnival) (1951) Based on the infamous 1925 case of Kentucky cave explorer Floyd Collins, who became trapped underground and whose gripping saga created a national sensation lasting two weeks before Collins died. A deeply cynical look at journalism, "Ace in the Hole" features Kirk Douglas as a once-famous New York reporter, now a down-and-out has-been in Albuquerque. Douglas plots a return to national prominence by milking the story of a man trapped in a Native American cave dwelling as a riveting human-interest story, complete with a tourist-laden, carnival atmosphere outside the rescue scene. The callously indifferent wife of the stricken miner is no more sympathetic: "I don't go to church. Kneeling bags my nylons." Providing a rare moral contrast is Porter Hall, who plays Douglas' ethical editor appalled at his reporter's actions. Such a scathing tale of media manipulation might have helped turn this brilliant film into a critical and commercial failure, which later led Paramount to reissue the film under a new title, "The Big Carnival." Expanded essay by Molly Haskell (PDF, 330KB) Adam's Rib (1949) With an Oscar-nominated script by Ruth Gordon and Garson Kanin, "Adam's Rib" pokes fun at the double standard between the sexes. Spencer Tracy and Katharine Hepburn play husband and wife attorneys, each drawn to the same case of attempted murder. Judy Holliday, defending the sanctity of her marriage and family, intends only to frighten her philandering husband (Tom Ewell) and his mistress (Jean Hagen) but tearfully ends up shooting and injuring the husband. Tracy argues that the case is open and shut, but Hepburn asserts that, if the defendant were a man, he'd be set free on the basis of "the unwritten law." As the trial turns into a media circus, the couple's relationship is put to the test. Holliday's first screen triumph propelled her onto bigger roles, including "Born Yesterday," for which she won an Academy Award. The film is also the debut of Ewell, who would become best known for his role opposite Marilyn Monroe in "The Seven Year Itch", and Hagen, who would floor audiences as the ditzy blonde movie star with the shrill voice in "Singin' in the Rain." The Adventures of Robin Hood (1938) When Richard the Lion-Hearted is captured and held for ransom, evil Prince John (Claude Rains) declares himself ruler of England and makes no attempt to secure Richard's safe return. A lone knight, Robin Hood (Errol Flynn), sets out to raise Richard's ransom by hijacking wealthy caravans traveling through Sherwood Forest. Aided by his lady love, Maid Marian (Olivia de Havilland), and band of merry men (including Alan Hale and Eugene Pallette) Robin battles the usurper John and wicked Sheriff of Nottingham to return the throne to its rightful owner. Dashing, athletic and witty, Flynn is everything that Robin Hood should be, and his adversaries are memorably villainous, particularly Basil Rathbone with whom Flynn crosses swords in the climactic duel. One of the most spectacular adventure films of all time, and features a terrific performance by the perfectly cast Flynn. Only a spirited and extravagant production could do justice to the Robin Hood legend; this film is more than equal to the task. Erich Wolfgang Korngold's score won an Oscar, as did the editing and art direction. The African Queen (1951) Adapted from a novel by C.S. Forester, the film stars Humphrey Bogart in an Oscar-winning portrayal of a slovenly, gin-swilling captain of the African Queen, a tramp steamer carrying supplies to small African villages during World War I. Katharine Hepburn plays a prim spinster missionary stranded when the Germans invade her settlement. Bogart agrees to transport Hepburn back to civilization despite their opposite temperaments. Before long, their tense animosity turns to love, and together they navigate treacherous rapids and devise an ingenious way to destroy a German gunboat. The difficulties inherent in filming on location in Africa are documented in numerous books, including one by Hepburn. Airplane! (1980) "Airplane!" emerged as a sharply perceptive parody of the big-budget disaster films that dominated Hollywood during the 1970s. Written and directed by David Zucker, Jerry Zucker and Jim Abrahams, the film is characterized by a freewheeling style and skewered Hollywood's tendency to push successful formulaic movie conventions beyond the point of logic. One of the film's most noteworthy achievements was to cast actors best known for their dramatic careers, such as Leslie Nielsen, Robert Stack and Lloyd Bridges, and provide them with opportunities to showcase their comic talents.The central premise is one giant cliche: a pilot (Robert Hays), who's developed a fear of flying, tries to win back his stewardess girlfriend (Julie Hagerty), boarding her flight so he can coax her around. Due to an outbreak of food poisoning, Hays must land the plane, with the help of a glue-sniffing air traffic controller (Bridges) and and his tyranical former captain (Stack). Supporting the stars is a wacky assemblage of stock characters from every disaster movie ever made. Expanded essay by Michael Schlesinger (PDF, 477KB) “¡Alambrista! (1977) “¡Alambrista!” is the powerfully emotional story of Roberto, a Mexican national working as a migrant laborer in the United States to send money back to his wife and newborn. Director Robert M. Young’s sensitive screenplay refuses to indulge in simplistic pieties, presenting us with a world in which exploitation and compassion coexist in equal measure. The film immerses us in Roberto’s world as he moves across vast landscapes, meeting people he can’t be sure are friend or threat, staying one step ahead of immigration officials. “¡Alambrista!” is as relevant today as it was on its 1977 release, a testament to its enduring humanity. Added to the National Film Registry in 2023. Expanded essay by Charles Ramírez Berg (PDF, 556KB) Interview with Edward James Olmos (PDF, 2MB) Alien (1979) This film's appeal may lie in its reputation as "a haunted house movie in space." Though not particularly original, "Alien" is distinguished by director Ridley Scott's innovative ability to wring every ounce of suspense out of the B-movie staples he employs within the film's hi-tech setting. Art designer H.R. Giger creates what has become one of cinema's scariest monsters: a nightmarish hybrid of humanoid-insect-machine that Scott makes even more effective by obscuring it from view for much of the film. The cast, including Tom Skerritt and John Hurt, brings an appealing quality to their characters, and one character in particular, Sigourney Weaver's warrant officer Ripley, became the model for the next generation of hardboiled heroines and solidified the prototype in subsequent sequels. Rounding out the cast and crew, cameraman Derek Vanlint and composer Jerry Goldsmith propel the emotions relentlessly from one visual horror to the next. All About Eve (1950) Scheming ingénue Eve Harrington (Anne Baxter) ingratiates herself with aging Broadway star Margo Channing (Bette Davis) moving in on her acting roles, her friends and her stage director beau. The dialog is often too bitingly perfect with its sarcastic barbs and clever comebacks, but it's still entertaining and quote-worthy. The film took home Academy Awards for best picture, best director (Joseph L. Mankiewicz), best screenplay (Mankiewicz) and costume design (Edith Head and Charles Le Maire). George Sanders won a best supporting actor Oscar for his performance as the acid-tongued theater critic Addison DeWitt. Thelma Ritter as Margo's maid, Celeste Holm as Margo's best friend, and Marilyn Monroe, in a small role as an aspiring actress, give memorable performances. Movie poster All My Babies (1953) Written and directed by George Stoney, this landmark educational film was used to educate midwives throughout the South. Produced by the Georgia Department of Public Health, profiles the life and work of "Miss Mary" Coley, an African-American midwife living in rural Georgia. In documenting the preparation for and delivery of healthy babies in rural conditions ranging from decent to deplorable, the filmmakers inadvertently captured a telling snapshot at the socioeconomic conditions of the era that would prove fascinating to future generations. Added to the National Film Registry in 2002. Expanded essay by Joshua Glick (PDF, 391KB) Watch it here All Quiet on the Western Front (1930) This faithful adaptation of Erich Maria Remarque's classic pacifist novel is among the greatest antiwar films ever made, remaining powerful more than 80 years later, thanks to Lewis Milestone's inventive direction. Told from the perspective of a sensitive young German soldier (Lew Ayres) during WWI, recruited by a hawkish professor advocating "glory for the fatherland." The young soldier comes under the protective wing of an old veteran (Louis Wolheim) who teaches him how to survive the horrors of war. The film is emotionally draining, and so realistic that it will be forever etched in the mind of any viewer. Milestone's direction is frequently inspired, most notably during the battle scenes. In one such scene, the camera serves as a kind of machine gun, shooting down the oncoming troops as it glides along the trenches. Universal spared no expense during production, converting more than 20 acres of a large California ranch into battlefields occupied by more than 2,000 ex-servicemen extras. After its initial release, some foreign countries refused to run the film. Poland banned it for being pro-German, while the Nazis labeled it anti-German. Joseph Goebbels, later propaganda minister, publicly denounced the film. It received an Academy Award as Best Picture and Milestone was honored as Best Director. Expanded essay by Garry Wills (PDF, 713KB) Lobby card All That Heaven Allows (1955) The rich visual texture, using glorious Technicolor, and a soaring emotional score lend what is essentially a thin story a kind of epic tension. A movie unheralded by critics and largely ignored by the public at the time of its release, All That Heaven Allows is now considered Douglas Sirk's masterpiece. The story concerns a romance between a middle-aged, middle-class widow (Jane Wyman) and a brawny young gardener (Rock Hudson)—the stuff of a standard weepie, you might think, until Sirk's camera begins to draw a deeply disturbing, deeply compassionate portrait of a woman trapped by stifling moral and social codes. Sirk's meaning is conveyed almost entirely by his mise-en-scene—a world of glistening, treacherous surfaces, of objects that take on a terrifying life of their own; he is one of those rare filmmakers who insist that you read the image. Expanded essay by John Wills (PDF, 187KB) Movie poster All That Jazz (1979) Director/choreographer Bob Fosse takes a Felliniesque look at the life of a driven entertainer. Joe Gideon (Roy Scheider, channeling Fosse) is the ultimate work (and pleasure)-aholic, as he knocks back a daily dose of amphetamines to juggle a new Broadway production while editing his new movie, an ex-wife Audrey, girlfriend Kate, young daughter, and various conquests. Reminiscent of Fellini's "8 1/2 ," Fosse moves from realistic dance numbers to extravagant flights of cinematic fancy, as Joe meditates on his life, his women, and his death. Fosse shows the stiff price that entertaining exacts on entertainers (among other things, he intercuts graphic footage of open-heart surgery with a song and dance), mercilessly reversing the feel-good mood of classical movie musicals. All the King's Men (1949) Based on the Pulitzer Prize-winning novel by Robert Penn Warren and directed by Robert Rossen, "All the King's Men" was inspired by the career of Louisiana governor Huey Long. Broderick Crawford won an Academy Award for his portrayal of Willie Stark, a backwoods Southern lawyer who wins the hearts of his constituents by bucking the corrupt state government. The thesis is basically that power corrupts, with Stark presented as a man who starts out with a burning sense of purpose and a defiant honesty. Rossen, however, injects a note of ambiguity early on (a scene where Willie impatiently shrugs off his wife's dream of the great and good things he is destined to accomplish); and the doubt as to what he is really after is beautifully orchestrated by being filtered through the eyes of the press agent (Ireland) who serves as the film's narrator, and whose admiration for Stark gradually becomes tempered by understanding. In addition to its Oscars for Crawford and Mercedes McCambridge, the film won the Best Picture prize. All the President's Men (1976) Based on the memoir by "Washington Post" reporters Bob Woodward and Carl Bernstein about uncovering the Watergate break-in and cover up, "All the President's Men" is a rare example of a best-selling book transformed into a hit film and a cultural phenomenon in its own right. Directed by Alan J. Pakula, the film stars Robert Redford as Woodward and Dustin Hoffman as Bernstein, and features an Oscar-winning performance by Jason Robards as Ben Bradlee. Nominated for numerous awards, it took home an Oscar for best screenplay by William Goldman (known prior to this for "Butch Cassidy and the Sundance Kid" and after for "The Princess Bride"). Pakula's taut directing plays up the emotional roller coaster of exhilaration, paranoia, self-doubt, and courage, without ignoring the tedium and tireless digging, and elevating it to noble determination. Expanded essay by Mike Canning (PDF, 72KB) Allures (1961) Called the master of "cosmic cinema," Jordan Belson excelled in creating abstract imagery with a spiritual dimension that featured dazzling displays of color, light, and ever-moving patterns and objects. Trained as a painter and influenced by the films of Oskar Fischinger, Norman McLaren, and Hans Richter, Belson collaborated in the late 1950s with electronic music composer Henry Jacobs to create elaborate sound and light shows in the San Francisco Morrison Planetarium, an experience that informed his subsequent films. The film, Belson has stated, "was probably the space-iest film that had been done until then. It creates a feeling of moving into the void." Inspired by Eastern spiritual thought, "Allures" (which took a year and a half to make) is, Belson suggests, a "mathematically precise" work intended to express the process of becoming that the philosopher Teilhard de Chardin has named "cosmogenesis." Amadeus (1984) Milos Forman directed this deeply absorbing, visually sumptuous film based on the lives and rivalry of two great classical composers — the brash, youthful Wolfgang Amadeus Mozart and the good, if not truly exceptional, Antonio Salieri. Based upon Peter Shaffer's highly successful play, which Shaffer personally rewrote for the screen, "Amadeus," though ostensibly about classical music, instead shines as a remarkable examination of the concept of genius (Mozart) as well as the jealous obsession from less-talented rivals (Salieri). In an Oscar-winning performance, F. Murray Abraham skillfully lays bare the tortured emotions (admiration and covetous envy) Salieri feels for Mozart's work: "This was the music I had never heard...It seemed to me that I was hearing the voice of God. Why would God choose an obscene child to be his instrument?" America, America (1963) "My name is Elia Kazan. I am a Greek by blood, Turk by birth, American because my uncle made a journey." So begins the film directed, produced and written by Elia Kazan, and the one he frequently cited as his personal favorite. Based loosely on Kazan's uncle, Stavros dreams of going to America in the late 1890s. Kazan, who often hired locals as extras, cast in the lead role a complete novice, Stathis Giallelis, whom he discovered sweeping the floor in a Greek producer's office. Shot almost entirely in Greece and Turkey, Haskell Wexler's cinematography evokes scale and authenticity that combines with Gene Callahan's Oscar-winning art direction to give the film a distinctly European feel. Intended as the first chapter of a trilogy, the epically ambitious "America, America" also earned Oscar nominations for best director, best screenplay and best picture. American Graffiti (1973) Fresh off the success of "The Godfather," producer Francis Ford Coppola weilded the clout to tackle a project pitched to him by his friend, George Lucas. The film captured the flavor of the 1950s with ironic candor and a latent foreboding that helped spark a nostalgia craze. Despite technical obstacles, and having to shoot at night, cinematographer Haskell Wexler gave the film a neon glare to match its rock-n-roll soundscape. Lucas' period detail, co-writers Willard Huyck's and Gloria Katz's realistic dialogue, and the film's wistfulness for pre-Vietnam simplicity appealed to audiences amidst cultural upheaval. The film also established the reputations of Lucas (whose next film would be "Star Wars") and his young cast, and furthered the onset of soundtrack-driven, youth-oriented movies. Movie poster An American in Paris (1951) Gene Kelly, Leslie Caron, Georges Guetary, (The film was supposed to make Guetary into "the New Chevalier." It didn't.) The thinnish plot is held together by the superlative production numbers and by the recycling of several vintage George Gershwin tunes, including "I Got Rhythm," "'S Wonderful," and "Our Love Is Here to Stay." Highlights include Guetary's rendition of "Stairway to Paradise"; Oscar Levant's fantasy of conducting and performing Gershwin's "Concerto in F" (Levant also appears as every member of the orchestra). "An American in Paris," directed by Vincente Minnelli, cleaned up at the Academy Awards, with Oscars for best picture, screenplay, score, cinematography, art direction, set design, and even a special award for the choreography of its 18-minute closing ballet in which Kelly and Caron dance before lavish backgrounds resembling French masterpieces. Interview with Leslie Caron (PDF, 1.36MB) Anatomy of a Murder (1959) Director Otto Preminger brought a new cinematic frankness to film with this gripping crime-and-trial movie shot on location in Michigan's Upper Peninsula where the incident on which it was based had occurred. Based on the best-selling novel by Robert Traver, Preminger imbues his film with daring dialogue and edgy pacing. Controversial in its day due to its blunt language and willingness to openly discuss adult themes, "Anatomy" endures today for its first-rate drama and suspense, and its informed perspective on the legal system. Starring James Stewart, Ben Gazzara and Lee Remick, it also features strong supporting performances by George C. Scott as the prosecuting attorney, and Eve Arden and Arthur O'Connell. The film includes an innovative jazz score by Duke Ellington and one of Saul Bass's most memorable opening title sequences. Animal House (1978) (see "National Lampoon's Animal House") Annie Hall (1977) Woody Allen's romantic comedy of the Me Decade follows the up and down relationship of two mismatched New York neurotics. "Annie Hall" blended the slapstick and fantasy from such earlier Allen films as "Sleeper" and "Bananas" with the more autobiographical musings of his stand-up and written comedy, using an array of such movie techniques as talking heads, splitscreens, and subtitles. Within these gleeful formal experiments and sight gags, Allen and co-writer Marshall Brickman skewered 1970s solipsism, reversing the happy marriage of opposites found in classic screwball comedies. Hailed as Allen's most mature and personal film, "Annie Hall" beat out "Star Wars" for Best Picture and also won Oscars for Allen as director and writer and for Keaton as Best Actress; audiences enthusiastically responded to Allen's take on contemporary love and turned Keaton's rumpled menswear into a fashion trend. Added to the National Film Registry in 2001. Expanded essay by Jay Carr (PDF, 302KB) Antonia: A Portrait of the Woman (1974) Directed by Jill Godmilow and Judy Collins, this Oscar-nominated documentary chronicles the life of musician-conductor Antonia Brico and her struggle to become a symphony director despite her gender. Told by many that it was ridiculous for a woman to think of conducting, she admits, "I felt that I'd never forgive myself if I didn't try." And the pain and deprivation which she has known all her life are over-shadowed in this film by her ebullient, forthright warmth. The narrative of her life alternates with glimpses of her at work—rehearsing or teaching. She also reflects on the emotional experience of conducting— including the acute separation pangs that follow a concert. Expanded essay by Diane Worthey (PDF, 458KB) The Apartment (1960) Billy Wilder is purported to have hung a sign in his office that read, "How Would Lubitsch Do It?" Here, that Lubitsch touch seems to hover over each scene, lending a lightness to even the most nefarious of deeds. One of the opening shots in the movie shows Baxter as one of a vast horde of wage slaves, working in a room where the desks line up in parallel rows almost to the vanishing point. This shot is quoted from King Vidor's silent film "The Crowd" (1928), which is also about a faceless employee in a heartless corporation. Cubicles would have come as revolutionary progress in this world. By the time he made this film, Wilder had become a master at a kind of sardonic, satiric comedy that had sadness at its center. Wilder was fresh off the enormous hit "Some Like it Hot," his first collaboration with Lemmon, and with "The Apartment" Lemmon showed that he could move from light comedian to tragic everyman. This movie was the summation of what Wilder had done to date, and the key transition in Lemmon's career. It was also a key film for Shirley MacLaine, who had been around for five years in light comedies, but here emerged as a serious actress who would flower in the 1960s. Expanded essay by Kyle Westphal (PDF, 428KB) Apocalypse Now (1979) The chaotic production also experienced shut-downs when a typhoon destroyed the set and star Sheen suffered a heart attack; the budget ballooned and Coppola covered the overages himself. These production headaches, which Coppola characterized as being like the Vietnam War itself, have been superbly captured in the documentary, Hearts of Darkness: A Filmmaker's Apocalypse. Despite the studio's fears and mixed reviews of the film's ending, Apocalypse Now became a substantial hit and was nominated for eight Academy Awards, including Best Picture, Best Director, Best Supporting Actor for Duvall's psychotic Kilgore, and Best Screenplay. It won Oscars for sound and for Vittorio Storaro's cinematography. This hallucinatory, Wagnerian project has produced admirers and detractors of equal ardor; it resembles no other film ever made, and its nightmarish aura and polarized reception aptly reflect the tensions and confusions of the Vietnam era. Movie poster Applause (1929) This early sound-era masterpiece was the first film of both stage/director Rouben Mamoulian and cabaret/star Helen Morgan. Many have compared Mamoulian's debut to that of Orson Welles' "Citizen Kane" because of his flamboyant use of cinematic innovation to test technical boundaries. The tear-jerking plot boasts top performances from Morgan as the fading burlesque queen, Fuller Mellish Jr. as her slimy paramour and Joan Peters as her cultured daughter. However, the film is remembered today chiefly for Mamoulian's audacious style. While most films of the era were static and stage-bound, Mamoulian's camera reinvigorated the melodramatic plot by prowling relentlessly through sordid backstage life. Apollo 13 (1995) The extreme challenges involved in space travel present compelling cinema storylines, and one cannot imagine a more harrowing scenario than the near tragic Apollo 13 space mission. Director Ron Howard’s retelling is equally meticulous and emotional, a master class in enveloping the audience into a complicated technological exercise in life-and-death problem-solving. Based on the 1994 book “Lost Moon: The Perilous Voyage of Apollo 13” by astronaut Jim Lovell and Jeffrey Kluger, “Apollo 13” blends skillful editing, crafty special effects, a James Horner score, and a well-paced script to detail the quick-thinking heroics of both the astronaut crew and NASA technicians as they improvise and work through unprecedented situations. The talented cast includes Tom Hanks, Bill Paxton, Kevin Bacon, Gary Sinise, Ed Harris and Kathleen Quinlan. Howard went to great lengths to create a technically accurate movie, employing NASA's assistance in astronaut and flight-controller training for his cast, and obtaining permission to film scenes aboard a reduced-gravity aircraft for realistic depiction of the weightlessness experienced by the astronauts in space. Added to the National Film Registry in 2023. The Asphalt Jungle (1950) John Huston's brilliant crime drama contains the recipe for a meticulously planned robbery, but the cast of criminal characters features one too many bad apples. Sam Jaffe, as the twisted mastermind, uses cash from corrupt attorney Emmerich (Louis Calhern) to assemble a group of skilled thugs to pull off a jewel heist. All goes as planned — until an alert night watchman and a corrupt cop enter the picture. Marilyn Monroe has a memorable bit part as Emmerich's "niece." Atlantic City (1980) Aided by a taut script from playwright John Guare, director Louis Malle celebrates his wounded characters even as he mercilessly reveals their dreams for the hopeless illusions they really are. Malle reveals the rich portraits he paints of wasted American lives, through the filter of his European sensibilities. He is exceptionally well served by his cast and his location--a seedy resort town supported, like the principal characters, by memories of glories past. Burt Lancaster, in a masterful performance, plays an aging small-time criminal who hangs around Atlantic City doing odd jobs and taking care of the broken-down moll of the deceased gangster for whom Lou was a gofer. Living in an invented past, Lou identifies with yesteryear's notorious gangsters and gets involved with sexy would-be croupier (Susan Sarandon) and her drug-dealing estranged husband. The Atomic Café (1982) Produced and directed by Kevin Rafferty, Jayne Loader and Pierce Rafferty, the influential film compilation "The Atomic Cafe" provocatively documents the post-World War II threat of nuclear war as depicted in a wide assortment of archival footage from the period (newsreels, statements from politicians, advertisements, training, civil defense and military films). This vast, yet entertaining, collage of clips serves as a unique document of the 1940s-1960s era and illustrates how these films—some of which today seem propagandistic or even patently absurd ("The House in the Middle")—were used to inform the public on how to cope in the nuclear age. Expanded essay by John Willis (PDF, 45KB) Attica (1974) The September 1971 Attica prison uprising is the deadliest prison riot in U.S. history. To protest living conditions, inmates took over the facility, held hostages, issued a manifesto demanding better treatment, and then engaged in four days of fruitless negotiations. On Day 5, state troopers and prison authorities retook the prison in a brutal assault, leaving 43 inmates and hostages dead. Cinda Firestone’s outstanding investigation of the tragedy takes us through the event, what caused it, and the aftermath. She uses first-hand interviews with prisoners, families and guards, assembled surveillance and news camera footage, and video from the McKay Commission hearings on the massacre. An ex-inmate ends the film with a quote hoping to shake public lethargy on the need for prison reform: “Wake up, because nothing comes to a sleeper, but a dream.” The Augustas (1930s-1950s) Scott Nixon, a traveling salesman based in Augusta, Ga., was an avid member of the Amateur Cinema League who enjoyed recording his travels on film. In this 16-minute silent film, Nixon documents some 38 streets, storefronts and cities named Augusta in such far-flung locales as Montana and Maine. Arranged with no apparent rhyme or reason, the film strings together brief snapshots of these Augustas, many of which are indicated at pencil-point on a train timetable or roadmap. Nixon photographed his odyssey using both 8mm and 16mm cameras loaded with black-and-white and color film, amassing 26,000 feet of film that now resides at the University of South Carolina. While Nixon's film does not illuminate the historical or present-day significance of these towns, it binds them together under the umbrella of Americana. Whether intentionally or coincidentally, this amateur auteur seems to juxtapose the name's lofty origin—'august,' meaning great or venerable—with the unspectacular nature of everyday life in small-town America. View this film at Moving Image Research Collections, University of South Carolina External The Awful Truth (1937) Leo McCarey's largely improvised film is one of the funniest of the screwball comedies, and also one of the most serious at heart. Cary Grant and Irene Dunne are a pair of world-weary socialites who each believe the other has been unfaithful, and consequently enter into a trial divorce. The story began life as a 1922 stage hit and was filmed twice previously. McCarey maintained the basic premise of the play but improved it greatly, adding sophisticated dialogue and encouraging his actors to improvise around anything they thought funny. "The Awful Truth" was in the can in six weeks, and was such a success that Grant and Dunne were teamed again in another comedy, "My Favorite Wife" and in a touching tearjerker, "Penny Serenade." The film was nominated for an Academy Award for Best Picture. Movie poster Movie poster Baby Face (1933) Smart and sultry Barbara Stanwyck uses her feminine wiles to scale the corporate ladder, amassing male admirers who are only too willing to help a poor working girl. One of the more notorious melodramas of the pre-Code era, a period when the movie industry relaxed its censorship standards, films such as this one led to the imposition of the Production Code in 1934. This relative freedom resulted in a cycle of gritty, audacious films that resonated with Depression-battered audiences. Expanded essay by Gwendolyn Audrey Foster (PDF, 819KB) Back to the Future (1985) Writer/director Robert Zemeckis explored the possibilities of special effects with the 1985 box-office smash "Back to the Future." With his writing partner Bob Gale, Zemeckis tells the tale of accidental time-tourist Marty McFly. Stranded in the year 1955, Marty (Michael J. Fox)—with the help of his friend eccentric scientist Dr. Emmett Brown (played masterfully over-the-top by Christopher Lloyd)—must not only find a way home, but also teach his father (Crispin Glover) how to become a man, repair the space/time continuum and save his family from being erased from existence. All this, while fighting off the advances of his then-teenaged mother (Lea Thompson). The film generated a popular soundtrack and two enjoyable sequels. The Bad and the Beautiful (1952) Vincente Minnelli directed this captivating Hollywood story of an ambitious producer (Kirk Douglas)as told in flashback by those whose lives he's impacted: an actress (Lana Turner), a writer (Dick Powell) and a director (Barry Sullivan). Insightful and liberally sprinkled with characters modeled after various Hollywood royalty from David O. Selznick to Scott and Zelda Fitzgerald, witty, with one of Turner's best performances. Five Oscars include Supporting Actress (Gloria Grahame), Screenplay (Charles Schnee). David Raksin's score is another asset. Movie poster Bad Day at Black Rock (1955) Though only 81 minutes in length, "Bad Day" packs a punch. Spencer Tracy stars as Macreedy, a one-armed man who arrives unexpectedly one day at the sleepy desert town of Black Rock. He is just as tight-lipped at first about the reason for his visit as the residents of Black Rock are about the details of their town. However, when Macreedy announces that he is looking for a former Japanese-American Black Rock resident named Komoko, town skeletons suddenly burst into the open. In addition to Tracy, the standout cast includes Robert Ryan, Anne Francis, Lee Marvin, Ernest Borgnine and Dean Jagger. Director John Sturges displays the western landscape to great advantage in this CinemaScope production. Badlands (1973) Stark, brutal story based on the Charles Starkweather-Carol Fugate murder spree through the Midwest in 1958, with Martin Sheen as the killer lashing out against a society that ignores his existence and Sissy Spacek as his naive teenage consort. Sheen is forceful and properly weird as the mass murderer, strutting around pretending to be James Dean, while Spacek doesn't quite understand what he's all about, but goes along anyway. Director Terrence Malick neither romanticizes nor condemns his subjects, maintaining a low-key approach to the story that results in a fascinating character study. The film did scant box office business, but it remains one of the most impressive of directorial debuts. Ball of Fire (1941) In this Howard Hawks-directed screwball comedy, showgirl and gangster's moll Sugarpuss O'Shea (Barbara Stanwyck) hides from the law among a group of scholars compiling an encyclopedia. Cooling her heels until the heat lets up, Sugarpuss charms the elderly academics and bewitches the young professor in charge (Gary Cooper). Hawks deftly shapes an effervescent, innuendo-packed Billy Wilder-Charles Brackett script into a swing-era version of Snow White and the Seven Dwarfs or "squirrely cherubs," as Sugarpuss christens them. Filled with colorful period slang and boogie-woogie tunes and highlighted by an energetic performance from legendary drummer Gene Krupa, the film captures a pre-World War II lightheartedness. The Ballad of Gregorio Cortez (1982) Directed by Robert M. Young, produced by Moctesuma Esparza, and co-produced by Edward James Olmos, who stars as Gregorio, some of the film’s most beautiful scenes come from acclaimed cinematography Reynoldo Villalobos. “The Ballad of Gregorio Cortez” is one of the key feature films from the 1980s Chicano film movement. Edward James Olmos was a working actor but not yet a star when he and several friends, meeting at what would become the Sundance Film Festival, decided to make a film about a true story of injustice from the Texas frontier days. Shot on a tiny budget for PBS, “The Ballad of Gregorio Cortez” accurately tells the story of a Mexican-American farmer who in 1901 was falsely accused of stealing a horse. Cortez killed the sheriff who tried to arrest him, outran a huge posse for more than a week, barely escaped lynching and was eventually sentenced to more than a decade in prison. The incident became a famous corrido, or story-song, that is still sung in Mexico and Texas. While some characters speak in Spanish and others in English, the filmmakers decided not to use subtitles to give audiences the same experience as those caught up in the unfolding tragedy. “This film is being seen more today than it was the day we finished it,” Olmos said in a 2022 interview with the Library of Congress. “‘The Ballad of Gregorio Cortez’ is truly the best film I’ve ever been a part of in my lifetime.” Interview with Edward James Olmos (PDF, 2MB) Bambi (1942) One of Walt Disney's timeless classics (and his own personal favorite), this animated coming-of-age tale of a wide-eyed fawn's life in the forest has enchanted generations since its debut nearly 70 years ago. Filled with iconic characters and moments, the film features beautiful images that were the result of extensive nature studies by Disney's animators. Its realistic characters capture human and animal qualities in the time-honored tradition of folklore and fable, which enhance the movie's resonating, emotional power. Treasured as one of film's most heart-rending stories of parental love, "Bambi" also has come to be recognized for its eloquent message of nature conservation. Expanded essay by John Wills (PDF, 360KB) Expanded essay by Gail Alexander (wife of Stan Alexander - “Flower”) (PDF, 371KB) Original drawing of Bambi Bamboozled (2000) Mixing elements of “A Face in the Crowd,” “The Producers,” “Network” and “Putney Swope,” Spike Lee’s “Bamboozled” showcases his unique talents, here blending dark comedy and satire exposing hypocrisy. An African American TV executive (Damon Wayans) grows tired of his ideas being rejected by his insincere white boss, who touts himself with an “I am Black People” type of vibe. To get out of this untenable situation, Wayans proposes an idea he feels will surely get him fired: a racist minstrel show featuring African American performers donning blackface. The show becomes a smash hit while at the same time sparking outrage, including militant groups leading to violence. As with the best satire, the focus is not on believable plot but rather how the story reveals the ills of society, in this case how Hollywood and television have mistreated African Americans over the decades. Added to the National Film Registry in 2023. The Band Wagon (1953) Fred Astaire, Cyd Charisse, Oscar Levant, Nanette Fabray and Jack Buchanan star in this sophisticated backstage toe-tapper directed by Vincente Minnelli, widely considered one of the greatest movie musicals of all time. Astaire plays a washed-up movie star (in reality he'd been a succesful performer for nearly 30 years) who tries his luck on Broadway, under the direction of irrepressible mad genius Buchanan. Musical highlights include "Dancing in the Dark" and "That's Entertainment" (written for the film by Howard Dietz and Arthur Schwartz) and Astaire's sexy Mickey Spillane spoof "The Girl Hunt" danced to perfection by Charisse. Fred Astaire would only make three more musicals after "The Band Wagon," before turning to a film and television career that included the occasional turn as a dramatic actor. Lobby card Additional artwork The Bank Dick (1940) Perhaps more than any other film comedian in the early days of movies, W.C. Fields is an acquired taste. His absurdist brand of humor, at once dry and surreal, endures for the simple reason that the movies bear up under repeated viewings; in fact, it's almost a necessity to watch them over and over, if only to figure out why they're so funny. In his second-to-last feature, The Bank Dick (which he wrote under the moniker "Mahatma Kane Jeeves"), Fields as unemployed layabout Egbert Souse -- Soosay, if you don't mind -- replaces drunk movie director A. Pismo Clam on a location shoot in his hometown of Lompoc, California before chance lands him in the job of bank detective -- after which the movie becomes a riff on the comic possibilities of his new-found notoriety. The stellar comic supporting cast includes future Stooge Shemp Howard as the bartender at Fields' regular haunt, The Black Pussy, and Preston Sturges regular Franklin Pangborn as bank examiner J. Pinkerton Snoopington. Expanded essay by Randy Skretvedt (PDF, 401KB) The Bargain (1914) After beginning his career on the stage (where he originated the role of Messala in "Ben-Hur" in 1899), William S. Hart found his greatest fame as the silent screen's most popular cowboy. His 1914 "The Bargain," directed by Reginald Barker, was Hart's first film and made him a star. The second Hart Western to be named to the National Film Registry, the film was selected because of Hart's charisma, the film's authenticity and realistic portrayal of the Western genre and the star's good/bad man role as an outlaw attempting to go straight. Added to the National Film Registry 2010. Expanded essay by Brian Taves (PDF, 1692KB) Watch it here The Battle of the Century (1927) "Battle of the Century" is a classic Laurel and Hardy silent short comedy (2 reels, ca. 20 minutes) unseen in its entirety since its original release. The comic bits include a renowned pie-fighting sequence where the principle of "reciprocal destruction" escalates to epic proportions. "Battle" offers a stark illustration of the detective work (and luck) required to locate and preserve films from the silent era. Only excerpts from reel two of the film had survived for many years. Critic Leonard Maltin discovered a mostly complete nitrate copy of reel one at the Museum of Modern Art in the 1970s. Then in 2015, film collector and silent film accompanist Jon Mirsalis located a complete version of reel two as part of a film collection he purchased from the Estate of Gordon Berkow. The film still lacks brief scenes from reel one, but the film is now almost complete, comprising elements from MoMA, the Library of Congress, UCLA and other sources. It was restored by the UCLA Film and Television Archive in conjunction with Jeff Joseph/SabuCat. The nearly complete film was preserved from one reel of 35mm nitrate print, one reel of a 35mm acetate dupe negative and a 16mm acetate print. Laboratory Services: The Stanford Theatre Film Laboratory, Deluxe Entertainment Services Group, Cineaste Restoration/Thad Komorowksi, Point 360/Joe Alloy. Special Thanks: Jon Mirsalis, Paramount Pictures Archives, Richard W. Bann, Ray Faiola, David Gerstein. The Battle of San Pietro (1945) John Huston's documentary about the WW II Battle of San Pietro Infine was considered too controversial by the U.S. military to be seen in its original form, and was cut from five reels to its released 33 minute-length. powerful viewing, vivid and gritty. Some 1,100 men died in the battle. scenes of grateful Italian peasants serve as a fascinating ethnographic time capsule. Filmed by Jules Buck. Unlike many other military documentaries, Huston's cameramen filmed alongside the Army's 143rd regiment, 36th division infantrymen, placing themselves within feet of mortar and shell fire. The film is unflinching in its realism and was held up from being shown to the public by the United States Army. Huston quickly became unpopular with the Army, not only for the film but also for his response to the accusation that the film was anti-war. Huston responded that if he ever made a pro-war film, he should be shot. Because it showed dead GIs wrapped in mattress covers, some officers tried to prevent troopers in training from seeing it, for fear of morale. General George Marshall came to the film's defense, stating that because of the film's gritty realism, it would make a good training film. The depiction of death would inspire them to take their training seriously. Subsequently the film was used for that purpose. Huston was no longer considered a pariah; he was decorated and made an honorary major. Expanded essay by Ed Carter (PDF, 423KB) View this film at National Film Preservation Foundation External The Beau Brummels (1928) Al Shaw and Sam Lee were an eccentrically popular vaudeville act of the 1920s. In 1928 they made this eight-minute Vitaphone short for Warner Bros. The duo later appeared in more than a dozen other films, though none possessed the wacky charm of "The Beau Brummels." As Jim Knipfel has observed: "If Samuel Beckett had written a vaudeville routine, he would have created Shaw and Lee." Often considered one of the quintessential vaudeville comedy shorts, the film has a simple set-up—Shaw and Lee stand side by side with deadpan expressions in non-tailored suits and bowler hats as they deliver their comic routine of corny nonsense songs and gags with a bit of soft shoe and their renowned hat-swapping routine. Shaw's and Lee's reputation has enjoyed a recent renaissance and their brand of dry, offbeat humor is seen by some as well ahead of its time. The film has been preserved by the UCLA Film & Television Archive. Beauty and the Beast (1991) Disney's "Beauty and the Beast" is an animated, musical retelling of the fairy tale by Jeanne-Marie Leprince du Beaumont. The film follows Belle (voiced by Paige O'Hara), an intelligent and rebellious young French woman, who is forced to live with a hideous monster, the Beast (voiced by Robby Benson), after offering to take her father's place as the Beast's prisoner. Unaware that the Beast is actually an enchanted prince, Belle falls in love with him. "Beauty and the Beast" was the first animated film nominated for an Academy Award in the Best Picture category. Alan Menken won an Oscar for his original score, and he and lyricist Howard Ashman (posthumously) earned Oscars for the film's theme song "Beauty and the Beast." Movie poster Becky Sharp (1935) Actress Miriam Hopkins had a long and successful movie career, appearing in many classics, including "Trouble in Paradise" and "Design for Living." However, it is as this film's titular heroine that she received her only Academy Award best-actress nomination. Based upon Thackeray's novel "Vanity Fair," "Becky" is the story of a socially ambitious woman and her destructive climb up the class system. "Becky Sharp" merits historical note as the first feature-length film to utilize the three-strip Technicolor process, which, even today, gives the film a shimmering visual appeal. The lengthy, complicated restoration process of "Becky Sharp" by the UCLA Film and Television Archive marked one of the earliest archival restorations to garner widespread public attention. Partners in this painstaking effort included the National Telefilm Associates Inc., Fondazione Scuola Nazionale di Cinema, Cineteca Nazionale (Rome), British Film Institute, The Film Foundation, National Endowment for the Arts, Paramount and YCM Laboratories. More information can be found at https://cinema.ucla.edu/restoration/becky-sharp-restoration External. Before Stonewall (1984) In 1969, New York City police raided the Stonewall Inn, a gay bar in Greenwich Village. After years of harassment, this infamous act proved a tipping point and led to three days of riots. The Stonewall riots are credited with launching the modern gay civil rights movement in the U.S. Narrated by Rita Mae Brown, "Before Stonewall" provides a detailed look at the history and making of the LGBTQ community in 20th-century America through archival footage and interviews with those who felt compelled to live secret lives during that period. Elements, prints and a new 2016 digital cinema package are held in the Outfest UCLA Legacy Project Collection at the UCLA Film & Television Archive. Behind Every Good Man (1967) This pre-Stonewall UCLA student short by Nikolai Ursin offers a stunning early portrait of Black, gender fluidity in Los Angeles and the quest for love and acceptance. Following playful street scene vignettes accompanied by a wistful, baritone voice-over narration, the film lingers tenderly on our protagonist preparing for a date who never arrives. The film is preserved by the UCLA Film & Television Archive. Preservation funded by the National Film Preservation Foundation on behalf of the Outfest UCLA Legacy Project. Special thanks to John Campbell, Stephen Parr and Norman Yonemoto. Being There (1979) Chance, a simple-minded gardener (Peter Sellers) whose only contact with the outside world is through television, becomes the toast of the town following a series of misunderstandings. Forced outside his protected environment by the death of his wealthy boss, Chance subsumes his late employer's persona, including the man's cultured walk, talk and even his expensive clothes, and is mistaken as "Chauncey Gardner," whose simple adages are interpreted as profound insights. He becomes the confidant of a dying billionaire industrialist (Melvyn Douglas, in an Academy Award-winning performance) who happens to be a close adviser to the U.S. president (Jack Warden). Chance's gardening advice is interpreted as metaphors for political policy and life in general. Jerzy Kosinski, assisted by award-winning screenwriter Robert C. Jones, adapted his 1971 novel for the screenplay which Hal Ashby directed with an understatement to match the subtlety and precision of Sellers' Academy Award-nominated performance. Shirley MacLaine also stars as Douglas's wife, then widow, who sees Chauncey as a romantic prospect. Film critic Robert Ebert said he admired the film for "having the guts to take this totally weird conceit and push it to its ultimate comic conclusion." That conclusion is a philosophically complex film that has remained fresh and relevant. Expanded essay by Jerry Dean Roberts (PDF, 118KB) Ben-Hur (1925) Adapted from General Lew Wallace's popular novel "Ben-Hur: A Tale of the Christ" published in 1880, this epic featured one of the most exciting spectacles in silent film: the chariot race that was shot with 40 cameras on a Circus Maximus set costing a staggering (for the day) $300,000. In addition to the grandeur of the chariot scene, a number of sequences shot in Technicolor also contributed to the epic status of "Ben-Hur," which was directed by Fred Niblo and starred Ramon Novarro as Judah Ben-Hur and Francis X. Bushman as Messala. While the film did not initially recoup its investment, it did help to establish its studio, MGM, as one of the major players in the industry. Expanded essay by Fritzi Kramer (PDF, 254KB) Lobby card Ben-Hur (1959) This epic blockbuster stars Charlton Heston in the title role of a rebellious Israelite who takes on the Roman Empire during the time of Christ. Featuring one of the most famous action sequences of all time -- the breathtaking chariot race -- the film was a remake of the impressive silent version released in 1925. Co-starring Stephen Boyd as Judah Ben-Hur's onetime best friend and later rival, it also featured notable performances by Hugh Griffith and Jack Hawkins. Directed by Oscar-winner William Wyler, who found success with "Mrs. Miniver" "The Best Years of Our Lives" and others, "Ben-Hur" broke awards records, winning 11 Oscars, including best picture, director, actor, supporting actor, and score. Famed stuntman Yakima Canutt was brought in to coordinate all the chariot race stunt work and train the driver The race scene alone cost is reported to have cost about $4 million, or about a fourth of the entire budget, and took 10 weeks to shoot. Expanded essay by Gabriel Miller (PDF, 499KB) Bert Williams Lime Kiln Club Field Day (1913) In 1913, a stellar cast of African-American performers gathered in the Bronx, New York, to make a feature-length motion picture. The troupe starred vaudevillian Bert Williams, the first African-American to headline on Broadway and the most popular recording artist prior to 1920. After considerable footage was shot, the film was abandoned. One hundred years later, the seven reels of untitled and unassembled footage were discovered in the film vaults of the Museum of Modern Art, and are now believed to constitute the earliest surviving feature film starring black actors. Modeled after a popular collection of stories known as "Brother Gardener's Lime Kiln Club," the plot features three suitors vying to win the hand of the local beauty, portrayed by Odessa Warren Grey. The production also included members of the Harlem stage show known as J. Leubrie Hill's "Darktown Follies." Providing insight into early silent-film production (Williams can be seen applying his blackface makeup), these outtakes or rushes show white and black cast and crew working together, enjoying themselves in unguarded moments. Even in fragments of footage, Williams proves himself among the most gifted of screen comedians. The Best Years of Our Lives (1946) A moving and personal story directed by real-life veteran William Wyler, the film depicts the return to civilian life by three World War II servicemen, portrayed by Dana Andrews, Fredric March and Harold Russell. Adapted by Robert Sherwood from MacKinlay Kantor's novel "Glory for Me," Gregg Toland's deep-focus cinematography is memorable for emotionally evokative long dolly shots. It also starred Myrna Loy, Teresa Wright, Cathy O'Donnell, and Virginia Mayo. The film won nine Oscars including Best Picture, as well as two awards for Russell, who lost his hands in the war. Expanded essay by Gabriel Miller (PDF, 319KB) Betty Tells Her Story (1972) Liane Brandon’s classic documentary explores the layers of storytelling and memory - how telling a story again can reveal previously hidden details and context. In this poignant tale of beauty, identity and a dress, the filmmaker turns the storytelling power over to the subject. Deceptively simple in its approach, the director in two separate takes films Betty recalling her search for the perfect dress for an upcoming special occasion. During the first take, Betty describes in delightful detail how she found just the right one, spent more than she could afford, felt absolutely transformed … and never got to wear it. Brandon then asks her to tell the story again, and this time her account becomes more nuanced, personal and emotional, revealing her underlying feelings. Though the facts remain the same, the story is strikingly different. “Betty Tells Her Story” was the first independent documentary of the Women’s Movement to explore the ways in which clothing and appearance affect a woman’s identity. It is used in film studies, psychology, sociology, women’s studies, and many other academic disciplines as a perceptive look at how our culture views women in the context of body image, self-worth and beauty in American culture. The film was restored with a grant from New York Women in Film & Television’s Women's Film Preservation Fund. Inductees' Gallery - Liane Brandon, producer and director Big Business (1929) As gifted in their repartee as they were in their physical antics, Stan Laurel and Oliver Hardy were the perfect team for the transition from silent film comedy to sound. Their legendary career spanned from 1921 to 1951 and included more than 100 films. This two-reeler finds the duo attempting to sell Christmas trees in sunny California. Their run-in with an unsatisfied customer (played by James Finlayson) lays the groundwork for a slapstick melee eventually involving a dismantled car, a wrecked house and an exploding cigar. The film was produced by the team's long-time collaborator, Hal Roach, the king of no-holds-barred comedy. Expanded essay by Randy Skretvedt (PDF, 308KB) The Big Heat (1953) One of the great post-war noir films, "The Big Heat" stars Glenn Ford, Lee Marvin and Gloria Grahame. Set in a fictional American town, the film tells the story of a tough cop (Ford) who takes on a local crime syndicate, exposing tensions within his own corrupt police department as well as insecurities and hypocrisies of domestic life in the 1950s. Filled with atmosphere, fascinating female characters, and a jolting—yet not gratuitous—degree of violence, "The Big Heat," through its subtly expressive technique and resistance to formulaic denouement, manages to be both stylized and brutally realistic, a signature of its director Fritz Lang. Movie poster The Big Lebowski (1998) From the unconventional visionaries Joel and Ethan Coen (the filmmakers behind "Fargo" and "O Brother, Where Art Thou?") came this 1998 tale of kidnapping, mistaken identity and bowling. As they would again in the 2008 "Burn After Reading," the Coens explore themes of alienation, inequality and class structure via a group of hard-luck, off-beat characters suddenly drawn into each other's orbits. Jeff Bridges, in a career-defining role, stars as "The Dude," an LA-based slacker who shares a last name with a rich man whose arm-candy wife is indebted to shady figures. Joining Bridges are John Goodman, Tara Reid, Julianne Moore, Philip Seymour Hoffman, Steve Buscemi and, in a now-legendary cameo, John Turturro. Stuffed with vignettes—each staged through the Coens' trademark absurdist, innovative visual style—that are alternately funny and disturbing, "Lebowski" was only middling successful at the box office during its initial release. However, television, the Internet, home video and considerable word-of-mouth have made the film a highly quoted cult classic. Expanded essay by J.M. Tyree & Ben Walters (PDF, 354KB) The Big Parade (1925) One of the first films to deglamorize war with its startling realism, "The Big Parade" became the largest grossing film of the silent era. From a story by Laurence Stallings, director King Vidor crafted what "New York Times" critic Mordaunt Hall called "an eloquent pictorial epic." The film, which Hall said displayed "all the artistry of which the camera is capable," depicts a privileged young man (John Gilbert) who goes to war seeking adventure and finds camaraderie, love, humility and maturity amid the horrors of war. Along the way he befriends two amiable doughboys (Karl Dane and Tom O'Brien) and falls for a beautiful French farm girl (Renée Adorée). Vidor tempered the film's serious subject matter with a kind of simple, light humor that flows naturally from new friendships and new loves. A five-time nominee for Best Director, Vidor was eventually recognized by the Academy in 1979 with an honorary lifetime achievement award. Both stars continued to reign until the transition to talking pictures, which neither Gilbert nor Adorée weathered successfully. Their careers plummeted and both died prematurely. The Big Sleep (1946) Howard Hawks directed this Raymond Chandler story featuring private eye Philip Marlowe, played by Humphrey Bogart. Appearing opposite him in only her second film was a former model named Lauren Bacall, with whom Bogart had fallen in love (and vice versa) during filming of "To Have and Have Not" earlier that year. Hawks and his writers attempted to untangle the threads of Chandler's complicated plot which caused frequent production delays. More than a month behind schedule and about $50,000 over budget, the film was ready in mid-summer1945, and that version was distributed to servicemen overseas. Shortly thereafter "To Have and Have Not" was released, and audiences loved the Bogart-Bacall chemistry, so the wide release of "The Big Sleep" was further delayed the wide release by rewriting scenes to heighten the chemistry and bring out Bacall's "insolent" quality that audiences found so appealing the pair's earlier film. The pre-release cut is only two minutes longer, but contains 18 minutes of scenes missing from the final picture. The first "draft" was discovered at the UCLA Film and Television Archive where both versions have since been preserved. The Big Trail (1930) This taming of the Oregon Trail saga comes alive thanks to the majestic sweep afforded by the experimental Grandeur wide-screen process developed by the Fox Film Corporation. Audiences marveled at the sheer scope of the panoramic scenes before them and delighted in the beauty of the vast landscapes. Hollywood legend has it that director Raoul Walsh was seeking a male lead for a new Western and asked his friend John Ford for advice. Ford recommended an unknown actor named John Wayne because he "liked the looks of this new kid with a funny walk -- like he owned the world." When Wayne professed inexperience, Walsh told him to just "sit good on a horse and point."Wayne's starring role in "The Big Trail" did not catapult him to stardom, and he languished in low-budget pictures until John Ford cast him in the 1939 classic "Stagecoach." Expanded essay by Marilyn Ann Moss (PDF, 375KB) The Birds (1963) "The Birds" was the fourth suspense hit by Alfred Hitchcock—following "Vertigo," "North by Northwest" and "Psycho"—revealing his mastery of his craft. Hitchcock transfixed both critics and mass audiences by deftly moving from anxiety-inducing horror to glossy entertainment and suspense, with bold forays into psychological terrain. Marked by a foreboding sense of an unending terror no one can escape, the film concludes with its famous, final scene, which only adds to the emotional impact of "The Birds." The Birth of a Nation (1915) This landmark of American motion pictures is the story of two families during the Civil War and Reconstruction. Director D.W. Griffith's depiction of the Ku Klux Klan as heroes stirred controversy that continues to the present day. But the director's groundbreaking camera technique and narrative style advanced the art of filmmaking by leaps and bounds. Profoundly impacted by the novel "The Clansman: An Historical Romance of the Ku Klux Klan," Griffith hired its author Thomas F. Dixon Jr. to adapt it as a screenplay. At the heart of the story are two pairs of star-crossed lovers on either side of the conflict: Southerner Henry B. Walthall courts Northerner Lillian Gish, and the couple's siblings, played by Elmer Clifton and Miriam Cooper, are also in love. The ravages of war and the chaos of reconstruction take their toll on both families. The racist and simplistic depictions of blacks in the film is difficult to overlook, but underneath the distasteful sentiment lies visual genius. Expanded essay by Dave Kehr (PDF, 599KB) Movie poster Black and Tan (1929) In one of the first short musical films to showcase African-American jazz musicians, Duke Ellington portrays a struggling musician whose dancer wife (Fredi Washington in her film debut) secures him a gig for his orchestra at the famous Cotton Club where she's been hired to perform, at a risk to her health. Directed by Dudley Murphy, who earned his reputation with "Ballet mécanique," which is considered a masterpiece of early experimental filmmaking, the film reflects the cultural, social and artistic explosion of the 1920s that became known as the Harlem Renaissance. Ellington and Washington personify that movement, and Murphy—who also directed registry titles "St. Louis Blues" (1929), another musical short, and the feature "The Emperor Jones" (1933) starring Paul Robeson—cements it in celluloid to inspire future generations. Washington, who appeared with Robeson in "Emperor Jones," is best known as "Peola" in the 1934 version of "Imitation of Life." The Black Pirate (1926) This swashbuckling tour-de-force by Douglas Fairbanks, king of silent action adventure pictures, is most significant for having been filmed entirely in two-strip Technicolor, a process still being perfected at the time, and the precursor to Technicolor processes that would become commonplace by the 1950s. Fairbanks plays a nobleman who has vowed to avenge the death of his father at the hands of pirates, and once upon the pirates' vessel, protects a damsel in distress (Bessie Love)taken hostage by the band of thieves. Fairbanks wrote the original story under a pseudonym, and Albert Parker directed. Expanded essay by Tracey Goessel (PDF, 356 KB) The Black Stallion (1979) When a ship carrying young Alec Ramsey (Kelly Reno) and a black Arabian stallion sinks off the coast of Africa, Alec and the horse find themselves stranded on a deserted island. Upon their rescue, Alec and horse trainer/former jockey Henry Dailey (Mickey Rooney) begin training the horse to become a formidable racer. Directed by Carroll Ballard and based on the Walter Farley novel of the same name, the film was executive produced by Francis Ford Coppola who finally persuaded United Artists to release the film after shelving it for two years. The film's supervising sound editor, Alan Splet, received a Special Achievement Award for his innovations including affixing microphones around the horse's midsection to pick up the sound of its hoof beats and breathing during race sequences. "The Black Stallion" was nominated for two Academy Awards, one for Best Supporting Actor for Mickey Rooney and one for Best Film Editing for Robert Dalva. Expanded essay by Keith Phipps (PDF, 375 KB) Blackboard Jungle (1955) In a 1983 interview, writer-director Richard Brooks claimed that hearing Bill Haley and the Comets' "Rock Around the Clock" in 1954 inspired him to make a rock & roll-themed picture. The result was "Blackboard Jungle," an adaptation of the controversial novel by Evan Hunter about an inner-city schoolteacher (played in the film by Glenn Ford) tackling juvenile delinquency and the lamentable state of public education— common bugaboos of the Eisenhower era. Retaining much of the novel's gritty realism, the film effectively dramatizes the social issues at hand, and features outstanding early performances by Sidney Poitier and Vic Morrow. The film, however, packs its biggest wallop even before a word of dialog is spoken. As the opening credits roll, Brooks' original inspiration for the film – the pulsating strains of "Rock Around the Clock" – blasts across theater speakers, bringing the devil's music to Main Street and epitomizing American culture worldwide. Blacksmith Scene (1893) Not blacksmiths but employees of the Edison Manufacturing Company, Charles Kayser, John Ott and another unidentified man are likely the first screen actors in history, and "Blacksmith Scene" is thought to be the first film of more than a few feet to be publicly exhibited. The 30-second film was photographed in late April 1893 by Edison's key employee, W.K.L. Dickson, at the new Edison studio in New Jersey. On May 9, audiences lined up single file at the Brooklyn Institute of Arts and Sciences to peer through a viewing machine called a kinetoscope where glowed images of a blacksmith and two helpers forging a piece of iron, but only after they'd first passed around a bottle of beer. A Brooklyn newspaper reported the next day, "It shows living subjects portrayed in a manner to excite wonderment." First Motion Picture Copyright Found National Film Preservation Foundation - Blacksmithing Scene External Blade Runner (1982) A blend of science fiction and film noir, "Blade Runner" was a box office and critical flop when first released, but its unique postmodern production design became hugely influential within the sci-fi genre, and the film gained a significant cult following that increased its stature. Harrison Ford stars as Rick Deckard, a retired cop in Los Angeles circa 2019. L.A. has become a pan-cultural dystopia of corporate advertising, pollution and flying automobiles, as well as replicants, human-like androids with short life spans built for use in dangerous off-world colonization. Deckard, a onetime blade runner – a detective that hunts down rogue replicants – is forced back into active duty to assassinate a band of rogues out to attack earth. Along the way he encounters Sean Young, a replicant who's unaware of her true identity, and faces a violent confrontation atop a skyscraper high above the city. Expanded essay by David Morgan (PDF, 358 KB) Blazing Saddles (1974) This riotously funny, raunchy, no-holds-barred Western spoof by Mel Brooks is universally considered one of the funniest American films of all time. The movie features a civil-rights theme (the man in the white hat (Cleavon Little ) turns out to be an African-American who has to defend a bigoted town), and its furiously paced gags and rapid-fire dialogue were scripted by Brooks, Andrew Bergman, Richard Pryor, Norman Steinberg and Alan Unger. Little as the sheriff and Gene Wilder as his recovering alcoholic deputy have great chemistry, and the delightful supporting cast includes Harvey Korman, Slim Pickens, and Madeline Kahn as a chanteuse modelled on Marlene Dietrich. As in "Young Frankenstein," "Silent Movie," and "High Anxiety," director/writer Brooks gives a burlesque spin to a classic Hollywood movie genre. Expanded essay by Michael Schlesinger (PDF, 662 KB) Bless Their Little Hearts (1984) Part of the vibrant New Wave of independent African-American filmmakers to emerge in the 1970s and 1980s, Billy Woodberry became a key figure in the movement known as the L.A. Rebellion. Woodberry crafted his UCLA thesis film, "Bless Their Little Hearts," which was theatrically released in 1984. The film features a script and cinematography by Charles Burnett. This spare, emotionally resonant portrait of family life during times of struggle blends grinding, daily-life sadness with scenes of deft humor. Jim Ridley of the "Village Voice" aptly summed up the film's understated-but- real virtues: "Its poetry lies in the exaltation of ordinary detail." The Blood of Jesus (1941) Also known as "The Glory Road," this was among the approximately 500 "race movies" produced between 1915 and 1950 for African-American audiences and featuring all-black casts. In this film, a deeply devout woman (Cathryn Caviness) faces a spiritual crossroads after being accidentally shot, and is forced to choose between heaven and hell. Spencer Williams, who wrote, directed and starred in the film, produced the film in response to a need for spiritually-based films that spoke directly to black audiences. Long thought lost, prints were discovered in a warehouse in Tyler, Texas, in the mid-1980s. Expanded essay by Mark S. Giles (PDF, 256 KB) View this film at Southern Methodist University Central University Libraries External The Blue Bird (1918) Maurice Tourneur's beautiful expressionist adaptation of Maurice Maeterlink's play remains one of the most aesthetically pleasing films. The film is a sumptuously composed pictorial entrance into a fantasy world, which tries to teach us not to overlook the beauty of what is close and familiar. Expanded essay by Kaveh Askari (PDF, 445 KB) The Blues Brothers (1980) Dan Aykroyd and John Belushi, then both best known for their star-turns as part of the "Not Ready for Prime-Time Players" troupe on TV's "Saturday Night Live," took their recurring "Blues Brothers" SNL sketch to the big screen in this loving and madcap musical misadventures of Jake and Elwood Blues on a mission from God. An homage of sorts to various classic movie genres — from screwball comedy to road movie — "The Blues Brothers" serves as a tribute to the lead duo's favorite city (Chicago) as well as a lovely paean to great soul and R&B music. In musical cameos, such legends as Cab Calloway, Ray Charles, James Brown, Aretha Franklin and John Lee Hooker all ignite the screen. Added to the National Film Registry in 2020. Interview with Dan Aykroyd (PDF, 2MB) Interview with John Landis (PDF, 2MB) Body and Soul (1925) One of the truly unique pioneers of cinema, African-American producer/director/writer/distributor Oscar Micheaux somehow managed to get nearly 40 films made and seen despite facing racism, lack of funding, the capricious whims of local film censors and the independent nature of his work. Most of Micheaux's films are lost to time or available only in incomplete versions, with the only extant copies of some having been located in foreign archives. Nevertheless, what remains shows a fearless director with an original, daring and creative vision. Film historian Jacqueline Stewart says Micheaux's films, though sometimes unpolished and rough in terms of acting, pacing and editing, brought relevant issues to the black community including "the politics of skin color within the black community, gender differences, class differences, regional differences especially during this period of the Great Migration." For "Body and Soul," renaissance man Paul Robeson, who had gained some fame on the stage, makes his film debut displaying a blazing screen presence in dual roles as a charismatic escaped convict masquerading as a preacher and his pious brother. The George Eastman Museum has restored the film from a nitrate print, producing black-and-white-preservation elements and later restoring color tinting using the Desmet method. Bohulano Family Film Collection (1950s-1970s) Delfin Paderes Bohulano and Concepcion Moreno Bohulano recorded their family life for more than 20 years. Shot primarily in Stockton, California, their collection documents the history of the Filipinx community (once the largest in the country) during a period of significant immigration. The couple moved to the United States following American military service during World War II. They were involved in the local Filipino American community, including the building of Stockton's new Filipino Center in the early 1970s. The movies record community events, family gatherings, trips to New York, Atlantic City, and Washington, DC, as well as the family's 1967 visit to the Philippines. The 15-reel collection is shot on Super 8mm, 8mm, and 16mm, and in color and silent. Preserved by the Center for Asian American Media. Added to the National Film Registry in 2023. Bonnie and Clyde (1967) Setting filmmaking and style trends that linger today, "Bonnie and Clyde" veered from comedy to social commentary to melodrama and caught audiences unaware, especially with its graphic ending. The violence spawned many detractors, but others saw the artistry beyond the blood and it earned not only critical succes which eventually showed at thebox office. Arthur Penn deftly directs David Newman and Robert Benton's script, aided by the film's star and producer Warren Beatty, who was always eager to push the envelope. Faye Dunaway captures the Depression-era yearning for glamour and escape from poverty and hopelessness. Expanded essay by Richard Schickel (PDF, 530KB) Movie poster Born Yesterday (1950) Judy Holliday's sparkling lead performance as not-so-dumb "dumb blonde" Billie Dawn anchors this comedy classic based on Garson Kanin's play and directed for the screen by George Cukor. Kanin's satire on corruption in Washington, D.C., adapted for the screen by Albert Mannheimer, is full of charm and wit while subtly addressing issues of class, gender, social standing and American politics. Holliday's work in the film (a role she had previously played on Broadway) was honored with the Academy Award for Best Actress and has endured as one of the era's most finely realized comedy performances. Expanded essay by Ariel Schudson (PDF, 394KB) Movie poster Boulevard Nights (1979) "Boulevard Nights" had its genesis in a screenplay by UCLA student Desmond Nakano about Mexican-American youth and the lowrider culture. Director Michael Pressman and cinematographer John Bailey shot the film in the barrios of East Los Angeles with the active participation of the local community (including car clubs and gang members). This street-level strategy using mostly non-professional actors produced a documentary-style depiction of the tough choices faced by Chicano youth as they come of age and try to escape or navigate gang life ("Two brothers...the street was their playground and their battleground"). In addition to "Boulevard Nights," this era featured several films chronicling youth gangs and rebellion — "The Warriors" (1979), "Over the Edge" (1979), "Walk Proud" (1979) and "The Outsiders" (1983). The film faced protests and criticism from some Latinos who saw outsider filmmakers, albeit well-intentioned, adopting an anthropological perspective with an excessive focus on gangs and violent neighborhoods. Nevertheless, "Boulevard Nights" stands out as a pioneering snapshot of East L.A. and enjoys semi-cult status in the lowrider community. Boys Don't Cry (1999) Director Kimberly Peirce made a stunning debut with this searing docudrama based on the infamous 1993 case of a young Nebraska transgender man who is brutally raped and murdered (along with two other people) in a small Nebraska town. Released a year after the killing of Matthew Shepard, a gay student at the University of Wyoming, the film brought the issue of hate crimes clearly into the American public spotlight. Sometimes compared to Theodore Dreiser's "An American Tragedy," "Boys" raised issues that are still relevant 20 years later: intolerance, prejudice, the lack of opportunity in small towns, conceptions of self, sexual identity, diversity and cultural, sexual and social mores. New York Times' critic Janet Maslin lauded the film for not taking the usual plot routes: "Unlike most films about mind-numbing tragedy, this one manages to be full of hope." Several things helped create that result, particularly the performance of 22-year-old Hilary Swank, who won an Oscar as Brandon. Boyz N the Hood (1991) In his film debut, John Singleton wrote and directed this thought-provoking look at South Central L.A.'s black community. A divorced father (Larry Fishburne) struggles to raise his son, Tre (Cuba Gooding, Jr.) in a world where violence is a fact of life. Tre is torn by his desire to live up to his father's expectations and pressure from friends pushing him toward the gang culture. Roger Ebert praised the film for its "maturity and emotional depth," calling it "an American film of enormous importance." The lead players are backed by strong supporting performances from Ice Cube, Morris Chestnut, Tyre Ferrell, Angela Bassett and Nia Long. Brandy in the Wilderness (1969) This introspective "contrived diary" film by Stanton Kaye features vignettes from the relationship of a real-life couple, in this case the director and his girlfriend. An evocative 1960s time capsule—reminiscent of Jim McBride's "David Holzman's Diary"—this simulated autobiography, as in many experimental films, often blurs the lines between reality and illusion, moving in non-linear arcs through the ever-evolving and unpredictable interactions of relationships, time and place. As Paul Schrader notes, "it is probably quite impossible (and useless) to make a distinction between the point at which the film reflects their lives, and the point at which their lives reflect the film." "Brandy in the Wilderness" remains a little-known yet key work of American indie filmmaking. This article by director Paul Schrader originally appeared in the Fall 1971 issue of "Cinema Magazine." (PDF, 1764KB) Bread (1918) Billed as a "sociological photodrama, "Bread" tells the story of a naïve young woman in a narrow-minded town who journeys to New York to become a star but faces disillusionment when she learns that sex is demanded as the price for fame. Ida May Park, director and scenarist of "Bread," was among more than a half-dozen prolific women directors working at the Universal Film Manufacturing Company during the period in which Los Angeles became the home of America's movie industry. Park directed 14 feature-length films between 1917 and 1920, and her career as a scenarist lasted until 1931. She reasoned that because the majority of movie fans were women, "it follows that a member of the sex is best able to gauge their wants in the form of stories and plays." In an essay Park contributed to the book "Careers for Women," she stated that women were advantaged as motion picture directors because of "the superiority of their emotional and imaginative faculties." In the two surviving reels of "Bread," one of only three films Park directed that are currently known to exist, she displays an accomplished ability to knowingly vivify her protagonist's plight as she fends off an attacker and places her frail hopes in a misshapen loaf of bread that has come to symbolize for her the good things in life. Breakfast at Tiffany's (1961) Truman Capote's acclaimed novella—the bitter story of self-invented Manhattan call girl Holly Golightly—arrived on the big screen purged of its risqué dialogue and unhappy ending. George Axelrod's screenplay excised explicit references to Holly's livelihood and added an emotionally moving romance, resulting, in Capote's view, in "a mawkish valentine to New York City." Capote believed that Marilyn Monroe would have been perfect for the film and judged Audrey Hepburn, who landed the lead, "just wrong for the part." Critics and audiences, however, have disagreed. The Los Angeles Times stated, "Miss Hepburn makes the complex Holly a vivid, intriguing figure." Feminist critics in recent times have valued Hepburn's portrayals of the period as providing a welcome alternative female role model to the dominant sultry siren of the 1950s. Hepburn conveyed intelligent curiosity, exuberant impetuosity, delicacy combined with strength, and authenticity that often emerged behind a knowingly false facade. Critics also have lauded the movie's director Blake Edwards for his creative visual gags and facility at navigating the film's abrupt changes in tone. Composer Henry Mancini's classic "Moon River," featuring lyrics by Johnny Mercer, also received critical acclaim. Mancini considered Hepburn's wistful rendition of the song on guitar the best he had heard. The Breakfast Club (1985) John Hughes, who had previously given gravitas to the angst of adolescence in his 1984 film, "Sixteen Candles," further explored the social politics of high school in this comedy/character study produced one year later. Set in a day-long Saturday detention hall, the film offers an assortment of American teen-age archetypes such as the "nerd," "jock," and "weirdo." Over the course of the day, labels and default personas slip away as members of this motley group actually talk to each other and learn about each other and themselves. "The Breakfast Club" is a comedy that delivers a message with laughs. Thirty years later, the movie's message is still vivid. Written and directed by Hughes, the film's cast includes Molly Ringwald, Anthony Michael Hall, Judd Nelson, Emilio Estevez and Ally Sheedy. The Bride of Frankenstein (1935) Director James Whale took his success with "Frankenstein," added humor and thus created a cinematic hybrid that perplexed audiences at first glance but captivated them by picture's end. Joined eventually by a mate (Elsa Lanchester), the Frankenstein monster (Boris Karloff reprising his role and investing the character with emotional subtlety) evolves into a touchingly sympathetic character as he gradually becomes more human. Ernest Thesiger as Dr. Pretorious is captivatingly bizarre. Many film historians consider "Bride," with its surreal visuals, superior to the original. Expanded essay by Richard T. Jameson, (PDF, 672KB) examines "Frankenstein" and "Bride of Frankenstein" in a single entry. Movie poster The Bridge on the River Kwai (1957) At the heart of David Lean's antiheroic war epic about a band of British POWs forced to build a bridge in the wilds of Burma is the notion of men clinging to their sanity by clinging to military tradition. The film's cast, which reflects a broad spectrum of acting styles, includes Alec Guinness as the British commanding officer and Sessue Hayakawa as his Japanese counterpart, and William Holden as an American soldier who escapes from the camp and Jack Hawkins as the British major who convinces him to return and help blow up the bridge. Lean elects to keep the musical score to a minimum and instead plays up tension with nature sounds punctuating the action. For many film critics and historians, "Bridge on the River Kwai" signals a shift in Lean's directorial style from simpler storytelling toward the more bloated epics that characterized his later career. Sessue Hayakawa and Alec Guinness in a scene from "The Bridge On The River Kwai" Bringing Up Baby (1938) In this fast-paced screwball comedy from director Howard Hawks, Susan Vance (Katharine Hepburn), an eccentric heiress with a pet leopard named Baby, proves a constant irritant to paleontologist David Huxley (Cary Grant), who is trying to raise $1 million to complete his dinosaur skeleton reconstruction project. Based on a short story by Hagar Wilde, Hawks worked closely with Wilde and screenwriter Dudley Nichols to perfect the script, in which the role of Susan Vance was written specifically with Hepburn in mind. Although now considered a cinematic classic, "Bringing Up Baby" received mixed critical reviews upon release and performed well in only certain areas of the United States, thus reaffirming the film industry's then-current view of Hepburn as "box office poison." Significantly, "Bringing Up Baby" is possibly the first American film to use the term "gay" as a reference to homosexuality. Expanded essay by Michael Schlesinger (PDF, 25KB) Broadcast News (1987) James L. Brooks wrote, produced and directed this comedy set in the fast-paced, tumultuous world of television news. Shot mostly in dozens of locations around the Washington, D.C. area, the film stars Holly Hunter, William Hurt and Albert Brooks. Brooks makes the most of his everyman persona serving as Holly Hunter's romantic back-up plan while she pursues the handsome but vacuous Hurt. Against the backdrop of broadcast journalism (and various debates about journalist ethics), a grown-up romantic comedy plays out in a smart, savvy and fluff-free story whose humor is matched only by its honesty. Expanded essay by Brian Scott Mednick (PDF, 432KB) Brokeback Mountain (2005) "Brokeback Mountain," a contemporary Western drama that won the Academy Award for best screenplay (by Larry McMurtry and Diana Ossana) and Golden Globe awards for best drama, director (Ang Lee) and screenplay, depicts a secret and tragic love affair between two closeted gay ranch hands. They furtively pursue a 20-year relationship despite marriages and parenthood until one of them dies violently, reportedly by accident, but possibly, as the surviving lover fears, in a brutal attack. Annie Proulx, the Pulitzer Prize-winning author of the short story upon which the film was based, described it as "a story of destructive rural homophobia." Haunting in its unsentimental depiction of longing, lonesomeness, pretense, sexual repression and ultimately love, "Brokeback Mountain" features Heath Ledger's remarkable performance that conveys a lifetime of self-torment through a pained demeanor, near inarticulate speech and constricted, lugubrious movements. In his review, Newsweek's David Ansen wrotes that the film was "a watershed in mainstream movies, the first gay love story with A-list Hollywood stars." "Brokeback Mountain" has become an enduring classic. Broken Blossoms (1919) Most associated with epics such as "Intolerance" and "The Birth of a Nation," D.W. Griffith also helmed smaller films that struck a chord with silent era audiences. "Broken Blossoms," Griffith's first title for his newly formed United Artists, is one example. Set in the slums of London, it concerns an abused 15-year-old girl, Lucy, portrayed by Lillian Gish and the former missionary turned shopkeeper Cheng Huan (Richard Barthelmess) who rescues her from her brutal father. More than a tender but chaste love story, "Broken Blossoms" entreats audiences to denounce racism and poverty. Expanded essay by Ed Gonzalez (PDF, 495KB) Lobby card Additional image A Bronx Morning (1931) Part documentary and part avant-garde, this renowned city symphony was filmed by Jay Leyda when he was 21. It features sensational and stylish use of European filmmaking styles The images movingly show the resilience of people persevering with style and enthusiasm during the early years of the depression. "A Bronx Morning" won Leyda a scholarship to study with the renowned Soviet filmmaker Sergei Eisenstein. Added to the National Film Registry in 2004. Expanded essay by Scott Simmon for the National Film Preservation Foundation (NFPF) (PDF, 284KB) Watch it here Buena Vista Social Club (1999) "The best Wim Wenders documentary to date and an uncommonly self-effacing one, this 1999 concert movie about performance and lifestyle is comparable in some ways to "Latcho Drom," the great Gypsy documentary/musical. In 1996, musician Ry Cooder traveled to Havana to reunite some of the greatest stars of Cuban pop music from the Batista era (who were virtually forgotten after Castro came to power) with the aim of making a record, a highly successful venture that led to concerts in Amsterdam and New York. The players and their stories are as wonderful as the music, and the filmmaking is uncommonly sensitive and alert," wrote film critic Jonathan Rosenbaum. The Buffalo Creek Flood: An Act of Man (1975) This powerful documentary by the Kentucky-based arts and education center Appalshop represents the finest in regional filmmaking, providing important understanding of the environmental and cultural history of the Appalachian region. The 1972 Buffalo Creek Flood Disaster, caused by the failure of a coal waste dam, killed more than 100 people and left thousands in West Virginia homeless. Local citizens invited Appalshop to come to the area and to film a historical record, fearing that the Pittston Coal Co.'s powerful influence in the state would lead to a whitewash investigation and absolve it of any corporate culpability. Newsweek hailed the film as "a devastating expose of the collusion between state officials and coal executives." Expanded essay by the film's director Mimi Pickering (PDF, 793KB) Bullitt (1968) The winding streets and stunning vistas of San Francisco, backed by a superb Lalo Schifrin score, play a central role in British director Peter Yates' film renowned for its exhilarating 11-minute car chase, arguably the finest in cinema history. In one of his most famous roles, Steve McQueen stars as tough-guy police detective Frank Bullitt. The story, based on Robert L. Pike's cr
6420	dbpedia	1	35	https://www.brotherhoodbooks.org.au/robbery-under-arms-9780727015709	en	Robbery Under Arms	https://www.brotherhoodb…IMG_0011_628.jpg	https://www.brotherhoodb…IMG_0011_628.jpg	[ "https://www.brotherhoodbooks.org.au/media/logo/stores/1/Logo_black2.png", "https://www.brotherhoodbooks.org.au/media/catalog/product/cache/9903d275d05bbeaff4132993adf9325a/I/M/IMG_0011_628.jpg", "https://www.brotherhoodbooks.org.au/static/version1718227604/frontend/Smartwave/porto_child/en_AU/images/loader-1.gif", "https://www.brotherhoodbooks.org.au/media/catalog/product/cache/e5cdeaf7d571985a55238a9821769eb5/I/M/IMG_0054_159.jpg", "https://www.brotherhoodbooks.org.au/media/catalog/product/cache/e5cdeaf7d571985a55238a9821769eb5/9/7/9781741108446-bmsimage.jpg", "https://www.brotherhoodbooks.org.au/media/catalog/product/cache/e5cdeaf7d571985a55238a9821769eb5/9/7/9781845077945-bmsimage.jpg", "https://www.brotherhoodbooks.org.au/media/catalog/product/cache/e5cdeaf7d571985a55238a9821769eb5/f/d/fd08b44f7e2a6cbdad466f918375f0e2.jpg", "https://www.brotherhoodbooks.org.au/media/catalog/product/cache/e5cdeaf7d571985a55238a9821769eb5/6/3/63f174103162ccf9a6d8143c6c2a3929.jpg", "https://www.brotherhoodbooks.org.au/media/catalog/product/cache/e5cdeaf7d571985a55238a9821769eb5/I/M/IMG_0007_632.jpg", "https://www.brotherhoodbooks.org.au/media/catalog/product/cache/e5cdeaf7d571985a55238a9821769eb5/d/e/defff19fff2fac2e80285368e1fb92b1.jpg", "https://www.brotherhoodbooks.org.au/media/catalog/product/cache/e5cdeaf7d571985a55238a9821769eb5/9/7/9780618705290-bmsimage.jpg", "https://www.brotherhoodbooks.org.au/media/catalog/product/cache/e5cdeaf7d571985a55238a9821769eb5/3/1/31b974803394828cd8eec332dd32e86e.jpg", "https://www.brotherhoodbooks.org.au/media/catalog/product/cache/e5cdeaf7d571985a55238a9821769eb5/9/7/9781844080274-bmsimage.jpg", "https://www.brotherhoodbooks.org.au/media/wysiwyg/logo2.png", "https://www.brotherhoodbooks.org.au/media/wysiwyg/fb_1.png", "https://www.brotherhoodbooks.org.au/media/wysiwyg/insta_1.png", "https://www.brotherhoodbooks.org.au/media/wysiwyg/payment.png" ]	[]	[]	[ "second-hand books", "used books", "rare books", "antique books", "bargain books" ]	null	[]	null	Robbery Under Arms is a bushranger novel by Thomas Alexander Browne, published under his pen name Rolf Boldrewood. It was first published in serialised form by The Sydney Mail between July 1882 and August 1883, then in three volumes in London in	en	https://www.brotherhoodb…/1/favicon_1.png		https://www.brotherhoodbooks.org.au/robbery-under-arms-9780727015709	Robbery Under Arms is a bushranger novel by Thomas Alexander Browne, published under his pen name Rolf Boldrewood. It was first published in serialised form by The Sydney Mail between July 1882 and August 1883, then in three volumes in London in 1888. It was abridged into a single volume in 1889 as part of Macmillan’s one-volume Colonial Library series and has not been out of print since. It is considered a classic of Australian colonial literature, alongside Marcus Clarke's convict novel For the Term of his Natural Life (1876) and Fergus Hume’s mystery crime novel The Mystery of a Hansom Cab (1886), and has inspired numerous adaptations in film, television, and theatre. Writing in the first person, the narrator Dick Marston tells the story of his life and loves and his association with the notorious bushranger Captain Starlight, a renegade from a noble English family. Set in the bush and goldfields of Australia in the 1850s, Starlight's gang, with Dick and his brother Jim's help, sets out on a series of escapades that include cattle theft and robbery under arms.
6420	dbpedia	0	5	https://letterboxd.com/film/robbery-under-arms-1957/	en	Robbery Under Arms (1957)	https://a.ltrbxd.com/res…jpg?v=6113d72fc8	https://a.ltrbxd.com/res…jpg?v=6113d72fc8	[ "https://s.ltrbxd.com/static/img/empty-poster-1000.231946d0.png", "https://s.ltrbxd.com/static/img/empty-poster-230.6b1dabe6.png", "https://s.ltrbxd.com/static/img/flags/GBR.015a4362.svg", "https://s.ltrbxd.com/static/img/flags/USA.165ff2bd.svg", "https://s.ltrbxd.com/static/img/flags/GBR.015a4362.svg", "https://s.ltrbxd.com/static/img/flags/USA.165ff2bd.svg", "https://a.ltrbxd.com/resized/avatar/upload/6/9/3/8/1/2/5/shard/avtr-0-80-0-80-crop.jpg?v=af49c9df4e", "https://a.ltrbxd.com/resized/avatar/upload/3/0/3/6/2/9/shard/avtr-0-80-0-80-crop.jpg?v=6d77f34b51", "https://secure.gravatar.com/avatar/8503a3f4635c038221b6b6b9ca1a70e2?rating=PG&size=80&border=&default=https%3A%2F%2Fs.ltrbxd.com%2Fstatic%2Fimg%2Favatar80.ccc31669.png", "https://secure.gravatar.com/avatar/cc6366e29fd42d8bb63601d5f9e4f697?rating=PG&size=80&border=&default=https%3A%2F%2Fs.ltrbxd.com%2Fstatic%2Fimg%2Favatar80.ccc31669.png", "https://secure.gravatar.com/avatar/c92c976fde5b8d0c47341447f2067378?rating=PG&size=80&border=&default=https%3A%2F%2Fs.ltrbxd.com%2Fstatic%2Fimg%2Favatar80.ccc31669.png", "https://a.ltrbxd.com/resized/avatar/upload/6/2/5/3/0/3/shard/avtr-0-80-0-80-crop.jpg?v=d6ab883d0c" ]	[]	[]	[ "" ]	null	[]	null	During the mid 1860s, brothers Dick and Jim Marston are drawn into a life of crime by their ex-convict father Ben and his friend, infamous cattlethief Captain Starlight. Making their way to Melbourne with the proceeds of a recent raid, the brothers meet and romance the Morrison sisters, Kate and Jean, whom they eventually marry; but just as they are poised to start a new life in America, Captain Starlight and his gang arrive in town, planning a raid at the local bank.	en	https://s.ltrbxd.com/sta…6px.a8f34e0d.svg		https://letterboxd.com/film/robbery-under-arms-1957/	A minor Australian-set* western. Peter Finch is wonderful as a gentleman outlaw, charming and charismatic in a black shirt and riding a white horse. Unfortunately, he’s not the protagonist. That would be Ronald Lewis and David McCallum who, after failing as jewel thieves in the little seen gem The Secret Place, try their hand at being bushranger brothers. Their uninteresting characters are mainly defined by their choice of romantic partner (fallen brunette Maureen Swanson and respectable Jill Ireland), and one being slightly less ok with a life of crime. The movie does touch on how hiding out in between jobs can feel just as restrictive as prison, though that’s barely explored. There’s a well-staged stagecoach holdup and bank robbery, and some… Cowboys; shootouts; cattle rustling; saloons; stagecoaches. Such familiar elements, but this is 1865 Australia not Arizona. So if Robbery Under Arms is not a Western, is it a Southern? In any case, it's a British Rank picture, shot on location in Southern Australia and New South Wales with interiors at Pinewood. It is the setting that distinguishes the film, the searing heat amid the wide dusty vistas of Oz being almost palpable. Alas it is the sole distinguishing feature since the script is standard and the treatment adequate. Peter Finch is in effect a supporting character - Captain Starlight, a rustling rogue with a band of ne'er-do-wells at the time of an Australian gold rush. The story centres around two… MannVanuary II 20. Aussie Western The Marston brothers, Dick and Jim, have been through the sheep-shearing season, and with their pockets stuffed with cash, are off for a bit of rest and relaxation, but instead a couple of interactions are going to take their lives in a different direction. First of all, their ex-convict father introduces them to a fellow who goes by the name (among others) of Captain Starlight, and the lucrative, but obviously dangerous world, of cattle-rustling. And secondly, they meet a couple of girls. Which one of these causes them the most trouble is hard to say. The story is somewhat episodic, never really getting into a flow, focussing on the Marstons who, just when you think… Two brothers join their father in Captain Starlight’s (Peter Finch) bushranger gang in 19th century Australia in this action drama directed by Jack Lee, also starring Ronald Lewis and Maureen Swanson. Based on the novel of the same name by Rolf Boldrewood, which was published in 1988, the film is set in 1865 Australia, where two brothers are drawn into a life of crime. When they arrive in Melbourne, the two find romance with two sisters. Peter Finch gives an OK performance in his role as Captain Starlight, acting like he is in charge, while Ronald Lewis and David McCallum are OK in their respective roles as Dick Marston and Jim Marston, the two Marston brothers who commit awful acts.…
6420	dbpedia	1	62	https://www.collinsbooks.com.au/p/robbery-under-arms	en	Robbery Under Arms	https://storage.googleap…n.jpg?1551145416	https://storage.googleap…n.jpg?1551145416	[ "https://storage.googleapis.com/circlesoft/document/photos/002/929/747/large_head-officeartboard_33_copy_21.png?1699998675", "https://cdnmaster4.circlesoft.net/assets/cart-e73aa3b846d5a318be60473ecf11011a11fc9ac910c4ee930c471f3ad865f10e.png", "https://storage.googleapis.com/circlesoft/document/photos/002/929/746/original_head-officeartboard_33_copy_20.png?1699998667", "https://cdnmaster4.circlesoft.net/assets/spinner-lg-50db1f192d4343916a920054bb6922e5b26a413f1cb422daacf72cddb56fdcf5.gif" ]	[]	[]	[ "" ]	null	[ "Rolf Boldrewood" ]	null	Buy Robbery Under Arms by Rolf Boldrewood from your local bookstore. Robbery Under Arms (1888) is a novel by Rolf Boldrewood, the pseudonym of Aust...	en	https://storage.googleap…n.jpg?1551145416	Collins Booksellers	https://www.collinsbooks.com.au/p/robbery-under-arms	Author(s): Rolf Boldrewood Classics Robbery Under Arms (1888) is a novel by Rolf Boldrewood, the pseudonym of Australian novelist Thomas Browne. A squatter for nearly twenty-five years, he came to know the ways of life on the outskirts of civilization, which allowed him to lead a peaceful, uncomplicated, and inexpensive existence. Originally serialized in Australian weekly magazines, Browne’s work as Rolf Bolfrewood is an incomparable record of colonial Australia, where outlaws and speculators lived side by side on land stolen from the continent’s Aboriginal peoples. Robbery Under Arms has been adapted several times for film and theater. “My name's Dick Marston, Sydney-side native. I'm twenty-nine years old, six feet in my stocking soles, and thirteen stone weight. Pretty strong and active with it, so they say. I don't want to blow—not here, any road—but it takes a good man to put me on my back, or stand up to me with the gloves, or the naked mauleys.” Imprisoned for his crimes, Dick Marston prepares to be executed. With one month to live, he sits down to write the story of his life as an Australian bushranger. Alongside Captain Starlight, an English nobleman turned outlaw, he participated in a string of cattle thefts and armed robberies that would bring him enough gold and infamy to last a lifetime. Action-packed and fast-paced, Robbery Under Arms is a brilliant adventure novel from one of nineteenth century Australia’s most popular writers of fiction. With a beautifully designed cover and professionally typeset manuscript, this edition of Rolf Boldrewood’s Robbery Under Arms is a classic work of Australian literature reimagined for modern readers.
6420	dbpedia	1	74	https://thetvdb.com/series/robbery-under-arms	en	Robbery Under Arms	https://thetvdb.com/images/icon.png	https://thetvdb.com/images/icon.png	[ "https://thetvdb.com/images/logo.svg", "https://thetvdb.com/images/missing/movie.jpg", "https://artworks.thetvdb.com/banners/fanart/original/290729-1.jpg", "https://thetvdb.com/images/logo_footer.svg" ]	[]	[]	[ "" ]	null	[]	null		en	/images/icon.png		null	A new season may be added only after the completion of the previous season, and after the new season has been announced. Once you create a new season you'll have 4 hours to add the first episode, or the season may be automatically removed.
6420	dbpedia	0	18	https://erielibrary.overdrive.com/media/8753419	en	Robbery Under Arms	https://thunder.cdn.over…ushed/1259.png?1	https://thunder.cdn.over…ushed/1259.png?1	[ "https://thunder.cdn.overdrive.com/logos/crushed/1259.png?1", "https://thunder.cdn.overdrive.com/logos/crushed/1259.png?1", "https://img3.od-cdn.com/ImageType-100/6852-1/{0C96D543-C3BC-4742-92C2-CFA2DF29F14A}IMG100.JPG", "https://lightning.od-cdn.com/static/img/more.adbfa74d06226b5aa45bbeae240ad19f.png", "https://lightning.od-cdn.com/static/img/more.adbfa74d06226b5aa45bbeae240ad19f.png" ]	[]	[]	[ "" ]	null	[]	null	Browse, borrow, and enjoy titles from the Erie County Public Library digital collection.	en	https://lightning.od-cdn.com/static/img/favicon.bb86d660d3929b5c0c65389d6a8e8aba.ico	Erie County Public Library	https://erielibrary.overdrive.com/media/8753419	Robbery Under Arms (1888) is a novel by Rolf Boldrewood, the pseudonym of Australian novelist Thomas Browne. A squatter for nearly twenty-five years, he came to know the ways of life on the outskirts of civilization, which allowed him to lead a peaceful, uncomplicated, and inexpensive existence. Originally serialized in Australian weekly magazines, Browne's work as Rolf Bolfrewood is an incomparable record of colonial Australia, where outlaws and speculators lived side by side on land stolen from the continent's Aboriginal peoples. Robbery Under Arms has been adapted several times for film and theater. "My name's Dick Marston, Sydney-side native. I'm twenty-nine years old, six feet in my stocking soles, and thirteen stone weight. Pretty strong and active with it, so they say. I don't want to blow—not here, any road—but it takes a good man to put me on my back, or stand up to me with the gloves, or the naked mauleys." Imprisoned for his crimes, Dick Marston prepares to be executed. With one month to live, he sits down to write the story of his life as an Australian bushranger. Alongside Captain Starlight, an English nobleman turned outlaw, he participated in a string of cattle thefts and armed robberies that would bring him enough gold and infamy to last a lifetime. Action-packed and fast-paced, Robbery Under Arms is a brilliant adventure novel from one of nineteenth century Australia's most popular writers of fiction. This edition of Rolf Boldrewood's Robbery Under Arms is a classic work of Australian literature reimagined for modern readers. Since our inception in 2020, Mint Editions has kept sustainability and innovation at the forefront of our mission. Each and every Mint Edition title gets a fresh, professionally typeset manuscript and a dazzling new cover, all while maintaining the integrity of the original book. With thousands of titles in our collection, we aim to spotlight diverse public domain works to help them find modern audiences. Mint Editions celebrates a breadth of literary works, curated from both canonical and overlooked classics from writers around the globe.
6420	dbpedia	1	54	https://www.tvguide.com/movies/robbery-under-arms/cast/2030280671/	en	Robbery Under Arms - Full Cast & Crew	https://www.tvguide.com/…1-1514784077.jpg	https://www.tvguide.com/…1-1514784077.jpg	[]	[]	[]	[ "" ]	null	[]	null	Learn more about the full cast of Robbery Under Arms with news, photos, videos and more at TV Guide	en	/favicon.ico	TVGuide.com	https://www.tvguide.com/movies/robbery-under-arms/cast/2030280671/
6420	dbpedia	2	56	https://www.aliceinvideoland.co.nz/movie/22077	en	Robbery Under Arms: The Mini Series			[ "https://images.aliceinvideoland.co.nz/Images/Movie/Large/Robbery under Arms.jpg", "https://www.aliceinvideoland.co.nz/images/imdb-badge.png", "https://www.aliceinvideoland.co.nz/images/imdb-star.png", "https://images.aliceinvideoland.co.nz/Images/Movie/Large/butchcassidydb.jpg", "https://images.aliceinvideoland.co.nz/Images/Movie/Large/2924.jpg", "https://images.aliceinvideoland.co.nz/Images/Movie/Large/148512.jpg", "https://images.aliceinvideoland.co.nz/Images/Movie/Large/ACF1893.jpg", "https://images.aliceinvideoland.co.nz/Images/Movie/Large/3199.jpg", "https://images.aliceinvideoland.co.nz/Images/Movie/Large/ned_kelly.jpg", "https://images.aliceinvideoland.co.nz/Images/Movie/Large/u03331clyfl.jpg", "https://images.aliceinvideoland.co.nz/Images/Movie/Large/robbery.jpg", "https://images.aliceinvideoland.co.nz/Images/Movie/Large/butchcassidy.jpg", "https://images.aliceinvideoland.co.nz/Images/Movie/Large/lucky_country.jpg", "https://images.aliceinvideoland.co.nz/Images/Movie/Large/picture6.jpg", "https://images.aliceinvideoland.co.nz/Images/Movie/Large/220px-The_Legend_of_Ben_Hall_Poster_Ross_Morgan_Oct_2016.jpg" ]	[]	[]	[ "" ]	null	[]	null			https://www.aliceinvideo…ages/favicon.png		null	An adaptation of Rolf Bolderwood's 19th century outback adventure novel, Sam Neill stars as Captain Starlight, a gentleman rogue who pulls off one of the biggest cattle-rustling coups in Australian history. The gang share out their ill-gotten gains and go their separate ways, but fate will bring them back together for one final shoot-out. An expanded TV version of the original feature film, this is the complete three-part miniseries of the rollicking adventure classic, loosely based on the legend of outback outlaw, Captain Moonlight. Also stars Ed Devereaux, Andy Anderson and Christopher Cummins, with romance provided by Liz Newman.
6420	dbpedia	1	0	https://en.wikipedia.org/wiki/Robbery_Under_Arms_(1957_film)	en	Robbery Under Arms (1957 film)	https://upload.wikimedia…1957_film%29.jpg	https://upload.wikimedia…1957_film%29.jpg	[ "https://en.wikipedia.org/static/images/icons/wikipedia.png", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-tagline-en.svg", "https://upload.wikimedia.org/wikipedia/en/thumb/2/2a/Robbery_Under_Arms_%281957_film%29.jpg/220px-Robbery_Under_Arms_%281957_film%29.jpg", "https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1", "https://en.wikipedia.org/static/images/footer/wikimedia-button.svg", "https://en.wikipedia.org/static/images/footer/poweredby_mediawiki.svg" ]	[]	[]	[ "" ]	null	[ "Contributors to Wikimedia projects" ]	2010-06-10T16:55:31+00:00		en	/static/apple-touch/wikipedia.png		https://en.wikipedia.org/wiki/Robbery_Under_Arms_(1957_film)	1957 British film by Jack Lee Robbery Under ArmsDirected byJack LeeWritten byAlexander Baron W. P. LipscombBased onnovel by Rolf BoldrewoodProduced byJoseph JanniStarringPeter Finch Ronald LewisCinematographyHarry WaxmanEdited byManuel del CampoMusic byMátyás Seiber Production company The Rank Organisation Distributed byRank Film Distributors of America Release date Running time 83 minutes (USA) 99 minutes (UK)CountryUnited KingdomLanguageEnglish Robbery Under Arms is a 1957 British crime film directed by Jack Lee and starring Peter Finch and Ronald Lewis.[1] It is based on the 1888 Australian novel Robbery Under Arms by Thomas Alexander Browne who wrote under the pseudonym Rolf Boldrewood.[2] Plot [edit] In 1865 Australia, the two Marston brothers, bold Dick and sensitive Jim, are drawn into a life of crime by their ex-convict father Ben and his friend, the famous cattle thief Captain Starlight. They help take some cattle their father and Starlight have stolen across the country to Adelaide, where they are sold, with Starlight impersonating an English gentleman claiming to own the rustled herd. The two brothers take their share of the money and go to Melbourne. On board ship, they meet the Morrison sisters: greedy Kate and nice Jean, who are romanced by Dick and Jim respectively. They read that Starlight has been arrested, and return home, where they and their father narrowly escape arrest. The brothers are then reunited with Starlight, who has left prison, and join him and some other men in robbing a coach, in which a trooper is shot and killed. Dick and Jim go to the gold fields to make enough money to escape to America. There, they are reunited with Kate, who is married but is still interested in Dick, and Jean, who Jim marries. Just as the brothers are about to leave to start a new life, Captain Starlight and his gang (including Ben Marston) arrive to rob the local bank. During the robbery, several people are killed by Starlight's gang (although not by Starlight), including a mother protecting child. Jim Marston is captured by locals and is about to be lynched, but is rescued by a trooper who comes to arrest him. Dick rescues Jim from the trooper, but is killed in the attempt. Jim hides out with Starlight and his father, but misses his wife too much and goes back to see her. Starlight and Ben Marston are killed in a shoot out with police. Jim Marston is arrested. Cast [edit] Peter Finch – Captain Starlight Ronald Lewis – Dick Marston Laurence Naismith – Ben Marston Maureen Swanson – Kate Morrison Mullockson David McCallum – Jim Marston Vincent Ball – George Storefield Jill Ireland – Jean Morrison Dudy Nimmo – Eileen Marston Jean Anderson – Ma Marston Ursula Finlay – Grace Storefield John Cadell – Warrigal, black rustler[3] Larry Taylor – Burke, new rustler Russell Napier – Banker Green Max Wagner – Sergeant Goring Bartlett Mullins – Paddy Ewen Solon – Sergeant Arthur Production [edit] Development [edit] Ealing Studios had planned to make the film after The Overlanders (1946) and Eureka Stockade (1949), and they hired William Lipscomb to do the script.[4] Gregory Peck at one stage was announced as a possible star.[5] In June 1949 Ealing announced Ralph Smart would direct the film after Bitter Springs at an estimated budget of £250,000 with John McCallum as a possible star.[6] Ken G. Hall wanted to direct. However plans to make the film were hampered by the closing of Pagewood Studios.[7] Leslie Norman was keen to produce.[8] Then in the mid-1950s director Jack Lee and Joe Janni had a big hit with the Australian-themed A Town Like Alice (1956), starring Peter Finch and written by Lipscomb. Rank put Lee and Janni under contract for two years and had Finch under contract. The three were reunited for the movie.[9] Peter Finch had made The Shiralee (1957) in Australia immediately before. Jack Lee later said: I made a mistake choosing Robbery Under Arms, a complicated Victorian novel with masses of plots and subplots and too much moralising. However I went ahead and chose the part for Peter Finch, who complained that he was overshadowed by everyone else, and in a way he was right. Janni and I weren't happy with the script and would have liked to put it off for another year. But we were under pressure from Rank and we had to go ahead with an inadequate script. There are one or two nice scenes in it but it's too slow and talky.[9] Vincent Ball said Finch suggested to Lee that Ball and Finch play the Marsden boys but John Davis "insisted that contract artistes be used for the leads". Ball agreed to play a smaller role if he could go to Australia. He was away "ten or eleven weeks" on salary to say one line in Australia filming the rest of his scenes at Pinewood.[10] Shooting [edit] Shooting began in January 1957[11] on location in Australia at the Flinders Ranges, South Australia and near Bourke, New South Wales, with two days filming at Pagewood Studios. In April the unit moved to the UK where interiors and exteriors were shot at Pinewood studios in Buckinghamshire.[12][13] During the making of the film, on-screen couple David McCallum and Jill Ireland fell in love off screen as well, and married once they returned to England.[14] Reception [edit] The film was popular at the Australian box office, although reviews were poor.[13] Variety called it: A well-made, straightforward drama which should click okay in British houses. As is so often the case, its American impact will depend entirely on whether its stars are sufficient magnets to attract patrons outside the British domain. The picture is part of the Rank Organization’s current policy of spotlighting the Commonwealth. Its main problem is whether it does not follow a bit too soon after “The Shiralee,” which also starred Peter Finch and the wide, open Aussie spaces... The acting is less important than the situations. With fist- fights, gunfight and a near-lynching, there is plenty of* meat for good, solid thrills.[15] Filmink magazine said "there's no real theme or story uniting it all... There's no interesting mystery or enigma to Starlight... All the cool things he does in the book... are cut out except for the bit where he impersonates a gent from England. There's no real relationship between Starlight and the boys... A real dull mess."[16] See also [edit] Cinema of Australia References [edit]
6420	dbpedia	1	15	https://jonman492000.wordpress.com/2014/10/03/robbery-under-arms-1985/	en	ROBBERY UNDER ARMS (1985).	https://jonman492000.wor…4/10/cat212a.jpg	https://jonman492000.wor…4/10/cat212a.jpg	[ "https://jonman492000.wordpress.com/wp-content/uploads/2014/10/cat212a.jpg?w=474", "https://jonman492000.wordpress.com/wp-content/uploads/2014/10/cat212b.jpg?w=474", "https://1.gravatar.com/avatar/482dd50c2b3add149b8844a886bfc19c20d98784d62042adc77f9eae26e0970f?s=48&d=monsterid&r=G", "https://0.gravatar.com/avatar/c06e428326d7522a3cebf10dc4e241ffda6faecded508772297e952f86c96c73?s=48&d=monsterid&r=G", "https://0.gravatar.com/avatar/f1dd05372398f2fc185470a494ebd54fef112291d60263f936e90075f0c62dce?s=48&d=monsterid&r=G", "https://2.gravatar.com/avatar/e6c251b39006eb1611920d0b911e1fe7d70db1b63cb66959eced5f5ab5a621db?s=48&d=monsterid&r=G", "https://1.gravatar.com/avatar/482dd50c2b3add149b8844a886bfc19c20d98784d62042adc77f9eae26e0970f?s=48&d=monsterid&r=G", "https://0.gravatar.com/avatar/3fbd494d8c9a82ccbd27832327b0e4bfe7627e98455f40bdcfa7b48ba0a0b999?s=48&d=monsterid&r=G", "https://0.gravatar.com/avatar/cfa8457b9b9aa934313d098f70e729a6fe4f980fed8ae358697fdd3aa977613e?s=48&d=monsterid&r=G", "https://1.gravatar.com/avatar/16e0846c6c60e46af1e2a01ebdaa57970fd942b76c40826f1fb105a00af8f716?s=48&d=monsterid&r=G", "https://1.gravatar.com/avatar/19be9ebcd4e9b4c2fabb315fa689b8fc7aafa31df2bfe2f0e259657bca67890a?s=48&d=monsterid&r=G", "https://1.gravatar.com/avatar/a7df0289fce281fb464c2f08f7e65cca820dde6feb54d14a8da175de295c17d6?s=48&d=monsterid&r=G", "https://0.gravatar.com/avatar/c06e428326d7522a3cebf10dc4e241ffda6faecded508772297e952f86c96c73?s=48&d=monsterid&r=G", "https://1.gravatar.com/avatar/4878f5ec9be80ae1090a70fa6909ecc3fd0c0881f61912efab7e650ccf51a75f?s=48&d=monsterid&r=G", "https://1.gravatar.com/avatar/1aa0eb07d4c160b037a8435d998da990dd1b6f5cab3062bdb04ed15a6758df50?s=48&d=monsterid&r=G", "https://0.gravatar.com/avatar/f1dd05372398f2fc185470a494ebd54fef112291d60263f936e90075f0c62dce?s=48&d=monsterid&r=G", "https://1.gravatar.com/avatar/734ff64d5c181e6ad1a52c1da9f4690f53ad8b568b2d2a7625f2478ee8a75d11?s=48&d=monsterid&r=G", "https://jonman492000.wordpress.com/wp-content/uploads/2016/01/cropped-images-44.jpg?w=50", "https://jonman492000.wordpress.com/wp-content/uploads/2016/01/cropped-images-44.jpg?w=50", "https://pixel.wp.com/b.gif?v=noscript" ]	[]	[]	[ "" ]	null	[]	2014-10-03T00:00:00	Released in 1985, this Australian production was something of a groundbreaking movie as it was filmed simultaneously as a motion picture and also as a TV mini series. Sam Neil took the lead role as the debonair and daring Captain Starlight who led his band of wild colonial boys on a series of adventures and…	en	https://jonman492000.wor…ages-44.jpg?w=32	MOVIE MUSIC INTERNATIONAL. (MMI) .	https://jonman492000.wordpress.com/2014/10/03/robbery-under-arms-1985/	Released in 1985, this Australian production was something of a groundbreaking movie as it was filmed simultaneously as a motion picture and also as a TV mini series. Sam Neil took the lead role as the debonair and daring Captain Starlight who led his band of wild colonial boys on a series of adventures and robberies. Based on the now familiar and famous story by author Rolf Boldrewood, ROBBERY UNDER ARMS contained an energetic and vibrant musical score by composing duo Gary McDonald and Laurie Stone who formed a musical collaboration in 1980,both came from diverse backgrounds within the world of music and began to become actively involved in the composition of music for film and television in 1982. The brief that they were given by the producers of ROBBERY UNDER ARMS was to create a score that was exciting and thrilling and maybe try to achieve a sound that was a fusion between BUTCH CASSIDY AND THE SUNDANCE KID and RAIDERS OF THE LOST ARK. Which is basically what the composers did, it is a score that has numerous sounds and styles to it and does on many occasions touch upon the dramatic, the adventurous and the heroic. Written for a 90 piece orchestra, the score is a pulsating and theme laden work that has within its make up a great sense of the romantic and melodic. The haunting themes being delicate, lush and lingering. Released on Onemone Records in 1991, this is a soundtrack that would be welcome as part of any soundtrack collection, in many ways the music can be likened also to the composing style of fellow Australian film music composer Bruce Rowland and at certain points within its duration does evoke scores such as PHAR LAP and THE MAN FROM SNOWY RIVER and also I have to say did remind me somewhat of the style employed by composer Roy Budd in films such as SOLDIER BLUE and CATLOW. The compact disc opens with THE MAIN TITLE which is a rousing and robust theme for the films central character Captain Starlight, that also includes elements of the scores more plaintive and romantic sounding thematic material, the brief but affecting opening theme successfully sets the scene for much of what is to follow, with strings and brass being given the lions share of the work to do ably supported by timpani and the occasional punctuation from woodwind. Track number two, STARLIGHT AND AILEEN is a tender and subdued theme which opens with subdued woodwind that has a characteristically English atmosphere to it, strings and horns are added to the mix and the string section take on the main thematic material and expand upon it giving it a more pronounced romantic feel and sound. Track number three, THE RIDE HOME is as the title suggests a more upbeat and more energetic sounding piece with the central theme for Starlight making a return but being given a more vigorous working by both brass and strings with percussion adding depth and support to the proceedings. Track number four, A TOUCH OF HANDS is certainly the love theme from the score with woodwind etching out a plaintive and somewhat intimate arrangement of the theme for one of the movies main characters Aileen, add to this strings that are mildly lush and it is a beautifully written and performed piece. The remainder of the score is much the same and is a combination of high drama, bold sounding adventure themes and subtle nuances that purvey romantic interludes and humorous occurrences. This is certainly a score that you should own and yes it has been deleted for a while now, but can at times be found on any one of the well known online shopping sites. Highly recommended.
6420	dbpedia	2	17	https://archive.org/details/Robbery_Under_Arms	en	Robbery Under Arms : Kenneth Brampton : Free Download, Borrow, and Streaming : Internet Archive	https://archive.org/down…_Arms_000060.jpg	https://archive.org/down…_Arms_000060.jpg	[ "https://archive.org/services/img/etree", "https://archive.org/services/img/librivoxaudio", "https://archive.org/services/img/metropolitanmuseumofart-gallery", "https://archive.org/services/img/clevelandart", "https://archive.org/services/img/internetarcade", "https://archive.org/services/img/consolelivingroom", "https://archive.org/images/book-lend.png", "https://archive.org/images/widgetOL.png", "https://archive.org/services/img/tv", "https://archive.org/services/img/911", "https://archive.org/images/cc/cc.png", "https://archive.org/images/cc/by.png", "https://archive.org/images/cc/nc.png", "https://archive.org/images/cc/nd.png", "https://archive.org/services/img/TheVideoCellarCollection", "https://archive.org/services/img/feature_films", "https://archive.org/services/img/moviesandfilms", "https://archive.org/services/img/silent_films", "https://athena.archive.org/0.gif?kind=track_js&track_js_case=control&cache_bust=1806104360", "https://athena.archive.org/0.gif?kind=track_js&track_js_case=disabled&cache_bust=1221453964" ]	[]	[]	[ "" ]	null	[]	null	This 1920 silent film was made by Kenneth Brampton, who wrote, produced, directed and starred in it. The story concerns a real life bushranger (outlaw) named...	en	https://archive.org/images/glogo.jpg	Internet Archive	https://archive.org/details/Robbery_Under_Arms	Search the history of over 866 billion web pages on the Internet. Search the Wayback Machine Search icon An illustration of a magnifying glass. Save Page Now Capture a web page as it appears now for use as a trusted citation in the future. Please enter a valid web address
6420	dbpedia	0	22	https://trove.nla.gov.au/work/6083559%3Fl-format%3DAudio%2520book%26l-decade%3D198%26l-availability%3Dy%252Ff%26l-year%3D1884%26l-geocoverage%3DInternational%252FOther%26l-language%3DEnglish	en	Trove	https://assets.nla.gov.a…e/favicon-16.png	https://assets.nla.gov.a…e/favicon-16.png	[ "https://assets.nla.gov.au/logos/trove/trove-colour.svg", "https://assets.nla.gov.au/favicons/trove/favicon-64.png" ]	[]	[]	[ "" ]	null	[]	null	Australiaâs free online research portal. Trove is a collaboration between the National Library of Australia and hundreds of Partner organisations around Australia.	en	https://assets.nla.gov.a…e/favicon-16.png		null
6420	dbpedia	0	34	https://www.timeout.com/film/the-60-best-heist-movies-ever-made	en	60 Best Heist Movies Of All time	https://media.timeout.co…740636/image.jpg	https://media.timeout.co…740636/image.jpg	[ "https://media.timeout.com/images/105740636/750/562/image.jpg", "https://media.timeout.com/images/105942110/170/170/image.jpg", "https://media.timeout.com/images/105929904/750/422/image.jpg", "https://media.timeout.com/images/105929904/750/562/image.jpg", "https://media.timeout.com/images/100013251/750/422/image.jpg", "https://media.timeout.com/images/100013251/750/562/image.jpg", "https://media.timeout.com/images/105930153/750/422/image.jpg", "https://media.timeout.com/images/105930153/750/562/image.jpg", "https://media.timeout.com/images/105929908/750/422/image.jpg", "https://media.timeout.com/images/105929908/750/562/image.jpg", "https://media.timeout.com/images/105930150/750/422/image.jpg", "https://media.timeout.com/images/105930150/750/562/image.jpg", 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"https://media.timeout.com/images/105934843/750/562/image.jpg", "https://media.timeout.com/images/105929924/750/422/image.jpg", "https://media.timeout.com/images/105929924/750/562/image.jpg" ]	[]	[]	[ "" ]	null	[ "Matthew Singer", "Phil de Semlyen" ]	2023-09-07T23:00:00+00:00	From ‘Heat’ and ‘Out of Sight’ to ‘The Killing’ and ‘Rififi’: cinema's most nerve-fraying hold-up movies	en	/static/images/favicon.ico	Time Out Worldwide	https://www.timeout.com/film/the-60-best-heist-movies-ever-made	At the intersection of crime drama, action flick and psychological thriller lies the heist movie. In truth, though, the subgenre predates the many umbrellas it exists under: movies had barely been invented when Edwin S Porter dropped The Great Train Robbery, depicting a group of bandits holding up an American locomotive in the Old West. Well over a century later, filmmakers from Quentin Tarantino to Stanley Kubrick to Kathryn Bigelow had taken the same basic premise and used it to create some of the most memorable moments in cinema, whether it’s Rififi’s silent hit on a Parisian jeweller or the breathless shootout in Michael Mann’s Heat. It’s no wonder the concept has proven so enduring: somewhere deep down, everyone romanticises the concept of living outside the law, and even if we find the perpetrators despicable, there’s a visceral rush to watching criminality in action. Yes, it’s a genre with many tropes – the phrases ‘one last job’ and ‘ragtag group of low lives’ pop up frequently – but the best heist movies manage to find brilliant new ways to put those familiar rhythms to use. Here are 60 of the greatest examples. Recommended: 😬The best thriller films of all-time 🔪 The 12 best thrillers on Netflix 🔥 The 100 best movies of all-time 🌋 The 35 steamiest erotic thrillers ever made 1. Rififi (1955) The most referenced sequence in heist movie history comes in the second half of Rififi: a wordless robbery that’s impossible to watch without sweat beads forming. It’s the work of American director Jules Dassin, whose bitter experience of McCarthyite blacklisting made him perfect for this story of desperate characters backed into a corner. These men spout tough-guy dialogue (‘I liked you, Macaroni, but you know the rules’ should really get quoted a lot more regularly) and hold to a code that crumbles when their too-clever-by-half hit on a Parisian jewellers goes south. It’s magnifique. The mark: Gems in a Parisian jewellery shop. In movie terms, the ’90s truly began with a bunch of gangsters spitballing about Madonna in a diner. Indie movies existed before Reservoir Dogs, of course, but Quentin Tarantino’s revolution was to take the crusty ensemble heist genre and populate it with characters who think, talk and act like, well, Quentin Tarantino. The botched robbery itself isn’t even shown; it’s essentially the McGuffin that allows those characters to enter the same orbit and try to make sense of the bloody fall out. Every film Tarantino made afterward became bigger and louder, but Dogs remains a singular piece of cool, even as it borrows from other, older pieces of cool – like Kubrick’s The Killing. The mark: An LA jewellery store. Advertising George Clooney hadn’t yet assumed the Frank Sinatra role in Ocean’s Eleven when Steven Soderbergh cast him in Out of Sight, but you have to imagine this is where Soderbergh got the idea. As charismatic bank robber Jack Foley, TV star Clooney became a true leading man, layering on enough roguish charm that it’s impossible to believe anyone could resist him – not even the US Marshal (Jennifer Lopez) charged with bringing him to justice. That romantic chemistry fuels a wickedly entertaining cat-and-mouse tale, an Elmore Leonard adaptation that stands alongside Jackie Brown and Get Shorty. The mark: Uncut diamonds. A true pulp classic, John Huston’s gritty noir set the template for decades of crime movies to come, most notably in how it embeds audiences with the criminals and forces viewers to see the ensuing disreputable acts (and their consequences) from their perspective. Sterling Hayden is the ex-con fresh from prison assembling the crew for a can’t-miss jewellery store robbery in an unnamed Midwestern town. A then little-known Marilyn Monroe also has a small role made outsized by her already off-the-charts seductive charisma. The mark: A half-million dollars in jewellery. Advertising 5. The Italian Job (1969) Impossibly stylish and extremely British, The Italian Job has inspired other flashy, fast-paced and louche heist films, including two remakes, but few can match Peter Collinson’s original. That’s mostly because they don’t have Michael Caine, iconic as Charlie Croker, a womanising criminal who’s only just finished up a three-year prison sentence when he hatches a plot to rob an armoured vehicle transporting millions in gold bullion in Turin. And for all the imitators it spawned, none of them have the audacity to go with the ending Collinson did – as brilliant as it is perplexing. The mark: $4 million in gold bullion. 6. Odds Against Tomorrow (1959) A steely-faced noir, Odds Against Tomorrow was produced by Harry Belafonte and ghost-written by Abraham Polonsky, who used the name of his friend, John O Killens, to evade the blacklist. The paranoid spectre of that period hangs over the film, which stars Belafonte as a jazz musician and gambling addict roped into helping with a bank robbery by a corrupt ex-cop. Racism and moral rot are the movie’s major themes, which is among the bleakest of the period – and, with the jazzy score and shadowy cinematography, one of the most darkly stylish. The mark: A bank in upstate New York. Advertising Die Hard may be he greatest action movie ever made, but it gets relatively short shrift as a heist flick. That’s largely because the story is told from the perspective of the guy trying to stop the crime, and that guy is cool as hell. But if it wasn’t for a New York cop in a tank-top crawling around in the building’s air vents, the heist of Nakatomi Plaza would have gone off swimmingly. It’s a brilliant plan, involving plastic explosives, hostages and a terrorism smokescreen. Two sequels later, Hans Gruber’s brother would try to pull off an even more ambitious distraction game in New York – and this time, it was so well-researched, the actual FBI came calling. The mark: $100 million in bearer bonds. 8. Le Cercle Rouge (1970) It’s one of John Woo’s favourite gangster films, but if you need even more reason to track down this Jean-Pierre Melville heist flic, consider the timeless team-up of gallic gods Alain Delon and Yves Montand as the masterminds behind a high-concept theft of a Parisian jewellers. But the break-in itself, a silent, skilful escapade that owes a debt to Rififi, is merely the hook for Melville to hang a magnificent murky portrait of these honour-bound, but quietly desperate criminals. As Roger Ebert pointed out, that makes Le Cercle Rouge the best kind of heist movie. The mark: Two billion francs in diamonds. Advertising Is it a heist movie if the heist goes sideways before it even starts? The botched robbery that occurred at a Chase Manhattan branch in Brooklyn on a hot August day in 1972 was all the more impactful for failing so badly. The hostage situation and media circus that followed turned the perpetrators – two gay men with no prior criminal history – into countercultural heroes. Sidney Lumet’s ’70s classic frames the episode as a tragicomedy of errors, and gives Al Pacino space to get believably unhinged. Maybe not a great heist, then, but definitely a great movie. The mark: All the cash at First Brooklyn Savings Bank – which turns out to be $1,100. With his first major film effort, Stanley Kubrick effectively remixes Asphalt Jungle – even casting Sterling Hayden in essentially the same role – taking the basic idea of a bunch of criminal low-lifes plotting a major robbery which, given the shady characters involved, you know is not going to go off without a hitch. But don’t mistake The Killing for a ripoff or remake: Kubrick upends the narrative by fracturing the timeline and the visual language with brilliant long takes. It’s at once an outlier in the vaunted Kubrick filmography and a key inspiration for Reservoir Dogs. The mark: $2 million in racetrack takings. Advertising In many ways, Heat represents the pinnacle of the American crime film. Where else could the genre even go after having Al Pacino and Robert de Niro chase, shoot at and sit down for coffee with each other for nearly three hours? Credit to Michael Mann, who blows up the cops vs robbers formula to the most epic proportions, with complicated subplots and next-level action scenes – including a pantheon-enshrined bank robbery that leads into one of the most bracing shootouts in cinema history – without losing sight of the codependent relationship at the story’s core. The mark: A bank robbery worth $12.2 million. Attempting to summarise the plot of Christopher Nolan’s metaphysical heist film would warrant hazard pay. The best we can do is to say it involves a thief (Leonardo DiCaprio) with the ability to rappel into people’s dreams and both steal and implant ideas in their subconscious. Understanding Inception isn’t a prerequisite for being awed by it, though. For all its philosophical weight, it’s a movie better experienced than pondered, made up of landscape-warping set pieces and action sequences that literally defy gravity. The mark: The subconscious of a dying business magnate’s son. It’s complicated. Advertising Popcorn flicks don’t get much more buttery than this classic western. Robert Redford and Paul Newman make an all-time great pairing as the legendary train robbers on the run from the law. While their story is well-trodden in American lore, director George Roy Hill and screenwriter William Goldman give their partnership an almost buddy-comedy energy, separating the movie from similar works like Sam Peckinpah’s famously nihilistic Wild Bunch. A half-century later, it remains crazy fun. The mark: A series of banks and trains. One of the great hardboiled action movies of the ’70s, Joseph Sargent’s top-shelf thriller involves a group of colour-coded criminals who take advantage of New York’s chaotic subway system by hijacking a train and holding its passengers for ransom. It’s a basic premise rendered into something brilliant by the performances, namely from Robert Shaw as the villainous gang leader and Walter Matthau as the hangdog transit cop and unlikely hero. It’s been remade twice – first as a TV movie, then again with Denzel Washington – but nothing beats the original, which captures the look, feel and speech of Gotham in its grimy heyday. The mark: $1 million in cash. Advertising The Hughes brothers’ follow-up to the ‘90s gangsta classic Menace II Society hits on many of the same themes – namely, America’s abandonment of its Black citizens – but does so in a significantly different way. Set mostly in the early 1970s, it follows a middle-class kid (Larenz Tate) from the Bronx to Vietnam and back again, showing the toll the war took on African-American communities. Desperately adrift, Curtis falls back in with some old criminal elements from his neighbourhood to rob an armoured car. To call Dead Presidents a ‘heist movie’ feels limiting, but it must be said that the climatic hold-up is where the Hugheses really flex their muscles – the sight of the thieves disguised in white make-up is one of the decade’s most iconic images. The mark: An armoured car transporting money to a mint. 16. The Thomas Crown Affair (1999) A remake of the 1968 Steve McQueen-Faye Dunaway vehicle, John McTiernan swaps in Pierce Brosnan as the titular self-made billionaire and art thief and Rene Russo as the insurance investigator ensnared by his charms. It’s slicker and sleeker than the original but is easily better, namely because of the onscreen chemistry between Brosnan and Russo and the expertly choreographed swipe of a Monet painting from the Metropolitan Museum of Art. The mark: Monet’s ‘San Giorgio Maggiore at Dusk’. Advertising Right out the gate of his career, Quentin Tarantino proved he could make a killer heist flick, but adapting a true criminal mastermind like Elmore Leonard is a different challenge altogether. Jackie Brown is still the only Tarantino movie he didn’t fully conceive himself, and thus his least Tarantino-y, which, for some, makes it his best. Certainly, it’s in the upper echelon of Leonard screen adaptations, and contains perhaps the single best performance in the entire Tarantinoverse, courtesy of Pam Grier. Transferring the rough-edged cool of her ’70s blaxploitation heyday into a middle-aged working woman with a keen sense of self-preservation, she’s at once chiffon-smooth and tough as leather as the title heroine, a flight attendant moonlighting as an arms smuggler who devises a twisty plot involving a big bag of money to help her evade the cops, escape her shitty boss (Samuel L Jackson) and maybe start a new life with the bail bondsman who’s in love with her (Robert Forster, also phenomenal). The mark: $550,000 in drug money. There isn’t a more stylish film in the last decade and a half than Nicolas Winding Refn’s neon noir about a stunt driver (Ryan Gosling) breaking ties with the crime boss he’s fallen in with. Not since Ryan O'Neal has a getaway driver been more ice cool in extremis, with that satin gold scorpion jacket, black leather driving gloves and a sat nav system’s mastery of LA’s back streets. Drive owes obvious debt to Walter Hill’s The Driver – the movie that established the template of the getaway driver as morally ambiguous and emotionally unreadable – but there’s also a captivating stillness that recalls In the Mood for Love, a combination that produces an utterly unique atmosphere. The mark: A bag full of Mob money. Advertising Two female-led heist films dropped in 2018, and while Ocean’s 8 is a fun bucket of popcorn, Steve McQueen’s Widows is the most deserving of a place on this list. After a crew of criminals are killed attempting to steal $2 million from a Chicago crime boss, the group’s widows, led by Viola Davis, band together to execute another robbery in order to pay off their husbands’ inherited debts. McQueen smartly weaves together themes of police brutality, racism and political corruption, but never forgets to bring the white-knuckle thrills. The mark: $5 million from a politician’s home. Film fans are now well aware that the Coen brothers alternate between two modes: existential dread that’s often darkly funny and pure silliness that’s frequently still full of dread. In the ’80s, though, the transition from the brutal noir of their debut, Blood Simple, to the live-action cartoon of Raising Arizona must have given audiences whiplash. A whirlwind of pulpy dialogue and Looney Tunes energy, it stars Nicolas Cage and Holly Hunter as a desperate couple who nick the infant son of a wealthy furniture magnate straight out of his crib. Cue two escaped convicts and a bounty hunter straight out of Mad Max arriving at the door of their mobile home thirsting for the reward money for returning him The mark: An adorable baby boy. Advertising ‘We’re just taking away from a system that’s fucking us all anyway,’ says Vivica A Fox’s ex-bank teller in this enduring ’90s thriller about four Black women who decide to fuck the system right back. Alongside Jada Pinkett, Queen Latifah and Kimberly Elise, Fox’s struggling Angeleno is boxed in – by cops, employers, social services, even the waiters in their local diner – and resorts to sticking up banks to make ends meet. It’s a heist movie with the mind of a social drama, all shot with adrenalised cool by future Fast 8 director F Gary Grey (the car chases rock) and with a killer hip hop soundtrack. John McGinley is great, too, as the toothpick-chewing detective with a conscience on the gang’s trail. The mark: A series of LA banks. John Frankenheimer’s foundational action film stars Burt Lancaster as a French railway inspector in World War II determined to sabotage a Nazi plot to smuggle some priceless works of art out of Paris and back to Germany as the Allies close in. Tense and grittily realistic – and based on a real-life incident – it inverts the narrative of the typical heist film, as the heroes plot to stop the theft of a valuable artefact through chicanery of their own. Lancaster did his own stunts, and the movie provided the framework for generations of high-intensity action flicks to come, from Bullitt to Speed. The mark: A collection of art masterpieces. Advertising Michael Mann’s first streetlights-and-neon noir is a grim study of an expert safecracker (James Caan) who left his soul in prison but nonetheless dreams of a white-picket existence: the wife, the house, the kids, the legit job. Despite his obvious flaws, he nearly achieves it all, until he deludes himself into taking ‘one last job’ (always a mistake in this genre). Caan is excellent, making an essentially charmless character worth investing time in, before he inevitably blows his shot at the straight life. The mark: $4 million in diamonds. Spike Lee’s first true big-budget genre picture was a bigger success, commercially and critically, than many anticipated – and there are those who argue it belongs in the upper tier of his filmography. An ingenious criminal (Clive Owen) stages the intricate heist of a Wall Street bank, and a hard-nosed cop (Denzel Washington) is determined to thwart him. But the plot gets increasingly twisty as other characters get involved, including Christopher Plummer as the bank’s president and Jodie Foster as power broker he brings in as an negotiator. The end result is a movie that’s much smarter than the sum of its parts. The mark: A bank in Manhattan. Advertising Like The Treasure of the Sierra Madre with a shit-eating grin and a slacker attitude, Three Kings is the ultimate in Gen X heist flick: funny, ironic, and, like its characters, politically engaged – although only when it’s exhausted all possible ways not to be. Most of the time, it’s just a mismatched US army squad (George Clooney, Mark Wahlberg, Ice Cube, Spike Jonze) trading put-downs as they search Iraq for stolen Kuwaiti gold during the Gulf War, before learning some home truths about the horrors of war that still hold very true today. The mark: A stash of Kuwaiti bullion. Two decades after The Great Train Robbery invented the heist picture, Buster Keaton made a movie about a literal great train robbery. In this silent comedy classic, the original pratfall artist plays a southern railroad engineer who has his beloved locomotive stolen by Union spies at the onset of the Civil War, with his paramour aboard. (Yes, the hero is pro-Confederacy. It was a different time.) As usual, Keaton is a one-man Jackass, nearly killing himself for the audience’s amusement – yes, he really did ride on the cowcatcher of a moving train. The mark: A Confederate train. Advertising With Rififi, Jules Dassin depicted the perfect crime in such exacting detail, it inspired actual copycat thefts. A decade later, he returned to the heist picture to show that pulling off ‘the perfect crime’ is often a matter of luck rather than skill. A motley crew of thieves case the Topkapi Palace in Istanbul and plan to steal an emerald-encrusted dagger dating back to the Ottoman Empire sultan. Like Rififi, the heist plays out in near-total silence, until an unaccounted-for detail unravels the whole thing. It’s Dassin making fun of himself, and he seems to have a blast doing it. So does Peter Ustinov, who won an Oscar playing the group’s clueless fall guy. The mark: An ancient Turkish dagger. A band of sketchy ex-soldiers gang together to rob a bank in this crime caper whose droll humour makes it something of a British counterpart to that year’s Ocean’s 11. Except, The League of Gentlemen isn’t just an excuse to watch its ensemble cast – highlighted by Jack Hawkins, Nigel Patrick, Roger Livesey and Richard Attenborough – crack wise with each other. Director Basil Dearden stages a genuinely nail-biting heist sequence, featuring smoke bombs, explosions and machine guns. It almost goes perfectly… until, of course, it doesn’t. The mark: A million pounds from a City bank. Advertising Mention ‘heist movies’ and Ocean’s Eleven is probably the one that pops into people’s heads. Which iteration depends on age, but if we’re being honest, the ’60s version is mostly just the Rat Pack getting paid to hang out in Vegas and crack jokes. Decades later, Steven Soderbergh borrowed the template but made something a lot more thrilling and fun. Professional thief Danny Ocean (George Clooney) has a plan for an ambitious casino robbery, and sets about putting together an all-star team of criminals to pull it off. It’s got the ring-a-ding-ding comic interplay of the original, but Soderbergh draws upon the proceeding 40 years of heist flicks to forge a movie as exciting as it is breezy. The mark: $100 million from a Las Vegas casino vault. Is there any actor with a greater gulf between their two most iconic roles than that of Ben Kingsley? Eighteen years after winning an Oscar for portraying the ultimate man of peace in Gandhi, the British actor again won raves for playing his polar opposite: a hot-tempered, foul-mouthed Tasmanian devil of a gangster heavy named Don Logan. Dispatched to Spain and tasked with convincing a happily retired former comrade (Ray Winstone) into taking part in one last bank job, he’s equal parts hilarious and scary as hell. The first half of Jonathan Glazer’s sharply funny crime flick belongs to Kingsley, while the second half is owned by Ian McShane as Logan’s boss, who prefers a quieter form of menace, and is all the more intimidating for it. The mark: A London bank vault. Advertising 31. Violent Panic: The Big Crash (1976) With some frenetic shakycam and a climactic car chase that has to be seen to be believed, Battle Royale’s Kinji Fukasaku delivers a cult thriller that positively crashes through your nervous system. It offers a cool, culty ’70s spin on the ‘One Last Job’ subgenre of heist movies, marrying Japanese punk spirit with US genre techniques, as bank robber Takashi (Tsunehiko Watase) reacts to the death of his partner-in-crime and an increasingly enormous police manhunt by, well, robbing even more banks. Will he make it to Brazil with the loot and his beautiful girlfriend in tow? It’s a rush watching him try. The mark: Millions of yen from banks across Japan. Hailed upon release for Edgar Wright’s all gas, no brakes direction, Baby Driver is, as its title unintentionally suggests, something of a Kidz Bop version of Drive – only about 100 decibels louder. It involves a stoic, boyish getaway driver (Ansel Elgort) who falls in love with a waitress and attempts to get out of the crime business after pulling off one final job for his gangland-boss surrogate father (Kevin Spacey). Despite its retroactively problematic main cast, there’s still plenty to appreciate here, in particular the creative use of music: Elgort’s character drowns out his tinnitus with an infinite iPod playlist, which he cranks during the robberies, effectively making this a ‘jukebox action flick’. The mark: A post office’s stash of money orders. Advertising 33. One-Eyed Jacks (1961) Marlon Brando’s lone directorial credit came after Stanley Kubrick exited the production of this traditionalist western, which takes its time telling the story of a bandit named Kid Rio (Brando) seeking revenge against his former colleague Doc (Karl Malden), now a sheriff. The plot hinges around a robbery gone wrong, in which Rio’s new gang goes rogue and ends up killing a kid, giving Doc an excuse to get rid of him permanently. It sounds standard, but Brando brings deep thoughtfulness to the role and the picture itself – not to mention an elongated running time that would inspire the likes of Sergio Leone and Martin Scorsese. The mark: A bank in Monterrey, California. The phrase ‘hackers’ had barely entered the lexicon when this early Digital Age thriller first hit theaters, roughly around the time when dial-up modems were just starting to tie up phone lines across the world. Robert Redford headlines a stacked cast as a computer expert commissioned by the NSA to find a top-secret code-breaking device that’s mysteriously gone missing. Sneakers’ ’90s technobabble hasn’t aged particularly well, but its depiction of a world whose stability increasingly depends on fragile cybersecurity systems is remarkably prescient. The mark: A high-tech black box. Advertising At first blush, Point Break scans like a classic ‘good bad movie’. C’mon, a gang of surfer-dude bank robbers who wear rubber masks of former US presidents, led by a zenned-out Patrick Swayze? Keanu Reeves as an ex-college football star turned FBI agent named Johnny Utah? Gary Busey screaming about taking shrapnel in Khe Sahn? How seriously are we supposed to take this thing? Watch it another five… 20… 170 times, though, and the movie reveals itself to be a genuinely great action-thriller. The Ex-Presidents’ approach to bank robbing isn’t sophisticated, but they operate with ruthless efficiency. Until, of course, they decide to mess with their formula. The mark: The cash in bank tellers’ registers – never the vault. 36. Payroll (1961) No crime is ever truly victimless. Still, nicking an entire company’s monthly payroll feels like an especially low blow. But the mob behind the robbery in this vinegary, Newcastle-set thriller aren’t the kind to give two sods about depriving a few honest joes of their Friday night pint. What really marks them out is the poor planning, mutual mistrust, and, in several cases, total lack of nerve that damns them to disaster from the get-go. Throw in a vengeful widow and it’s curtains. The heist itself, involving an armoured van, some blueprints and a man on the inside, is a terrific set piece. Its violent fallout marks Payroll out as Get Carter’s slightly older, but equally cynical Geordie brother. The mark: A £100,000 payroll. Advertising Any scheme that starts with Bill Murray holding up a bank dressed as a clown can only go downhill, and that’s precisely the experience of Murray and his accomplices (Geena Davis and Randy Quaid), who discover that in New York, the hardest part of any crime is the getaway. The bank-robbing trio make a break for the airport and run smack into the gridlock and madness of the big city. It plays out like a sleazier Planes, Trains and Automobiles, as a series of obstacles – a fellow thief, a lost cabbie, Jason Robards’s cop – impede their progress. Quick Change remains Murray’s only directorial credit (shared with Howard Franklin), and it’s a smart-alecky caper worthy of his gifts. The mark: $1 million from a bank in midtown Manhattan. A 1970s throwback in terms of both feel and timeline, Stander tells the story of a cop in apartheid-era South Africa who, fed up with the rampant corruption in his profession, decides to start brazenly robbing banks on the side to make a point about what a white man can get away with in a racist society. It sounds preposterous, but it’s based on actual events. Thomas Jane, mostly known for cartoonish actioners like Deep Blue Sea and The Punisher, stars in the title role and gives an astonishingly nuanced performance as a man being ravaged by his own conscience with a death wish that he just can’t seem to fulfil. The mark: A series of banks in Johannesburg. Advertising Shot in one long, continuous take, this German production is, first and foremost, a dazzling technical achievement. But it’s no empty stunt. Following a Berlin clubgoer who, over the course of two-plus hours, falls in with a crew of criminals and unwittingly becomes the getaway driver for a hastily planned bank robbery, the single-take conceit ratchets up the tension to almost unbearable levels, while fully immersing the audience in the action. It’s one of the few movies where describing it as a ‘rollercoaster’ isn’t a hyperbolic cliché. The mark: €50,000 from a Berlin bank. Advertising A tribute to the classic Ealing comedies of the 1940s and ’50s, this enduring John Cleese Brit-com involves four crooks of various skill recruited for a diamond heist who all end up going into business for themselves, with hilarious results. The double-crossing is too knotty to properly summarise, but plot is almost secondary to the characters, which include Jamie Lee Curtis as a gangster’s moll perhaps overconfident in her feminine wiles, Kevin Kline as a weapons expert who’s equally hotheaded and dimwitted, and Cleese himself as an upstanding barrister around whom the scheming swirls. The mark: Valuable diamonds in a safe deposit box. The most shagadelic heist movie in film history, Mario Bava’s super-kitsch comic-book adaptation bends all the rules of the genre (the plot, for one thing, is absolute nonsense) but has so much fun doing it, reels you in from the moment its Ennio Morricone theme kicks into gear. Its hero, Diabolik (John Phillip Law), is a robber with a superhero’s prowess as getting out of tight scraps, a goddess for a girlfriend (Marisa Mell) and a penchant for high-concept theft. His crowning glory involves stealing some emeralds, shooting them at a notorious gangster from an actual gun, and then collecting them again from the mobster’s just-cremated body. The guy has serious pennacchio. The mark: An emerald necklace. Advertising Ken Loach doesn’t often do lighthearted, but this good-natured caper about a group of petty criminals in Glasgow plotting to steal the world’s rarest whiskey is appropriately soul-warming. Paul Brannigan plays Robbie, a thief and new father determined to go straight after discovering he has a nose for identifying good scotch. That is, until he’s pressured into performing one final job: nicking a barrel of valuable alcohol that’s about to go to auction. Loach’s knack for social realism elevates what would simply be a cute redemption story in the hands of other directors into a poignant moral message. The mark: A cask of ultra-rare whiskey. Two years after Dirty Harry, director Don Siegel returned with a different kind of violent genre picture – and a very different protagonist. Walter Matthau is Charley Varrick, a wrinkly, rumpled small-time crook who knocks over a small-town bank in New Mexico and gets away with a lot more than he bargained for, in terms of both payout and the baggage that comes with. See, the bank was loaded because the local mafiosi had been using it to launder money, meaning that Varrick and his partner now have both angry mobsters and police on their tail. Matthau, as usual, is drolly hilarious in the title role – slumped, sarcastic but maybe smarter than anyone chasing after him. The mark: $750,000 in Mob money. Advertising A blurring of fiction and documentary – but not exactly ‘docufiction’ – this indie sleeper depicts a real-life rare-books heist unsuccessfully committed by a group of college students in Lexington, Kentucky. Starring a cast of vaguely recognisable, if not exactly nameable, young actors, director Bart Layton (The Imposter) takes a Rashomon approach, replaying the crime from different perspectives and interweaving interviews with the actual perpetrators. The end result is an utterly unique, sometimes disorienting viewing experience that nonetheless still works as a captivating little thriller. The mark: A first edition of John James Audubon's Birds of America. It’s not hyperbole to place Jean Francoise-Richet’s two-part biopic of French gangster Jacques Mesrine somewhere close to Goodfellas and Scarface on cinema’s list of crime epics. Running from the ’50s through Mesrine’s violent death in 1972, the combined 246 minutes are sprawling but never boring due to the spellbinding work of actor Vincent Cassel. Mesrine spent most of his ‘career’ robbing banks and casino, before landing in prison, then escaping, then fashioning himself into a pseudo-revolutionary cult hero. It’s a crazy ride that’d be hard to believe if it didn’t happen. The mark: Banks and casinos. Advertising There are thrillers, and then there are the Safdie brothers’ movies, which seem designed to overwhelm audiences with enough anxiety to land them in the hospital. Before Uncut Gems, this crime drama teased what they were capable of in the field of panic-attack cinema. After a bank robbery goes awry and his developmentally disabled brother lands in jail, Costantine Nikas (Robert Pattinson in the role that, for critics, finally drove a stake through the heart of Edward Cullen) spends an evening burrowing ever deeper into the heart of the New York criminal underground in an attempt to free him. Have a defibrillator to hand, just in case. The mark: $65,000 from a New York bank. It wasn’t until its fifth instalment, when it shifted focus from car porn to elaborate heists involving cars, that the Fast & Furious franchise went into overdrive. Introducing Dwayne ‘The Rock’ Johnson as a US Marshal hunting Vin Diesel’s band of fugitive autophiles and moving the action to Brazil, director Justin Lin ups the insanity level several notches above ‘over the top’, reaching a bonkers high point with a set piece involving a massive safe chained to a pair of Dodge Chargers getting dragged through the streets of Rio de Janeiro. If that doesn’t convert sceptics to the House of Toretto, nothing will. The mark: $100 million belonging to a corrupt businessman. Advertising 49. Big Deal on Madonna Street (1958) Years before Jules Dassin decided to spoof his own heist classic Rififi with Topkapi, Italian director Mario Moncicelli beat him to the punch with this crime comedy in which a dream team – maybe make that ‘nightmare’ – of putzes attempt to pull off what should be an easy pawn shop robbery. Whereas in most heist movies, each member of a criminal team has a special skill to the table, each one here has a personal deficiency that ends up foiling the plot. The plan is to dig an underground tunnel from a nearby apartment into the business, but that, of course, looks easier on paper than it does in practice. The mark: A Rome pawn shop. It might give off the vibes of an old-school western, but the story of this leftfield gem from Yellowstone director Taylor Sheridan is borne straight from late-stage capitalism. After the matriarch of a West Texas family passes on, her down-and-out sons (Chris Pine and Ben Foster) commit a string of bank robberies in hopes of saving the ranch they inherited from her from foreclosure. Every character is painted in shades of sympathetic grey, including Jeff Bridges as the Texas Ranger pursuing the two brothers. It’s as smart as it is devastating. The mark: Banks in rural Texas. Advertising Imagine Dog Day Afternoon, only one of the hostages turns out to be Jean-Claude van Damme. It sounds like the set-up for some serious ass-kicking. But this isn’t the one-man wrecking crew of Bloodsport and Kickboxer fame. It’s the ‘real’ JCVD: an ageing, divorced action star who can barely afford to pay the lawyers in his child custody case. Instead of ‘Die Hard in a bank’, this metafictional curio is a sad, funny, surprisingly well-acted rumination on the illusion of celebrity, with just enough heist-y tension and roundhouse kicks to satisfy those who came expecting something completely different. The mark: A post office in the Muscles’ hometown of Brussels. Alec Guinness anchors this British crime caper, which is something of a spiritual precursor to a later Guinness vehicle, The Ladykillers. Here, he plays a meek bank clerk who, after years of going through his career unnoticed, hatches a plan to change his life dramatically by stealing a transport of gold bullion. Of course, the plot goes haywire in a most unexpected way, causing Guinness and his cohorts to scramble to set things back on course. Audrey Hepburn, pre-Roman Holiday, makes a blink-and-miss-it cameo. The mark: £1 million in gold bullion. Advertising The loot doesn’t have to be Italian Job-huge in a heist flick. Before he made Local Hero and Gregory’s Girl, Scottish great Bill Forsyth was turning out a sly crime film about a bunch of Glaswegian teenagers trying to fleece a warehouse of a few sinks. The result is somehow both hilariously mean-spirited and kinda sweet. It was made for £5000 and earned a decent return from cinemagoers keen to see a Glasgae crime caper in which a bunch of loveable no-hopers try to fence a van full of worthless basins – not that Forsyth ever saw a penny it. Someone got robbed. The mark: Some stainless steel sinks. 54. Villain (1971) Though under-seen compared to the likes of Get Carter and Performance, Michael Tuchner’s engaging character study is up there with them as cynical, rough-edged ’70s gangster pictures. The villain in question is Vic Dakin, a sadistic gang leader with omnivorous sexual appetite. The plot centres around the robbery of a plastics factory, but things get a bit twisty and convoluted as it goes along. But Richard Burton is memorably vicious as Dakin, a character as amoral and nearly as frightening a figure as Malcolm McDowell in A Clockwork Orange. The mark: A factory payroll. Advertising 55. Dhoom 2 (2004) This high-octane sequel brings one of Bollywood’s hottest pairings of all time: Hrithik Roshan and Aishwarya Rai Bachchan, together as a shapeshifting thief and his devoted lover. Watch them spar verbally, while pulling off elaborate thefts of antique swords and coins using cutting-edge technology and cool bikes in Mumbai, Durban and Rio de Janeiro. The opening scene, involving a moving train in the Namib desert and the theft of the Queen’s crown, is a stupendous reason to suspend disbelief entirely, while. Dhoom's infamous cop duo, Jai and Ali, combine sleuthing with some the kind of rambunctious songs you won’t find in, say, Heat. Ashanti Omkar The mark: The Queen’s crown. With its mixture of war movie, heist film and satirical comedy, Kelly’s Heroes sometimes struggles to make its disparate elements cohere, but it’s still a wild blast for the most part due primarily to the oddball cast. Clint Eastwood is the titular World War II lieutenant who becomes disillusioned enough with his mission he decides to sneak behind enemy lines and steal a clutch of gold for himself. Joining him in the mission are Telly Savalas, Don Rickles and Donald Sutherland as a proto-hippie named Oddball. The mark: A consignment of Nazi gold. Advertising 57. The Great Train Robbery (1903) How deep rooted are heist movies in film history? Around the same time as Georges Méliès was voyaging to the moon, audiences were clutching their satchels over a group of bandits sticking up a passenger train. Edwin S Porter’s short wasn’t the first narrative film, but it introduced several other firsts to the cinematic canon, including title cards, panning shots and an actual script. Seventy-five years later, Michael Crichton kinda-sorta ‘remade’ the movie with Sean Connery and Donald Sutherland, proving that, while the art movie making had come a long way, even the most basic crime stories can still shake audiences. The mark: An old-timey locomotive. Sweet, funny and understated, this humble British comedy came and went from theatres, but it deserves a second look from anyone who missed it. Starring Helen Mirren and Jim Broadment, it tells the true story of Kempton Bunton, an ageing taxi driver who, in the early ‘60s, and with genuinely good intentions, stole a Goya painting from the National Gallery. The Duke turned out to be the final feature film from director Roger Michell, who specialised in these kinds of subtle, uplifting little movies. It’s a fitting cap to his career. The mark: A portrait of the Duke of Wellington. Advertising 59. Bad Genius (2017) Taking a test is not usually a white-knuckle ride, so it’s something of a minor miracle that director Nattawut Poonpiriya manages to make the act of sitting at a desk and filling in answer bubbles as stress-inducing as any safecracking heist. In this exhilarating Thai thriller, a teenage brainiac develops a lucrative scheme helping the rich kids at her prestigious high school to cheat on their exams, culminating in a plan to smuggle the answers for a college admissions test out of Australia and back to Thailand. The movie takes a No. 2 pencil to the eye of a corrupt global academic system that saves educational opportunity for the already-privileged. The mark: The answers to an exam. 60. Robbery (1967) In historical terms, Robbery’s greatest impact is getting director Peter Yates hired to helm the much better remembered Steve McQueen car-chase classic Bullitt. But this crime thriller – a heavily embellished account of the real-life ‘Great Train Robbery’ of 1963 – deserves some reappraisal as one for containing some of the more technically thrilling action sequences of its era, including the intricately arranged opening heist of a British Royal Mail train and the ensuing getaway, which piqued the interest of McQueen enough to recommend Yates to the producers of Bullitt. The mark: £2.6 million in jewels on a London-bound train.
6420	dbpedia	1	97	https://www.austlit.edu.au/austlit/page/C263575	en	AustLit: Discover Australian Stories	https://www.austlit.edu.…austlit-main.png	https://www.austlit.edu.…austlit-main.png	[ "https://www.austlit.edu.au/austlit/static/new/less/img/logo.png", "https://www.austlit.edu.au/austlit/static/new/files/newsitefiles/bookLogo.gif", "https://www.austlit.edu.au/austlit/static/new/images/newsiteimages/8953674931737833055-thumbnail.png", "https://www.austlit.edu.au/austlit/static/new/files/newsitefiles/bookLogo.gif", "https://www.austlit.edu.au/austlit/static/new/files/newsitefiles/bookLogo.gif", "https://www.austlit.edu.au/austlit/static/new/files/newsitefiles/API-light.png", "https://www.austlit.edu.au/static/new/img/partnerlogos/UQlogo.png", "https://www.austlit.edu.au/austlit/static/new/files/newsitefiles/nothing.gif" ]	[]	[]	[ "AustLit", "australian literature", "writers", "australian writers", "writing", "australian writing", "australian storytelling", "storytelling", "bibliography", "biography", "Australian Drama", "Literature of Tasmania" ]	null	[ "Alfred Dampier", "Garnet Walch" ]	null	AustLit	en	https://www.austlit.edu.…/img/favicon.png		https://www.austlit.edu.au/austlit/page/C263575	'Miss Lily Dampier, Mr. Alfred Rolfe, and other artists carry on the action of the bushranging story, in which are several exciting pictures of horses at racing speed flying over logs and streams in rough country. In the elaborate series of clearly screened pictures taken by the Lyceum staff the situations revealed open at the home of the Marstons, passes on to an exciting race for the Gold Cup, won by Rainbow, shows how the bushrangers stick up the mail coach at the Rocky Rises, and exhibits Sir Ferdinand Morringer threatened with death in Terrible Hollow at the hands of the brutal Dan Moran, and his rescue by Starlight. One of the most applauded of the scenes last night was the burning of the stables and the rescue of the horses, and Starlight's Last Stand also excited enthusiasm.'
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6420	dbpedia	0	62	https://money-heist.fandom.com/wiki/The_Professor	en	Money Heist Wiki	https://static.wikia.nocookie.net/money-heist/images/3/3c/The_Professor_-_part_5_volume_2_poster.jpg/revision/latest?cb=20211210141651	https://static.wikia.nocookie.net/money-heist/images/3/3c/The_Professor_-_part_5_volume_2_poster.jpg/revision/latest?cb=20211210141651	[ "https://static.wikia.nocookie.net/money-heist/images/e/e6/Site-logo.png/revision/latest?cb=20210705124135", "https://static.wikia.nocookie.net/money-heist/images/e/e6/Site-logo.png/revision/latest?cb=20210705124135", "https://static.wikia.nocookie.net/money-heist/images/3/3c/The_Professor_-_part_5_volume_2_poster.jpg/revision/latest/scale-to-width-down/350?cb=20211210141651", "https://static.wikia.nocookie.net/money-heist/images/b/bd/The_Professor_-_part_5_poster.jpg/revision/latest/scale-to-width-down/350?cb=20210815114216", 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Marquina, better known as The Professor ( Spanish: El Profesor ), is one of the main characters in the Netflix series Money Heist, portrayed by actor Álvaro Morte. He was the mastermind responsible for organizing the Royal Mint of Spain Heist and later oversaw the Bank of Spain Heist...	en	https://static.wikia.nocookie.net/money-heist/images/4/4a/Site-favicon.ico/revision/latest?cb=20210720111929	Money Heist Wiki	https://money-heist.fandom.com/wiki/The_Professor	! This article is about the Spanish character. For the Korean character, see The Professor (Korean). Sergio Marquina, better known as The Professor ( Spanish: El Profesor ), is one of the main characters in the Netflix series Money Heist, portrayed by actor Álvaro Morte. He was the mastermind responsible for organizing the Royal Mint of Spain Heist and later oversaw the Bank of Spain Heist, which had been initially planned by Berlin. Biography[] The Professor had been planning heists from a young age. At the age of 19, he stopped renewing his identity card, so that he would not be registered.[4] Part 1[] The Professor recruited 8 robbers to carry out a heist at the Royal Mint of Spain, a heist that his father had planned. Under the false identity of Salvador "Salva" Martín, he was able to get closer to the lead inspector assigned to the Royal Mint robbery, Raquel Murillo, and the pair eventually fell in love. Raquel then joins the gang by the name "Lisbon". Part 3[] The Professor led a second heist in the Bank of Spain, in an effort to pressure the Spanish government who had arrested Rio. This was a heist that he and his half-brother Berlin had planned years ago. Part 5[] In Part 5, the Professor is captured and tortured by Alicia Sierra. She ends up capturing Marseille and Benjamín Martínez as well. However, when Alicia goes into labour and has complications, she has no choice but to untie them, so that they can help deliver her baby. The Professor and Alicia end up working together. When police chase them, they hide in an empty apartment. Later, Alicia helps find the location of the stolen gold. Physical Appearance[] Sergio is a male with a mustache and a beard in very good physical condition. His hair is long and black, and he cuts it slightly shorter in Part 3. His gait portrays him as slightly confused, as he doesn't swing his arms when walking. He is rarely seen without a formal suit, overcoat and tie, but has also been seen to don various disguises to avoid detection by police, eg. a homeless drug addict and a clown. Personality[] Sergio is highly intelligent and meticulous. He appears to be very determined to pull off the greatest money heists in history, after planning for it for several years. Once he recruits his dream team, he makes everyone religiously follow a strict schedule, complete with fundamental rules to prepare for and execute the heist. His perfectionist attitude is apparent through his careful consideration and planning for all possible scenarios that could arise during the heist. This forward-thinking approach helps him in his strive for perfection, where he urges the team to 'stick to the plan' in every situation. The Professor appears to have exceptional knowledge in negotiation tactics, police strategy, weaponry, law enforcement, hostage crises aversion, forgery, theft and bank robberies. He was able to control the entirety of the heist from behind the scenes, playing with the police and constantly tricking them into doing exactly what he wanted them to do. He also demonstrates a deep understanding of human psychology. A majority of his plans gravely depend upon the reactions he predicts from the police, the government, and the public. This allows him to play a tense game of one-upmanship with Inspector Raquel Murillo, where he repeatedly manages to shift the status quo in favor of his team during the heist, despite overwhelming odds. His calm demeanor complements his innate leadership traits, which allows him to resolve team conflicts without a fuss. Moreover, team members have great trust in his plans and decision-making ability. This is apparent when the team chooses to respect the protocol of waiting for 24 hours for his phone telephone call before activating 'Plan Chernobyl', despite clear evidence on the television of his impending imprisonment a few hours before the deadline. They do this as they have immense respect for his intellect and believe he will do everything in his power to save the team from any crisis. Sergio also thinks of himself as a strategist similar to a chess-player, who needs to carefully calculate every move before arriving at a conclusion. This allows him to make crucial decisions in very short periods of time when situations go awry. He may possibly be an expert martial artist, as he easily subdues Alberto and Raquel on separate occasions. He is shown practicing boxing and undergoing intense physical training in his hideout. Despite planning the biggest heist in human history, the Professor maintains stringent moral principles. He refrains from killing Raquel's mother even when it appears to be the only possibility of survival for the heist. He maintains that not spilling blood is the most important rule of the heist. However, it is unclear if this is only due to consideration of public opinion, or if it arises from a moral standpoint. He also shows great compassion and love for his team members, despite beginning his heist classes with the 'No Personal Relationships' rule. Relationships[] Raquel Murillo[] Raquel first meets the Professor in a café near the Mint when he lends her his cell phone to call her mother. They become friends and eventually fall in love, unaware that he is the "mastermind" of the heist. When she finds out, she does everything possible to trick him and take him to jail, but he eventually convinces her and she gives in to his plan, letting him escape with the money and finding him a year later in Palawan, an island in the Philippines. Tokyo[] The Professor was the first person that Tokyo meets in the crew, and was the one who saved her from spending her life in jail. Throughout the series, Tokyo has shown to greatly admire and respect The Professor, even going so far as to call him her 'guardian angel'. Berlin[] Berlin and the Professor are half-brothers and have a close relationship. In a flashback of Berlin and the Professor in Italy, Berlin reveals that he has Helmer's Myopathy, a condition that his mother had as well. The doctors predicted that he would have 3 years to live, but Berlin is hopeful that he will have 6 or 7 years to live. The Professor immediately decides to call off the heist and find treatment for him abroad, but Berlin refuses as there is no cure and he preferred to continue with his passion - robbing. Alberto Vicuña[] Alberto met the Professor, when he was disguised as Salva. Alberto did not like the Professor and his relationship with Raquel. They first meet at The Toledo House and get into an argument when Alberto drives the Professor back to Madrid. Their argument culminates in a fist fight which the Professor quickly wins. With this, Alberto uses the chance to arrest the Professor under the assumption that he is Salva. Trivia[] He was born in San Sebastián. His father was a bank robber who would tell him stories of his heists when he was sick. As a child, he used to love watching ocean-themed documentaries. His cover story to Raquel and Angel was that he was starting a cider business after inheriting he's grandfather's apple orchard. Considering he had the team training on an estate, there may be some truth to this. Appearances[] Money Heist Part 1 2 3 4 5 6 7 8 9 10 11 12 13 # One ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ 13 Two ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ N/A 9 Three ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ N/A 8 Four ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ N/A 8 Five ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ N/A 10 Total 48 ✔ = Appeared M = Mentioned F = Flashback - = Did not appear V = Voice P = Pictured See more information Gallery[]
6420	dbpedia	1	96	https://unbound.legible.com/books/652783	en	Robbery Under Arms	https://unbound.legible.…icon-512x512.png	https://unbound.legible.…icon-512x512.png	[ "https://unbound.legible.com/assets/cta-top.svg", "https://unbound.legible.com/assets/logo3.svg", "https://images.senja.beat.no/covers/652783/800.jpg", "https://images.senja.beat.no/covers/913406/200.jpg", "https://images.senja.beat.no/covers/282089/200.jpg", "https://images.senja.beat.no/covers/653554/200.jpg", "https://images.senja.beat.no/covers/313704/200.jpg", "https://images.senja.beat.no/covers/966882/200.jpg", "https://unbound.legible.com/assets/CSE.png" ]	[]	[]	[ "" ]	null	[]	null	Robbery Under Arms (1888) is a novel by Rolf Boldrewood, the pseudonym of Australian novelist Thomas Browne. A squatter for nearly twenty-five years, he came to know the ways of life on the outskirts of civilization, which allowed him to lead a peaceful, uncomplicated, and inexpensive existence. Originally serialized in Australian weekly magazines, Browneâs work as Rolf Bolfrewood is an incomparable record of colonial Australia, where outlaws and speculators lived side by side on land stolen from the continentâs Aboriginal peoples. Robbery Under Arms has been adapted several times for film and theater. âMy name's Dick Marston, Sydney-side native. I'm twenty-nine years old, six feet in my stocking soles, and thirteen stone weight. Pretty strong and active with it, so they say. I don't want to blowânot here, any roadâbut it takes a good man to put me on my back, or stand up to me with the gloves, or the naked mauleys.â Imprisoned for his crimes, Dick Marston prepares to be executed. With one month to live, he sits down to write the story of his life as an Australian bushranger. Alongside Captain Starlight, an English nobleman turned outlaw, he participated in a string of cattle thefts and armed robberies that would bring him enough gold and infamy to last a lifetime. Action-packed and fast-paced, Robbery Under Arms is a brilliant adventure novel from one of nineteenth century Australiaâs most popular writers of fiction. This edition of Rolf Boldrewoodâs Robbery Under Arms is a classic work of Australian literature reimagined for modern readers. Since our inception in 2020, Mint Editions has kept sustainability and innovation at the forefront of our mission. Each and every Mint Edition title gets a fresh, professionally typeset manuscript and a dazzling new cover, all while maintaining the integrity of the original book. With thousands of titles in our collection, we aim to spotlight diverse public domain works to help them find modern audiences. Mint Editions celebrates a breadth of literary works, curated from both canonical and overlooked classics from writers around the globe.	en	/../favicon-512x512.png		https://unbound.legible.com/books/652783	Robbery Under Arms (1888) is a novel by Rolf Boldrewood, the pseudonym of Australian novelist Thomas Browne. A squatter for nearly twenty-five years, he came to know the ways of life on the outskirts of civilization, which allowed him to lead a peaceful, uncomplicated, and inexpensive existence. Originally serialized in Australian weekly magazines, Browneâs work as Rolf Bolfrewood is an incomparable record of colonial Australia, where outlaws and speculators lived side by side on land stolen from the continentâs Aboriginal peoples. Robbery Under Arms has been adapted several times for film and theater. âMy name's Dick Marston, Sydney-side native. I'm twenty-nine years old, six feet in my stocking soles, and thirteen stone weight. Pretty strong and active with it, so they say. I don't want to blowânot here, any roadâbut it takes a good man to put me on my back, or stand up to me with the gloves, or the naked mauleys.â Imprisoned for his crimes, Dick Marston prepares to be executed. With one month to live, he sits down to write the story of his life as an Australian bushranger. Alongside Captain Starlight, an English nobleman turned outlaw, he participated in a string of cattle thefts and armed robberies that would bring him enough gold and infamy to last a lifetime. Action-packed and fast-paced, Robbery Under Arms is a brilliant adventure novel from one of nineteenth century Australiaâs most popular writers of fiction. This edition of Rolf Boldrewoodâs Robbery Under Arms is a classic work of Australian literature reimagined for modern readers. Since our inception in 2020, Mint Editions has kept sustainability and innovation at the forefront of our mission. Each and every Mint Edition title gets a fresh, professionally typeset manuscript and a dazzling new cover, all while maintaining the integrity of the original book. With thousands of titles in our collection, we aim to spotlight diverse public domain works to help them find modern audiences. Mint Editions celebrates a breadth of literary works, curated from both canonical and overlooked classics from writers around the globe.
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6420	dbpedia	0	23	https://www.everand.com/book/554228226/Robbery-Under-Arms	en	Robbery Under Arms by Rolf Boldrewood, Mint Editions (Ebook)	https://imgv2-2-f.scribdassets.com/img/word_document/554228226/original/f889f1f18b/1724941855?v=1	https://imgv2-2-f.scribdassets.com/img/word_document/554228226/original/f889f1f18b/1724941855?v=1	[ "https://s-f.scribdassets.com/webpack/assets/images/content_preview/everand_subscription_banner/evarand_eng_desktop_1x.f0d8b73f.png", "https://imgv2-2-f.scribdassets.com/img/audiobook_square/486608794/76x76/0fc91b7408/1724803162?v=1", "https://imgv2-2-f.scribdassets.com/img/audiobook_square/237882614/76x76/3806dcfe03/1724627153?v=1", "https://imgv2-2-f.scribdassets.com/img/audiobook_square/315849956/76x76/65195be232/1724695698?v=1", "https://imgv2-1-f.scribdassets.com/img/audiobook_square/331780429/76x76/41f9356efb/1724860763?v=1", "https://imgv2-2-f.scribdassets.com/img/audiobook_square/390806353/76x76/67f5931007/1724711959?v=1", "https://imgv2-1-f.scribdassets.com/img/audiobook_square/237829567/76x76/fd3b2bee1b/1724692250?v=1", "https://imgv2-2-f.scribdassets.com/img/audiobook_square/446816495/76x76/f79188eb33/1724729058?v=1", "https://imgv2-1-f.scribdassets.com/img/audiobook_square/390618673/76x76/80556b2868/1724625486?v=1" ]	[]	[]	[ "" ]	null	[ "Rolf Boldrewood" ]	2021-11-16T00:00:00	Read Robbery Under Arms by Rolf Boldrewood,Mint Editions with a free trial. Read millions of eBooks and audiobooks on the web, iPad, iPhone and Android.	en	https://s-f.scribdassets.com/everand.ico?a8b0030f2?v=5	Everand	https://www.everand.com/book/554228226/Robbery-Under-Arms	Chapter 1 My name’s Dick Marston, Sydney-side native. I’m twenty-nine years old, six feet in my stocking soles, and thirteen stone weight. Pretty strong and active with it, so they say. I don’t want to blow—not here, any road—but it takes a good man to put me on my back, or stand up to me with the gloves, or the naked mauleys. I can ride anything—anything that ever was lapped in horsehide—swim like a musk-duck, and track like a Myall blackfellow. Most things that a man can do I’m up to, and that’s all about it. As I lift myself now I can feel the muscle swell on my arm like a cricket ball, in spite of the—well, in spite of everything. The morning sun comes shining through the window bars; and ever since he was up have I been cursing the daylight, cursing myself, and them that brought me into the world. Did I curse mother, and the hour I was born into this miserable life? Why should I curse the day? Why do I lie here, groaning; yes, crying like a child, and beating my head against the stone floor? I am not mad, though I am shut up in a cell. No. Better for me if I was. But it’s all up now; there’s no get away this time; and I, Dick Marston, as strong as a bullock, as active as a rock-wallaby, chock-full of life and spirits and health, have been tried for bush-ranging—robbery under arms they call it—and though the blood runs through my veins like the water in the mountain creeks, and every bit of bone and sinew is as sound as the day I was born, I must die on the gallows this day month. Die—die—yes, die; be strung up like a dog, as they say. I’m blessed if ever I did know of a dog being hanged, though, if it comes to that, a shot or a bait generally makes an end of ’em in this country. Ha, ha! Did I laugh? What a rum thing it is that a man should have a laugh in him when he’s only got twenty-nine days more to live—a day for every year of my life. Well, laughing or crying, this is what it has come to at last. All the drinking and recklessness; the flash talk and the idle ways; the merry cross-country rides that we used to have, night or day, it made no odds to us; every man well mounted, as like as not on a racehorse in training taken out of his stable within the week; the sharp brushes with the police, when now and then a man was wounded on each side, but no one killed. That came later on, worse luck. The jolly sprees we used to have in the bush townships, where we chucked our money about like gentlemen, where all the girls had a smile and a kind word for a lot of game upstanding chaps, that acted like men, if they did keep the road a little lively. Our bush telegraphs were safe to let us know when the traps were closing in on us, and then—why the coach would be stuck up a hundred miles away, in a different direction, within twenty-four hours. Marston’s gang again! The police are in pursuit! That’s what we’d see in the papers. We had ’em sent to us regular; besides having the pick of ’em when we cut open the mail bags. And now—that chain rubbed a sore, curse it!—all that racket’s over. It’s more than hard to die in this settled, infernal, fixed sort of way, like a bullock in the killing-yard, all ready to be pithed. I used to pity them when I was a boy, walking round the yard, pushing their noses through the rails, trying for a likely place to jump, stamping and pawing and roaring and knocking their heads against the heavy close rails, with misery and rage in their eyes, till their time was up. Nobody told THEM beforehand, though! Have I and the likes of me ever felt much the same, I wonder, shut up in a pen like this, with the rails up, and not a place a rat could creep through, waiting till our killing time was come? The poor devils of steers have never done anything but ramble off the run now and again, while we—but it’s too late to think of that. It IS hard. There’s no saying it isn’t; no, nor thinking what a fool, what a blind, stupid, thundering idiot a fellow’s been, to laugh at the steady working life that would have helped him up, bit by bit, to a good farm, a good wife, and innocent little kids about him, like that chap, George Storefield, that came to see me last week. He was real rightdown sorry for me, I could tell, though Jim and I used to laugh at him, and call him a regular old crawler of a milker’s calf in the old days. The tears came into his eyes reg’lar like a woman as he gave my hand a squeeze and turned his head away. We was little chaps together, you know. A man always feels that, you know. And old George, he’ll go back—a fifty-mile ride, but what’s that on a good horse? He’ll be late home, but he can cross the rock ford the short way over the creek. I can see him turn his horse loose at the garden-gate, and walk through the quinces that lead up to the cottage, with his saddle on his arm. Can’t I see it all, as plain as if I was there? And his wife and the young ’uns ’ll run out when they hear father’s horse, and want to hear all the news. When he goes in there’s his meal tidy and decent waiting for him, while he tells them about the poor chap he’s been to see as is to be scragged next month. Ha! ha! what a rum joke it is, isn’t it? And then he’ll go out in the verandah, with the roses growin’ all over the posts and smellin’ sweet in the cool night air. After that he’ll have his smoke, and sit there thinkin’ about me, perhaps, and old days, and what not, till all hours—till his wife comes and fetches him in. And here I lie—my God! why didn’t they knock me on the head when I was born, like a lamb in a dry season, or a blind puppy—blind enough, God knows! They do so in some countries, if the books say true, and what a hell of misery that must save some people from! Well, it’s done now, and there’s no get away. I may as well make the best of it. A sergeant of police was shot in our last scrimmage, and they must fit someone over that. It’s only natural. He was rash, or Starlight would never have dropped him that day. Not if he’d been sober either. We’d been drinking all night at that Willow Tree shanty. Bad grog, too! When a man’s half drunk he’s fit for any devilment that comes before him. Drink! How do you think a chap that’s taken to the bush—regularly turned out, I mean, with a price on his head, and a fire burning in his heart night and day—can stand his life if he don’t drink? When he thinks of what he might have been, and what he is! Why, nearly every man he meets is paid to run him down, or trap him some way like a stray dog that’s taken to sheep-killin’. He knows a score of men, and women too, that are only looking out for a chance to sell his blood on the quiet and pouch the money. Do you think that makes a chap mad and miserable, and tired of his life, or not? And if a drop of grog will take him right out of his wretched self for a bit why shouldn’t he drink? People don’t know what they are talking about. Why, he is that miserable that he wonders why he don’t hang himself, and save the Government all the trouble; and if a few nobblers make him feel as if he might have some good chances yet, and that it doesn’t so much matter after all, why shouldn’t he drink? He does drink, of course; every miserable man, and a good many women as have something to fear or repent of, drink. The worst of it is that too much of it brings on the horrors, and then the devil, instead of giving you a jog now and then, sends one of his imps to grin in your face and pull your heartstrings all day and all night long. By George, I’m getting clever—too clever, altogether, I think. If I could forget for one moment, in the middle of all the nonsense, that I was to die on Thursday three weeks! die on Thursday three weeks! die on Thursday! That’s the way the time runs in my ears like a chime of bells. But it’s all mere bosh I’ve been reading these long six months I’ve been chained up here—after I was committed for trial. When I came out of the hospital after curing me of that wound—for I was hit bad by that black tracker—they gave me some books to read for fear I’d go mad and cheat the hangman. I was always fond of reading, and many a night I’ve read to poor old mother and Aileen before I left the old place. I was that weak and low, after I took the turn, and I felt glad to get a book to take me away from sitting, staring, and blinking at nothing by the hour together. It was all very well then; I was too weak to think much. But when I began to get well again I kept always coming across something in the book that made me groan or cry out, as if someone had stuck a knife in me. A dark chap did once—through the ribs—it didn’t feel so bad, a little sharpish at first; why didn’t he aim a bit higher? He never was no good, even at that. As I was saying, there’d be something about a horse, or the country, or the spring weather—it’s just coming in now, and the Indian corn’s shooting after the rain, and I’LL never see it; or they’d put in a bit about the cows walking through the river in the hot summer afternoons; or they’d go describing about a girl, until I began to think of sister Aileen again; then I’d run my head against the wall, or do something like a madman, and they’d stop the books for a week; and I’d be as miserable as a bandicoot, worse and worse a lot, with all the devil’s tricks and bad thoughts in my head, and nothing to put them away. I must either kill myself, or get something to fill up my time till the day—yes, the day comes. I’ve always been a middling writer, tho’ I can’t say much for the grammar, and spelling, and that, but I’ll put it all down, from the beginning to the end, and maybe it’ll save someother unfortunate young chap from pulling back like a colt when he’s first roped, setting himself against everything in the way of proper breaking, making a fool of himself generally, and choking himself down, as I’ve done. The gaoler—he looks hard—he has to do that, there’s more than one or two within here that would have him by the throat, with his heart’s blood running, in half a minute, if they had their way, and the warder was off guard. He knows that very well. But he’s not a bad-hearted chap. You can have books, or paper and pens, anything you like, he said, you unfortunate young beggar, until you’re turned off. If I’d only had you to see after me when I was young, says I— Come; don’t whine, he said, then he burst out laughing. You didn’t mean it, I see. I ought to have known better. You’re not one of that sort, and I like you all the better for it. WELL, HERE GOES. LOTS OF pens, a big bottle of ink, and ever so much foolscap paper, the right sort for me, or I shouldn’t have been here. I’m blessed if it doesn’t look as if I was going to write copies again. Don’t I remember how I used to go to school in old times; the rides there and back on the old pony; and pretty little Grace Storefield that I was so fond of, and used to show her how to do her lessons. I believe I learned more that way than if I’d had only myself to think about. There was another girl, the daughter of the poundkeeper, that I wanted her to beat; and the way we both worked, and I coached her up, was a caution. And she did get above her in her class. How proud we were! She gave me a kiss, too, and a bit of her hair. Poor Gracey! I wonder where she is now, and what she’d think if she saw me here today. If I could have looked ahead, and seen myself—chained now like a dog, and going to die a dog’s death this day month! Anyhow, I must make a start. How do people begin when they set to work to write their own sayings and doings? There’s been a deal more doing than talking in my life—it was the wrong sort—more’s the pity. Well, let’s see; his parents were poor, but respectable. That’s what they always say. My parents were poor, and mother was as good a soul as ever broke bread, and wouldn’t have taken a shilling’s worth that wasn’t her own if she’d been starving. But as for father, he’d been a poacher in England, a Lincolnshire man he was, and got sent out for it. He wasn’t much more than a boy, he said, and it was only for a hare or two, which didn’t seem much. But I begin to think, being able to see the right of things a bit now, and having no bad grog inside of me to turn a fellow’s head upside down, as poaching must be something like cattle and horse duffing—not the worst thing in the world itself, but mighty likely to lead to it. Dad had always been a hard-working, steady-going sort of chap, good at most things, and like a lot more of the Government men, as the convicts were always called round our part, he saved some money as soon as he had done his time, and married mother, who was a simple emigrant girl just out from Ireland. Father was a square-built, good-looking chap, I believe, then; not so tall as I am by three inches, but wonderfully strong and quick on his pins. They did say as he could hammer any man in the district before he got old and stiff. I never saw him shape but once, and then he rolled into a man big enough to eat him, and polished him off in a way that showed me—though I was a bit of a boy then—that he’d been at the game before. He didn’t ride so bad either, though he hadn’t had much of it where he came from; but he was afraid of nothing, and had a quiet way with colts. He could make pretty good play in thick country, and ride a roughish horse, too. Well, our farm was on a good little flat, with a big mountain in front, and a scrubby, rangy country at the back for miles. People often asked him why he chose such a place. It suits me, he used to say, with a laugh, and talk of something else. We could only raise about enough corn and potatoes, in a general way, for ourselves from the flat; but there were other chances and pickings which helped to make the pot boil, and them we’d have been a deal better without. First of all, though our cultivation paddock was small, and the good land seemed squeezed in between the hills, there was a narrow tract up the creek, and here it widened out into a large well-grassed flat. This was where our cattle ran, for, of course, we had a team of workers and a few milkers when we came. No one ever took up a farm in those days without a dray and a team, a year’s rations, a few horses and milkers, pigs and fowls, and a little furniture. They didn’t collar a 40-acre selection, as they do now—spend all their money in getting the land and squat down as bare as robins—a man with his wife and children all under a sheet of bark, nothing on their backs, and very little in their bellies. However, some of them do pretty well, though they do say they have to live on ’possums for a time. We didn’t do much, in spite of our grand start. The flat was well enough, but there were other places in the gullies beyond that that father had dropped upon when he was out shooting. He was a tremendous chap for poking about on foot or on horseback, and though he was an Englishman, he was what you call a born bushman. I never saw any man almost as was his equal. Wherever he’d been once, there he could take you to again; and what was more, if it was in the dead of the night he could do it just the same. People said he was as good as a blackfellow, but I never saw one that was as good as he was, all round. In a strange country, too. That was what beat me—he’d know the way the creek run, and noticed when the cattle headed to camp, and a lot of things that other people couldn’t see, or if they did, couldn’t remember again. He was a great man for solitary walks, too—he and an old dog he had, called Crib, a cross-bred mongrel-looking brute, most like what they call a lurcher in England, father said. Anyhow, he could do most anything but talk. He could bite to some purpose, drive cattle or sheep, catch a kangaroo, if it wasn’t a regular flyer, fight like a bulldog, and swim like a retriever, track anything, and fetch and carry, but bark he wouldn’t. He’d stand and look at dad as if he worshipped him, and he’d make him some sign and off he’d go like a child that’s got a message. Why he was so fond of the old man we boys couldn’t make out. We were afraid of him, and as far as we could see he never patted or made much of Crib. He thrashed him unmerciful as he did us boys. Still the dog was that fond of him you’d think he’d like to die for him there and then. But dogs are not like boys, or men either—better, perhaps. Well, we were all born at the hut by the creek, I suppose, for I remember it as soon as I could remember anything. It was a snug hut enough, for father was a good bush carpenter, and didn’t turn his back to anyone for splitting and fencing, hut-building and shingle-splitting; he had had a year or two at sawing, too, but after he was married he dropped that. But I’ve heard mother say that he took great pride in the hut when he brought her to it first, and said it was the best-built hut within fifty miles. He split every slab, cut every post and wallplate and rafter himself, with a man to help him at odd times; and after the frame was up, and the bark on the roof, he camped underneath and finished every bit of it—chimney, flooring, doors, windows, and partitions—by himself. Then he dug up a little garden in front, and planted a dozen or two peaches and quinces in it; put a couple of roses—a red and a white one—by the posts of the verandah, and it was all ready for his pretty Norah, as she says he used to call her then. If I’ve heard her tell about the garden and the quince trees and the two roses once, I’ve heard her tell it a hundred times. Poor mother! we used to get round her—Aileen, and Jim, and I—and say, Tell us about the garden, mother. She’d never refuse; those were her happy days, she always said. She used to cry afterwards—nearly always. The first thing almost that I can remember was riding the old pony, ’Possum, out to bring in the milkers. Father was away somewhere, so mother took us all out and put me on the pony, and let me have a whip. Aileen walked alongside, and very proud I was. My legs stuck out straight on the old pony’s fat back. Mother had ridden him up when she came—the first horse she ever rode, she said. He was a quiet little old roan, with a bright eye and legs like gate-posts, but he never fell down with us boys, for all that. If we fell off he stopped still and began to feed, so that he suited us all to pieces. We soon got sharp enough to flail him along with a quince stick, and we used to bring up the milkers, I expect, a good deal faster than was good for them. After a bit we could milk, leg-rope, and bail up for ourselves, and help dad brand the calves, which began to come pretty thick. There were only three of us children—my brother Jim, who was two years younger than I was, and then Aileen, who was four years behind him. I know we were both able to nurse the baby a while after she came, and neither of us wanted better fun than to be allowed to watch her, or rock the cradle, or as a great treat to carry her a few steps. Somehow we was that fond and proud of her from the first that we’d have done anything in the world for her. And so we would now—I was going to say—but that poor Jim lies under a forest oak on a sandhill, and I—well, I’m here, and if I’d listened to her advice I should have been a free man. A free man! How it sounds, doesn’t it? with the sun shining, and the blue sky over your head, and the birds twittering, and the grass beneath your feet! I wonder if I shall go mad before my time’s up. Mother was a Roman Catholic—most Irishwomen are; and dad was a Protestant, if he was anything. However, that says nothing. People that don’t talk much about their religion, or follow it up at all, won’t change it for all that. So father, though mother tried him hard enough when they were first married, wouldn’t hear of turning, not if he was to be killed for it, as I once heard him say. No! he says, my father and grandfather, and all the lot, was Church people, and so I shall live and die. I don’t know as it would make much matter to me, but such as my notions is, I shall stick to ’em as long as the craft holds together. You can bring up the girl in your own way; it’s made a good woman of you, or found you one, which is most likely, and so she may take her chance. But I stand for Church and King, and so shall the boys, as sure as my name’s Ben Marston. Chapter 2 Father was one of those people that gets shut of a deal of trouble in this world by always sticking to one thing. If he said he’d do this or that he always did it and nothing else. As for turning him, a wild bull half-way down a range was a likelier try-on. So nobody ever bothered him after he’d once opened his mouth. They knew it was so much lost labour. I sometimes thought Aileen was a bit like him in her way of sticking to things. But then she was always right, you see. So that clinched it. Mother gave in like a wise woman, as she was. The clergyman from Bargo came one day and christened me and Jim—made one job of it. But mother took Aileen herself in the spring cart all the way to the township and had her christened in the chapel, in the middle of the service all right and regular, by Father Roche. There’s good and bad of every sort, and I’ve met plenty that were no chop of all churches; but if Father Roche, or Father anybody else, had any hand in making mother and Aileen half as good as they were, I’d turn tomorrow, if I ever got out again. I don’t suppose it was the religion that made much difference in our case, for Patsey Daly and his three brothers, that lived on the creek higher up, were as much on the cross as men could be, and many a time I’ve seen them ride to chapel and attend mass, and look as if they’d never seen a clearskin in their lives. Patsey was hanged afterwards for bush-ranging and gold robbery, and he had more than one man’s blood to answer for. Now we weren’t like that; we never troubled the church one way or the other. We knew we were doing what we oughtn’t to do, and scorned to look pious and keep two faces under one hood. By degrees we all grew older, began to be active and able to do half a man’s work. We learned to ride pretty well—at least, that is we could ride a bare-backed horse at full gallop through timber or down a range; could back a colt just caught and have him as quiet as an old cow in a week. We could use the axe and the cross-cut saw, for father dropped that sort of work himself, and made Jim and I do all the rough jobs of mending the fences, getting firewood, milking the cows, and, after a bit, ploughing the bit of flat we kept in cultivation. Jim and I, when we were fifteen and thirteen—he was bigger for his age than I was, and so near my own strength that I didn’t care about touching him—were the smartest lads on the creek, father said—he didn’t often praise us, either. We had often ridden over to help at the muster of the large cattle stations that were on the side of the range, and not more than twenty or thirty miles from us. Some of our young stock used to stray among the squatters’ cattle, and we liked attending the muster because there was plenty of galloping about and cutting out, and fun in the men’s hut at night, and often a half-crown or so for helping someone away with a big mob of cattle or a lot for the pound. Father didn’t go himself, and I used to notice that whenever we came up and said we were Ben Marston’s boys both master and super looked rather glum, and then appeared not to think anymore about it. I heard the owner of one of these stations say to his managing man, Pity, isn’t it? fine boys, too. I didn’t understand what they meant. I do now. We could do a few things besides riding, because, as I told you before, we had been to a bit of a school kept by an old chap that had once seen better days, that lived three miles off, near a little bush township. This village, like most of these places, had a public-house and a blacksmith’s shop. That was about all. The publican kept the store, and managed pretty well to get hold of all the money that was made by the people round about, that is of those that were good drinking men. He had half-a-dozen children, and, though he was not up to much, he wasn’t that bad that he didn’t want his children to have the chance of being better than himself. I’ve seen a good many crooked people in my day, but very few that, though they’d given themselves up as a bad job, didn’t hope a bit that their youngsters mightn’t take after them. Curious, isn’t it? But it is true, I can tell you. So Lammerby, the publican, though he was a greedy, sly sort of fellow, that bought things he knew were stolen, and lent out money and charged everybody two prices for the things he sold ’em, didn’t like the thought of his children growing up like Myall cattle, as he said himself, and so he fished out this old Mr. Howard, that had been a friend or a victim or some kind of pal of his in old times, near Sydney, and got him to come and keep school. He was a curious man, this Mr. Howard. What he had been or done none of us ever knew, but he spoke up to one of the squatters that said something sharp to him one day in a way that showed us boys that he thought himself as good as he was. And he stood up straight and looked him in the face, till we hardly could think he was the same man that was so bent and shambling and broken-down-looking most times. He used to live in a little hut in the township all by himself. It was just big enough to hold him and us at our lessons. He had his dinner at the inn, along with Mr. and Mrs. Lammerby. She was always kind to him, and made him puddings and things when he was ill. He was pretty often ill, and then he’d hear us our lessons at the bedside, and make a short day of it. Mostly he drank nothing but tea. He used to smoke a good deal out of a big meerschaum pipe with figures on it that he used to show us when he was in a good humour. But two or three times a year he used to set-to and drink for a week, and then school was left off till he was right. We didn’t think much of that. Everybody, almost, that we knew did the same—all the men—nearly all, that is—and some of the women—not mother, though; she wouldn’t have touched a drop of wine or spirits to save her life, and never did to her dying day. We just thought of it as if they’d got a touch of fever or sunstroke, or broke a rib or something. They’d get over it in a week or two, and be all right again. All the same, poor old Mr. Howard wasn’t always on the booze, not by any manner of means. He never touched a drop of anything, not even ginger-beer, while he was straight, and he kept us all going from nine o’clock in the morning till three in the afternoon, summer and winter, for more than six years. Then he died, poor old chap—found dead in his bed one morning. Many a basting he gave me and Jim with an old malacca cane he had with a silver knob to it. We were all pretty frightened of him. He’d say to me and Jim and the other boys, It’s the best chance of making men of yourselves you ever had, if you only knew it. You’ll be rich farmers or settlers, perhaps magistrates, one of these days—that is, if you’re not hanged. It’s you, I mean, he’d say, pointing to me and Jim and the Dalys; I believe some of you WILL be hanged unless you change a good deal. It’s cold blood and bad blood that runs in your veins, and you’ll come to earn the wages of sin some day. It’s a strange thing, he used to say, as if he was talking to himself, that the girls are so good, while the boys are delivered over to the Evil One, except a case here and there. Look at Mary Darcy and Jane Lammerby, and my little pet Aileen here. I defy any village in Britain to turn out such girls—plenty of rosy-cheeked gigglers—but the natural refinement and intelligence of these little damsels astonishes me. Well, the old man died suddenly, as I said, and we were all very sorry, and the school was broken up. But he had taught us all to write fairly and to keep accounts, to read and spell decently, and to know a little geography. It wasn’t a great deal, but what we knew we knew well, and I often think of what he said, now it’s too late, we ought to have made better use of it. After school broke up father said Jim and I knew quite as much as was likely to be any good to us, and we must work for our living like other people. We’d always done a pretty fair share of that, and our hands were hard with using the axe and the spade, let alone holding the plough at odd times and harrowing, helping father to kill and brand, and a lot of other things, besides getting up while the stars were in the sky so as to get the cows milked early, before it was time to go to school. All this time we had lived in a free kind of way—we wanted for nothing. We had plenty of good beef, and a calf now and then. About this time I began to wonder how it was that so many cattle and horses passed through father’s hands, and what became of them. I hadn’t lived all my life on Rocky Creek, and among some of the smartest hands in that line that old New South Wales ever bred, without knowing what clearskins and cross beasts meant, and being well aware that our brand was often put on a calf that no cow of ours ever suckled. Don’t I remember well the first calf I ever helped to put our letters on? I’ve often wished I’d defied father, then taken my licking, and bolted away from home. It’s that very calf and the things it led to that’s helped to put me where I am! Just as I sit here, and these cursed irons rattle whenever I move my feet, I can see that very evening, and father and the old dog with a little mob of our crawling cattle and half-a-dozen head of strangers, cows and calves, and a fat little steer coming through the scrub to the old stockyard. It was an awkward place for a yard, people used to say; scrubby and stony all round, a blind sort of hole—you couldn’t see till you were right on the top of it. But there was a wing ran out a good way through the scrub—there’s no better guide to a yard like that—and there was a sort of track cattle followed easy enough once you were round the hill. Anyhow, between father and the dog and the old mare he always rode, very few beasts ever broke away. These strange cattle had been driven a good way, I could see. The cows and calves looked done up, and the steer’s tongue was out—it was hottish weather; the old dog had been heeling him up too, for he was bleeding up to the hocks, and the end of his tail was bitten off. He was a savage old wretch was Crib. Like all dogs that never bark—and men too—his bite was all the worse. Go and get the brands—confound you—don’t stand there frightening the cattle, says father, as the tired cattle, after smelling and jostling a bit, rushed into the yard. You, Jim, make a fire, and look sharp about it. I want to brand old Polly’s calf and another or two. Father came down to the hut while the brands were getting ready, and began to look at the harness-cask, which stood in a little back skillion. It was pretty empty; we had been living on eggs, bacon, and bread and butter for a week. Oh, mother! there’s such a pretty red calf in the yard, I said, with a star and a white spot on the flank; and there’s a yellow steer fat enough to kill! What! said mother, turning round and looking at father with her eyes staring—a sort of dark blue they were—people used to say mine and Jim’s were the same colour—and her brown hair pushed back off her face, as if she was looking at a ghost. Is it doing that again you are, after all you promised me, and you so nearly caught—after the last one? Didn’t I go on my knees to ye to ask ye to drop it and lead a good life, and didn’t ye tell me ye’d never do the like again? And the poor innocent children, too, I wonder ye’ve the heart to do it. It came into my head now to wonder why the sergeant and two policemen had come down from Bargo, very early in the morning, about three months ago, and asked father to show them the beef in his cask, and the hide belonging to it. I wondered at the time the beast was killed why father made the hide into a rope, and before he did that had cut out the brand and dropped it into a hot fire. The police saw a hide with our brand on, all right—killed about a fortnight. They didn’t know it had been taken off a cancered bullock, and that father took the trouble to stick him and bleed him before he took the hide off, so as it shouldn’t look dark. Father certainly knew most things in the way of working on the cross. I can see now he’d have made his money a deal easier, and no trouble of mind, if he’d only chosen to go straight. When mother said this, father looked at her for a bit as if he was sorry for it; then he straightened himself up, and an ugly look came into his face as he growled out— You mind your own business; we must live as well as other people. There’s squatters here that does as bad. They’re just like the squires at home; think a poor man hasn’t a right to live. You bring the brand and look alive, Dick, or I’ll sharpen ye up a bit. The brand was in the corner, but mother got between me and it, and stretched out her hand to father as if to stop me and him. In God’s name, she cried out, aren’t ye satisfied with losing your own soul and bringing disgrace upon your family, but ye must be the ruin of your innocent children? Don’t touch the brand, Dick! But father wasn’t a man to be crossed, and what made it worse he had a couple of glasses of bad grog in him. There was an old villain of a shanty-keeper that lived on a back creek. He’d been there as he came by and had a glass or two. He had a regular savage temper, father had, though he was quiet enough and not bad to us when he was right. But the grog always spoiled him. He gave poor mother a shove which sent her reeling against the wall, where she fell down and hit her head against the stool, and lay there. Aileen, sitting down in the corner, turned white, and began to cry, while father catches me a box on the ear which sends me kicking, picks up the brand out of the corner, and walks out, with me after him. I think if I’d been another year or so older I’d have struck back—I felt that savage about poor mother that I could have gone at him myself—but we had been too long used to do everything he told us; and somehow, even if a chap’s father’s a bad one, he don’t seem like other men to him. So, as Jim had lighted the fire, we branded the little red heifer calf first—a fine fat six-months-old nugget she was—and then three bull calves, all strangers, and then Polly’s calf, I suppose just for a blind. Jim and I knew the four calves were all strangers, but we didn’t know the brands of the mothers; they all seemed different. After this all was made right to kill a beast. The gallows was ready rigged in a corner of the yard; father brought his gun and shot the yellow steer. The calves were put into our calf-pen—Polly’s and all—and all the cows turned out to go where they liked. We helped father to skin and hang up the beast, and pretty late it was when we finished. Mother had laid us out our tea and gone to bed with Aileen. We had ours and then went to bed. Father sat outside and smoked in the starlight. Hours after I woke up and heard mother crying. Before daylight we were up again, and the steer was cut up and salted and in the harness-cask soon after sunrise. His head and feet were all popped into a big pot where we used to make soup for the pigs, and by the time it had been boiling an hour or two there was no fear of anyone swearing to the yellow steer by head-mark. We had a hearty breakfast off the skirt, but mother wouldn’t touch a bit, nor let Aileen take any; she took nothing but a bit of bread and a cup of tea, and sat there looking miserable and downcast. Father said nothing, but sat very dark-looking, and ate his food as if nothing was the matter. After breakfast he took his mare, the old dog followed; there was no need to whistle for him—it’s my belief he knew more than many a Christian—and away they went. Father didn’t come home for a week—he had got into the habit of staying away for days and days together. Then things went on the old way. Chapter 3 So the years went on—slow enough they seemed to us sometimes—the green winters, pretty cold, I tell you, with frost and hail-storms, and the long hot summers. We were not called boys any longer, except by mother and Aileen, but took our places among the men of the district. We lived mostly at home, in the old way; sometimes working pretty hard, sometimes doing very little. When the cows were milked and the wood chopped, there was nothing to do for the rest of the day. The creek was that close that mother used to go and dip the bucket into it herself, when she wanted one, from a little wooden step above the clear reedy waterhole. Now and then we used to dig in the garden. There was reaping and corn-pulling and husking for part of the year; but often, for weeks at a time, there was next to nothing to do. No hunting worth much—we were sick of kangarooing, like the dogs themselves, that as they grew old would run a little way and then pull up if a mob came, jump, jump, past them. No shooting, except a few ducks and pigeons. Father used to laugh at the shooting in this country, and say they’d never have poachers here—the game wasn’t worth it. No fishing, except an odd codfish, in the deepest waterholes; and you might sit half a day without a bite. Now this was very bad for us boys. Lads want plenty of work, and a little play now and then to keep them straight. If there’s none, they’ll make it; and you can’t tell how far they’ll go when they once start. Well, Jim and I used to get our horses and ride off quietly in the afternoon, as if we were going after cattle; but, in reality, as soon as we were out of sight of mother, to ride over to that old villain, Grimes, the shanty-keeper, where we met the young Dalys, and others of the same sort—talked a good deal of nonsense and gossip; what was worse played at all-fours and euchre, which we had learned from an American harvest hand, at one of the large farms. Besides playing for money, which put us rather into trouble sometimes, as we couldn’t always find a half-crown if we lost it, we learned another bad habit, and that was to drink spirits. What burning nasty stuff I thought it at first; and so did we all! But everyone wanted to be thought a man, and up to all kinds of wickedness, so we used to make it a point of drinking our nobbler, and sometimes treating the others twice, if we had cash. There was another family that lived a couple of miles off, higher up the creek, and we had always been good friends with them, though they never came to our house, and only we boys went to theirs. They were the parents of the little girl that went to school with us, and a boy who was a year older than me. Their father had been a gardener at home, and he married a native girl who was born somewhere about the Hawkesbury, near Windsor. Her father had been a farmer, and many a time she told us how sorry she was to go away from the old place, and what fine corn and pumpkins they grew; and how they had a church at Windsor, and used to take their hay and fruit and potatoes to Sydney, and what a grand place Sydney was, with stone buildings called markets for people to sell fruit and vegetables and poultry in; and how you could walk down into Lower George Street and see Sydney Harbour, a great shining salt-water plain, a thousand times as big as the biggest waterhole, with ships and boats and sailors, and every kind of strange thing upon it. Mrs. Storefield was pretty fond of talking, and she was always fond of me, because once when she was out after the cows, and her man was away, and she had left Grace at home, the little thing crawled down to the waterhole and tumbled in. I happened to be riding up with a message for mother, to borrow some soap, when I heard a little cry like a lamb’s, and there was poor little Gracey struggling in the water like a drowning kitten, with her face under. Another minute or two would have finished her, but I was off the old pony and into the water like a teal flapper. I had her out in a second or two, and she gasped and cried a bit, but soon came to, and when Mrs. Storefield came home she first cried over her as if she would break her heart, and kissed her, and then she kissed me, and said, Now, Dick Marston, you look here. Your mother’s a good woman, though simple; your father I don’t like, and I hear many stories about him that makes me think the less we ought to see of the lot of you the better. But you’ve saved my child’s life today, and I’ll be a friend and a mother to you as long as I live, even if you turn out bad, and I’m rather afraid you will—you and Jim both—but it won’t be my fault for want of trying to keep you straight; and John and I will be your kind and loving friends as long as we live, no matter what happens. After that—it was strange enough—but I always took to the little toddling thing that I’d pulled out of the water. I wasn’t very big myself, if it comes to that, and she seemed to have a feeling about it, for she’d come to me everytime I went there, and sit on my knee and look at me with her big brown serious eyes—they were just the same after she grew up—and talk to me in her little childish lingo. I believe she knew all about it, for she used to say, Dick pull Gracey out of water; and then she’d throw her arms round my neck and kiss me, and walk off to her mother. If I’d let her drown then, and tied a stone round my neck and dropped through the reeds to the bottom of the big waterhole, it would have been better for both of us. When John came home he was nearly as bad as the old woman, and wanted to give me a filly, but I wouldn’t have it, boy as I was. I never cared for money nor money’s worth, and I was not going to be paid for picking a kid out of the water. George Storefield, Gracey’s brother, was about my own age. He thought a lot of what I’d done for her, and years afterwards I threatened to punch his head if he said anything more about it. He laughed, and held out his hand. You and I might have been better friends lately, says he; but don’t you forget you’ve got another brother besides Jim—one that will stick to you, too, fair weather or foul. I always had a great belief in George, though we didn’t get on over well, and often had fallings out. He was too steady and hardworking altogether for Jim and me. He worked all day and everyday, and saved every penny he made. Catch him gaffing!—no, not for a sixpence. He called the Dalys and Jacksons thieves and swindlers, who would be locked up, or even hanged, some day, unless they mended themselves. As for drinking a glass of grog, you might just as soon ask him to take a little laudanum or arsenic. Why should I drink grog, he used to say—such stuff, too, as you get at that old villain Grimes’s—with a good appetite and a good conscience? I’m afraid of no man; the police may come and live on my ground for what I care. I work all day, have a read in the evening, and sleep like a top when I turn in. What do I want more? Oh, but you never see any life, Jim said; you’re just like an old working bullock that walks up to the yoke in the morning and never stops hauling till he’s let go at night. This is a free country, and I don’t think a fellow was born for that kind of thing and nothing else. This country’s like any other country, Jim, George would say, holding up his head, and looking straight at him with his steady gray eyes; a man must work and save when he’s young if he don’t want to be a beggar or a slave when he’s old. I believe in a man enjoying himself as well as you do, but my notion of that is to have a good farm, well stocked and paid for, by and by, and then to take it easy, perhaps when my back is a little stiffer than it is now. But a man must have a little fun when he is young, I said. What’s the use of having money when you’re old and rusty, and can’t take pleasure in anything? A man needn’t be so very old at forty, he says then, and twenty years’ steady work will put all of us youngsters well up the ladder. Besides, I don’t call it fun getting half-drunk with a lot of blackguards at a low pothouse or a shanty, listening to the stupid talk and boasting lies of a pack of loafers and worse. They’re fit for nothing better; but you and Jim are. Now, look here, I’ve got a small contract from Mr. Andrews for a lot of fencing stuff. It will pay us wages and something over. If you like to go in with me, we’ll go share and share. I know what hands you both are at splitting and fencing. What do you say? Jim, poor Jim, was inclined to take George’s offer. He was that good-hearted that a kind word would turn him anytime. But I was put out at his laying it down so about the Dalys and us shantying and gaffing, and I do think now that some folks are born so as they can’t do without a taste of some sort of fun once in a way. I can’t put it out clear, but it ought to be fixed somehow for us chaps that haven’t got the gift of working all day and everyday, but can do two days’ work in one when we like, that we should have our allowance of reasonable fun and pleasure—that is, what we called pleasure, not what somebody thinks we ought to take pleasure in. Anyway, I turned on George rather rough, and I says, We’re not good enough for the likes of you, Mr. Storefield. It’s very kind of you to think of us, but we’ll take our own line and you take yours. I’m sorry for it, Dick, and more sorry that you take huff at an old friend. All I want is to do you good, and act a friend’s part. Goodbye—some day you’ll see it. You’re hard on George, says Jim, there’s no pleasing you today; one would think there were lots of chaps fighting how to give us a lift. Goodbye, George, old man; I’m sorry we can’t wire in with you; we’d soon knock out those posts and rails on the ironbark range. You’d better stop, Jim, and take a hand in the deal, says I (or, rather, the devil, for I believe he gets inside a chap at times), and then you and George can take a turn at local-preaching when you’re cut out. I’m off. So without another word I jumped on to my horse and went off down the hill, across the creek, and over the boulders the other side, without much caring where I was going. The fact was, I felt I had acted meanly in sneering at a man who only said what he did for my good; and I wasn’t at all sure that I hadn’t made a breach between Gracey and myself, and, though I had such a temper when it was roused that all the world wouldn’t have stopped me, everytime I thought of not seeing that girl again made my heart ache as if it would burst. I was nearly home before I heard the clatter of a horse’s feet, and Jim rode up alongside of me. He was just the same as ever, with a smile on his face. You didn’t often see it without one. I knew he had come after me, and had given up his own fancy for mine. I thought you were going to stay and turn good, I said. Why didn’t you? It might have been better for me if I had, he said, but you know very well, Dick, that whatever turns up, whether it’s for good or evil, you and I go together. We looked at one another for a moment. Our eyes met. We didn’t say anything; but we understood one another as well as if we had talked for a week. We rode up to the door of our cottage without speaking. The sun had set, and some of the stars had come out, early as it was, for it was late autumn. Aileen was sitting on a bench in the verandah reading, mother was working away as usual at something in the house. Mother couldn’t read or write, but you never caught her sitting with her hands before her. Except when she was asleep I don’t think she ever was quite still. Aileen ran out to us, and stood while we let go our horses, and brought the saddles and bridles under the verandah. I’m glad you’re come home for one thing, she said. There is a message from father. He wants you to meet him. Who brought it? I said. One of the Dalys—Patsey, I think. All right, said Jim, kissing her as he lifted her up in his great strong arms. I must go in and have a gossip with the old woman. Aileen can tell me after tea. I daresay it’s not so good that it won’t keep. Mother was that fond of both of us that I believe, as sure as I sit here, she’d have put her head on the block, or died in any other way for either of her boys, not because it was her duty, but glad and cheerful like, to have saved us from death or disgrace. I think she was fonder of us two than she was of Aileen. Mothers are generally fonder of their sons. Why I never could see; and if she thought more of one than the other it was Jim. He was the youngest, and he had that kind of big, frolicsome, loving way with him, like a Newfoundland pup about half-grown. I always used to think, somehow, nobody ever seemed to be able to get into a pelter with Jim, not even father, and that was a thing as some people couldn’t be got to believe. As for mother and Aileen, they were as fond of him as if he’d been a big baby. So while he went to sit down on the stretcher, and let mother put her arms round his neck and hug him and cry over him, as she always did if he’d been away more than a day or two, I took a walk down the creek with Aileen in the starlight, to hear all about this message from father. Besides, I could see that she was very serious over it, and I thought there might be something in it more than common. First of all, did you make any agreement with George Storefield? she said. No; why should I? Has he been talking to you about me? What right has he to meddle with my business? Oh, Dick, don’t talk like that. Anything that he said was only to do you a kindness, and Jim. Hang him, and his kindness too, I said. Let him keep it for those that want it. But what did he tell you? He said, first of all, answered poor Aileen, with the tears in her eyes, and trying to take hold of my hand, that he had a contract for fencing timber, which he had taken at good prices, which he would share with you and Jim; that he knew you two and himself could finish it in a few weeks, and that he expected to get the contract for the timber for the new bridge at Dargo, which he would let you go shares in too. He didn’t like to speak about that, because it wasn’t certain; but he had calculated all the quantities and prices, and he was sure you would make 70 or 80 Pounds each before Christmas. Now, was there any harm in that; and don’t you think it was very good of him to think of it?
6420	dbpedia	0	8	https://archive.org/details/Robbery_Under_Arms	en	Robbery Under Arms : Kenneth Brampton : Free Download, Borrow, and Streaming : Internet Archive	https://archive.org/down…_Arms_000060.jpg	https://archive.org/down…_Arms_000060.jpg	[ "https://archive.org/services/img/etree", "https://archive.org/services/img/librivoxaudio", "https://archive.org/services/img/metropolitanmuseumofart-gallery", "https://archive.org/services/img/clevelandart", "https://archive.org/services/img/internetarcade", "https://archive.org/services/img/consolelivingroom", "https://archive.org/images/book-lend.png", "https://archive.org/images/widgetOL.png", "https://archive.org/services/img/tv", "https://archive.org/services/img/911", "https://archive.org/images/cc/cc.png", "https://archive.org/images/cc/by.png", "https://archive.org/images/cc/nc.png", "https://archive.org/images/cc/nd.png", "https://archive.org/services/img/TheVideoCellarCollection", "https://archive.org/services/img/feature_films", "https://archive.org/services/img/moviesandfilms", "https://archive.org/services/img/silent_films", "https://athena.archive.org/0.gif?kind=track_js&track_js_case=control&cache_bust=1775189634", "https://athena.archive.org/0.gif?kind=track_js&track_js_case=disabled&cache_bust=1029115343" ]	[]	[]	[ "" ]	null	[]	null	This 1920 silent film was made by Kenneth Brampton, who wrote, produced, directed and starred in it. The story concerns a real life bushranger (outlaw) named...	en	https://archive.org/images/glogo.jpg	Internet Archive	https://archive.org/details/Robbery_Under_Arms	Search the history of over 866 billion web pages on the Internet. Search the Wayback Machine Search icon An illustration of a magnifying glass. Save Page Now Capture a web page as it appears now for use as a trusted citation in the future. Please enter a valid web address
6420	dbpedia	2	82	https://bluecypressbooks.indielite.org/book/9781513135144	en	Robbery Under Arms (Mint Editions (Bushrangers)	https://bluecypressbooks…/1artboard-1.png	https://bluecypressbooks…/1artboard-1.png	[ "https://bluecypressbooks.indielite.org/sites/default/files/styles/logo/public/2024-07/blue-cypress-books-logo-200x200.png?itok=he2oAMNt", "https://images.booksense.com/images/144/135/9781513135144.jpg", "https://bluecypressbooks.indielite.org/sites/default/files/2024-04/nocover.jpg", "https://images.booksense.com/images/987/885/9781101885987.jpg", "https://images.booksense.com/images/618/336/9780593336618.jpg", "https://images.booksense.com/images/115/982/9781467982115.jpg", "https://images.booksense.com/images/096/851/9781998851096.jpg", "https://images.booksense.com/images/523/736/9780679736523.jpg", "https://images.booksense.com/images/844/639/9781335639844.jpg", "https://images.booksense.com/images/357/293/9780553293357.jpg", "https://images.booksense.com/images/218/220/9780735220218.jpg", "https://images.booksense.com/images/339/452/9781609452339.jpg", "https://images.booksense.com/images/521/787/9781250787521.jpg", "https://images.booksense.com/images/465/982/9781636982465.jpg", "https://images.booksense.com/images/049/641/9780679641049.jpg", "https://images.booksense.com/images/861/386/9780307386861.jpg", "https://images.booksense.com/images/472/549/9780061549472.jpg", "https://images.booksense.com/images/913/830/9781250830913.jpg", "https://images.booksense.com/images/078/358/9780593358078.jpg", "https://images.booksense.com/images/376/538/9780345538376.jpg", "https://images.booksense.com/images/123/862/9780198862123.jpg", "https://images.booksense.com/images/702/883/9781788883702.jpg", "https://images.booksense.com/images/113/651/9780061651113.jpg", "https://images.booksense.com/images/540/760/9781593760540.jpg", "https://images.booksense.com/images/525/066/9780316066525.jpg", "https://images.booksense.com/images/832/728/9780679728832.jpg", "https://images.booksense.com/images/926/714/9781912714926.jpg", "https://images.booksense.com/images/264/404/9780486404264.jpg", "https://images.booksense.com/images/972/348/9780553348972.jpg", "https://images.booksense.com/images/845/356/9780593356845.jpg", "https://images.booksense.com/images/003/342/9781250342003.jpg", "https://bluecypressbooks.indielite.org/themes/custom/bookworm/images/ada_compliance.png" ]	[]	[]	[ "" ]	null	[]	null	Robbery Under Arms (1888) is a novel by Rolf Boldrewood, the pseudonym of Australian novelist Thomas Browne. A squatter for nearly twenty-five years, he came to know the ways of life on the outskirts of civilization, which allowed him to lead a peaceful, uncomplicated, and inexpensive existence. Originally serialized in Australian weekly magazines, Browne's work as Rolf Bolfrewood is an incomparable record of colonial Australia, where outlaws and speculators lived side by side on land stolen from the continent's Aboriginal peoples. Robbery Under Arms has been adapted several times for film and theater. "My name's Dick Marston, Sydney-side native. I'm twenty-nine years old, six feet in my stocking soles, and thirteen stone weight. Pretty strong and active with it, so they say. I don't want to blow-not here, any road-but it takes a good man to put me on my back, or stand up to me with the gloves, or the naked mauleys." Imprisoned for his crimes, Dick Marston prepares to be executed. With one month to live, he sits down to write the story of his life as an Australian bushranger. Alongside Captain Starlight, an English nobleman turned outlaw, he participated in a string of cattle thefts and armed robberies that would bring him enough gold and infamy to last a lifetime. Action-packed and fast-paced, Robbery Under Arms is a brilliant adventure novel from one of nineteenth century Australia's most popular writers of fiction. This edition of Rolf Boldrewood's Robbery Under Arms is a classic work of Australian literature reimagined for modern readers. Since our inception in 2020, Mint Editions has kept sustainability and innovation at the forefront of our mission. Each and every Mint Edition title gets a fresh, professionally typeset manuscript and a dazzling new cover, all while maintaining the integrity of the original book. With thousands of titles in our collection, we aim to spotlight diverse public domain works to help them find modern audiences. Mint Editions celebrates a breadth of literary works, curated from both canonical and overlooked classics from writers around the globe.	en	/sites/default/files/2024-05/1artboard-1.png	IndieCommerce	https://bluecypressbooks.indielite.org/book/9781513135144	Description Robbery Under Arms (1888) is a novel by Rolf Boldrewood, the pseudonym of Australian novelist Thomas Browne. A squatter for nearly twenty-five years, he came to know the ways of life on the outskirts of civilization, which allowed him to lead a peaceful, uncomplicated, and inexpensive existence. Originally serialized in Australian weekly magazines, Browne's work as Rolf Bolfrewood is an incomparable record of colonial Australia, where outlaws and speculators lived side by side on land stolen from the continent's Aboriginal peoples. Robbery Under Arms has been adapted several times for film and theater. "My name's Dick Marston, Sydney-side native. I'm twenty-nine years old, six feet in my stocking soles, and thirteen stone weight. Pretty strong and active with it, so they say. I don't want to blow-not here, any road-but it takes a good man to put me on my back, or stand up to me with the gloves, or the naked mauleys." Imprisoned for his crimes, Dick Marston prepares to be executed. With one month to live, he sits down to write the story of his life as an Australian bushranger. Alongside Captain Starlight, an English nobleman turned outlaw, he participated in a string of cattle thefts and armed robberies that would bring him enough gold and infamy to last a lifetime. Action-packed and fast-paced, Robbery Under Arms is a brilliant adventure novel from one of nineteenth century Australia's most popular writers of fiction. This edition of Rolf Boldrewood's Robbery Under Arms is a classic work of Australian literature reimagined for modern readers. Since our inception in 2020, Mint Editions has kept sustainability and innovation at the forefront of our mission. Each and every Mint Edition title gets a fresh, professionally typeset manuscript and a dazzling new cover, all while maintaining the integrity of the original book. With thousands of titles in our collection, we aim to spotlight diverse public domain works to help them find modern audiences. Mint Editions celebrates a breadth of literary works, curated from both canonical and overlooked classics from writers around the globe.
6420	dbpedia	1	43	https://www.bfi.org.uk/lists/10-great-australian-westerns	en	10 great Australian westerns	https://core-cms.bfi.org…rse-shooting.jpg	https://core-cms.bfi.org…rse-shooting.jpg	[ "https://www.bfi.org.uk/dist/client/e51a86bb7ce82a9e9741.svg", "https://www.bfi.org.uk/dist/client/e51a86bb7ce82a9e9741.svg", "https://www.bfi.org.uk/dist/client/e51a86bb7ce82a9e9741.svg", "https://core-cms.bfi.org.uk/sites/default/files/styles/responsive/public/2021-04/true-history-of-the-kelly-gang-2019-russell-crowe-on-horse-shooting.jpg/1300x0/true-history-of-the-kelly-gang-2019-russell-crowe-on-horse-shooting.jpg", "https://core-cms.bfi.org.uk/sites/default/files/styles/responsive/public/2021-04/robbery-under-arms-1957-man-with-rifle-in-desert.jpg/1440x0/robbery-under-arms-1957-man-with-rifle-in-desert.jpg", "https://core-cms.bfi.org.uk/sites/default/files/styles/responsive/public/2021-04/inn-of-the-damned-1975-poster.jpg/1440x0/inn-of-the-damned-1975-poster.jpg", "https://core-cms.bfi.org.uk/sites/default/files/styles/responsive/public/2021-04/journey-among-women-1977-woman-close-up.jpg/1440x0/journey-among-women-1977-woman-close-up.jpg", "https://core-cms.bfi.org.uk/sites/default/files/styles/responsive/public/2021-04/the-chant-of-jimmie-blacksmith-1978-man-with-axe.jpg/1440x0/the-chant-of-jimmie-blacksmith-1978-man-with-axe.jpg", "https://core-cms.bfi.org.uk/sites/default/files/styles/responsive/public/2021-04/the-proposition-2005-three-men-in-desert.jpg/1440x0/the-proposition-2005-three-men-in-desert.jpg", "https://core-cms.bfi.org.uk/sites/default/files/styles/responsive/public/2021-04/red-hill-2010-horseriders.jpg/1440x0/red-hill-2010-horseriders.jpg", "https://core-cms.bfi.org.uk/sites/default/files/styles/responsive/public/2021-04/the-outlaw-michael-howe-2013-man-in-hat-on-chair.jpg/1440x0/the-outlaw-michael-howe-2013-man-in-hat-on-chair.jpg", "https://core-cms.bfi.org.uk/sites/default/files/styles/responsive/public/2021-04/the-legend-of-ben-hall-2017-man-with-weapons-running-in-forest.jpg/1440x0/the-legend-of-ben-hall-2017-man-with-weapons-running-in-forest.jpg", "https://core-cms.bfi.org.uk/sites/default/files/styles/responsive/public/2021-04/sweet-country-2017-boy-in-hat.jpg/1440x0/sweet-country-2017-boy-in-hat.jpg", "https://core-cms.bfi.org.uk/sites/default/files/styles/responsive/public/2021-04/the-nightingale-2018-man-in-field.jpg/1440x0/the-nightingale-2018-man-in-field.jpg", "https://core-cms.bfi.org.uk/sites/default/files/styles/responsive/public/2020-07/bfiplayer-white.png/400x0/bfiplayer-white.png", "https://core-cms.bfi.org.uk/sites/default/files/core/funded-by-uk-government.svg", "https://core-cms.bfi.org.uk/sites/default/files/core/here-for-culture.svg", "https://core-cms.bfi.org.uk/sites/default/files/core/national-lottery.svg" ]	[]	[]	[ "" ]	null	[ "BFI" ]	2020-02-27T12:07:40+00:00	Journey into old Australia with these brutal tales of outback outlaws.	en		BFI	https://www.bfi.org.uk/lists/10-great-australian-westerns	Director Justin Kurzel’s True History of the Kelly Gang (2019) represents a bold revisioning of one of Australia’s most famous myths – the story of bushranger Ned Kelly. Based on the Booker prize winning novel of the same name by Peter Carey, it presents the criminal (played by British actor George MacKay) as a brutalised man out for revenge, casting the violent narrative in a queer, punk aesthetic, epitomised by the film’s marketing images, showing a pistol-wielding Kelly clad in a bloodstained dress. Not only is Kelly Australia’s most famous bushranger – the name given to convicts who had escaped and survived Australia’s harsh environment to become outlaws – his legend forms a mini industry in film and television. In addition to Kurzel’s, Kelly has been the subject of eight films. The earliest of these – Charles Tait’s 70-minute The Story of the Kelly Gang (1906) – is now recognised as the world’s first feature film. He was played by Rolling Stones frontman Mick Jagger in the 1970 British film Ned Kelly, and by Heath Ledger in a 2003 Australian production of the same name. Get the latest from the BFI Sign up for BFI news, features, videos and podcasts. Email These Kelly films form part of a larger body of outback westerns. Early films depicting bushrangers were so popular in late 19th and early 20th century Australia that authorities in several states, fearful of their anti-authoritarian content, banned them. The laws, made in the 1910s, remained in place until the 1940s, effectively crippling the nation’s nascent film industry. Like the finest American westerns, more recent Australian examples of the genre have focused on re-examining a romanticised past – in Australia’s case, the country’s brutal convict origins and white settlers’ violent dispossession of Indigenous people. Here are 10 of the best. Robbery under Arms (1957) Director: Jack Lee Rolf Boldrewood’s novel Robbery under Arms, first published in 1889, is the fictional tale of the exploits of a renegade English nobleman, known as Captain Starlight, on the Australian goldfields in the 1880s. It’s been filmed six times, with the first sound and colour version made for Rank Organisation by Jack Lee in 1957. Lee’s film took the novel’s complex plot and turned it into the story of two brothers – Starlight’s sons – who are drawn into a life of crime when they join their father’s gang. The mainly British cast, headlined by Peter Finch as Starlight, speaks to the time when Australia had no film industry and was only one year into the introduction of local television. Nonetheless, the cinematography by Harry Waxman, whose lengthy film credits include The Wicker Man (1973), looks crisp and imparts a real sense of the isolation of early white settler life. The film also tackles what would become a key feature of many Australian westerns: the vital role of Indigenous people as trackers, both for bushrangers and the authorities. Inn of the Damned (1975) Director: Terry Bourke The cycle of Australian films known as Ozploitation boasts a number of westerns, including the rather shambolic Mad Dog Morgan (1976), starring Dennis Hopper, and the little-known Raw Deal (1977), an action film about bounty hunters hired to eliminate a gang of Irish revolutionaries active in the Victorian goldfields. It also includes this 1975 horror western, Inn of the Damned, written, produced and directed by Terry Bourke, Australia’s earliest big screen horror director. A couple driven mad by the death of their child many years earlier run a remote bush inn, where they slaughter passing travellers with the help of booby-trapped bed. They are undone when one of their victims, a bushranger, is also being pursued by the police and a tough American bounty hunter (American action star Alex Cord). The film effectively fuses the bushranger genre with horror and sexploitation themes. Journey among Women (1977) Director: Tom Cowan Set in 18th-century Australia, Journey among Women sees the daughter of a well-to-do judge, engaged to a local army commander, running away with a group of escaped female convicts. They establish a women-only society in the bush on the outskirts of Sydney and defend it against both escaped predatory male convicts and the colonial authorities who are trying to recapture them. Apparently based on a true story, the production was by all accounts a turbulent process. The cast – all amateurs except for Nell Campbell, who had just starred as Columbia in The Rocky Horror Picture Show (1975) – included feminists who strongly disagreed with the choice of director, Tom Cowan, and his vision for the film. Confusing and hard to categorise, the results exhibit aspects of documentary, agitprop, Ozploitation and arthouse cinema. Regardless of the political intentions of the director and cast, its blend of violence, female nudity and lesbianism saw it become a hit with drive-in audiences. The Chant of Jimmie Blacksmith (1978) Director: Fred Schepisi The Chant of Jimmie Blacksmith is considered a key entry in the revival of Australian filmmaking in the 1970s, and rightly so. Directed by Fred Schepisi, who also penned the script based on the novel by local author Thomas Keneally (who would later write Schindler’s List), it’s a harrowing tale of a mixed-race Indigenous man (the debut performance of actor Tommy Lewis) who tries to make his way in white society and is cheated and abused by virtually every person he meets. One indignity too many leads Jimmie and his uncle to murder several white women and go on the run. The film’s depiction of the way in which Jimmie’s hopes for a better life, and his well-meaning nature, are frustrated and ultimately demolished by racist settler society, resulting in an explosion of unpremeditated violence, still packs considerable emotional punch. Interestingly, the film was seized and confiscated in the UK during the video nasty panic in the early 1980s. The Proposition (2005) Director: John Hillcoat Charlie Burns (Guy Pearce) is the world-weary middle member of a trio of criminal brothers who have been terrorising the 1880s outback. When Charlie and his younger brother, Mike, are apprehended, police captain Stanley (Ray Winstone) makes him a proposition: find and kill his psychopathic older brother, Arthur (Danny Huston), who is still on the run, or see Mike hang. The Proposition is everything one would expect from the cinematic coupling of John Hillcoat – whose directing credits include the 2009 film adaption of Cormac McCarthy’s The Road and the bleak prison drama Ghosts of the Civil Dead (1988) – and singer Nick Cave, who penned the script. A visceral gothic shoot ’em up, populated by a cast of nightmarish characters, the film is effective but at times feels overwrought – not least the plotline involving Stanley’s determination to wipe out the Irish Burns gang as a part of futile effort to ‘civilise’ the sun-blasted outback and make it safe for his delicate English wife (Emily Watson). Red Hill (2010) Director: Patrick Hughes Patrick Hughes’ debut film transplants to modern-day Australia the well-worn trope of the lone man who is the victim of a criminal injustice and returns for revenge. A young police officer (True Blood’s Ryan Kwanten) and his pregnant wife (Claire van der Boom) move to the dying country town of Red Hill. On the cusp of a major storm, word comes through that local man Jimmy Conway (The Chant of Jimmie Blacksmith’s Tommy Lewis), in jail for the murder of his wife and the attempted killing of a policeman, has escaped and is heading to Red Hill. The sheriff (veteran Australian actor Steve Bisley) readies the town’s defences but appears to have more at stake than just protecting the local citizens. A fast-paced action film that’s as predictable as it is enjoyable, Red Hill makes the most of its location, around the Victorian alpine town of Omeo. It also has a great part-Morricone, part-Australian pub rock soundtrack. The Outlaw Michael Howe (2013) Director: Brendan Cowell This made for television film is based on the real-life story of British convict turned bushranger Michael Howe, active in early 19th-century Van Diemen’s Land, as the island of Tasmania was then known. Howe helped lead a criminal gang that was so successful that the local governor declared martial law in an effort to suppress them. Colonial authorities were also threatened by Howe taking an Indigenous woman as a lover, with the potential this had for encouraging a dangerous alliance between dispossessed blacks and whites. The film boasts good performances by Damon Herriman – who will be familiar to international audiences from his recent turn as Charles Manson in Quentin Tarantino’s Once upon a Time… in Hollywood (2019) – as Howe, and Rarriwuy Hick as his lover, whose local knowledge of the land is vital to the gang’s survival. Actor Brendan Cowell’s directorial debut, the film adeptly depicts the tragic relationship between white settlers and the island’s original Indigenous inhabitants, complemented by beautiful cinematography by Simon Harding. The Legend of Ben Hall (2016) Director: Matthew Holmes Australian director Matthew Holmes depicts real life 19th-century bushranger Ben Hall (Jack Martin) as an essentially decent man pushed into a life of crime by brutal colonial authorities. The story deals with the final stages of Hall’s criminal career up to his death at the hands of police in 1865. Narrowly escaping a police ambush, Hall hatches a plan to go to America, in the midst of its own gold rush. Working with a flamboyant, hot-headed Canadian, Gilbert (Jamie Coffa), and an inexperienced younger man, Lee (John Dunn) – the lens through which the audience see just how tough the life of a bushranger is – the trio stage a series of robberies to raise funds for their escape, as the police close in on them. The Legend of Ben Hall is a fascinating Australian take on the revisionist US western’s trope of the bandit who knows the world is changing around him but can’t escape his old ways. Sweet Country (2017) Director: Warwick Thornton In 1920s outback Northern Territory, an Indigenous man, Sam (Hamilton Morris), works for a well-meaning but naive religious farmer (Sam Neill). When a new neighbour, a returned First World War soldier, rapes Sam’s wife and threatens to kill him, Sam kills the man in self-defence. Fleeing with his wife, he’s closely pursued by a posse headed by the local head of police (a very grizzled Bryan Brown). Director Warwick Thornton’s first film, Samson and Delilah (2009), about a young Indigenous couple who flee their remote government-controlled community for what they hope will be a better life in the city, displayed a light touch that belied the complex themes. Sweet Country is the same. Not a lot is said by any of the characters, and parts of the film have a dream-like feel. But it packs a lot in, including a nuanced and layered take on white Australia’s horrific treatment of Indigenous people, their sexual exploitation, the loneliness of outback life and the trauma of those returning from war. The Nightingale (2018) Director: Jennifer Kent Irish-Italian actor Aisling Franciosi gives a stunning performance as Clare, a young Irish convict who relentlessly pursues a British officer, Hawkins (Sam Claflin), through the wilderness of Van Diemen’s Land, after he and his soldier viciously rape her and murder her husband and child. In the process, she forms a shaky alliance with a young Indigenous man, Billy (Baykali Ganambarr), escaping his own trauma at white hands. Jennifer Kent’s big screen debut, The Babadook (2014), plugged into the cultural zeitgeist with its depiction of the paranoia experienced by a single mother who believes that fictional character from a children’s book has come to life in their home. The Nightingale is a very different film, a rape revenge western that depicts the sexual and racial violence of early colonial Australia in unflinchingly detail.
6420	dbpedia	2	16	https://shop.umbrellaent.com.au/products/robbery-under-arms-mini-series-classic-australian-stories	en	Robbery Under Arms (Mini Series) (Classic Australian Stories)	http://shop.umbrellaent.com.au/cdn/shop/products/3977.jpg?v=1619521907	http://shop.umbrellaent.com.au/cdn/shop/products/3977.jpg?v=1619521907	[ "https://shop.umbrellaent.com.au/cdn/shop/products/3977_{width}x.jpg?v=1619521907", "https://shop.umbrellaent.com.au/cdn/shop/products/3977_800x.jpg?v=1619521907", "https://shop.umbrellaent.com.au/cdn/shop/products/3977_130x.jpg?v=1619521907", "https://shop.umbrellaent.com.au/cdn/shop/files/shipping_60x.png?v=1613759354", "https://shop.umbrellaent.com.au/cdn/shop/files/shipping_60x_2ce9d01f-3657-434b-b311-b31fccda69e4_60x.webp?v=1678146643", "https://shop.umbrellaent.com.au/cdn/shop/files/shipping_60x_2ce9d01f-3657-434b-b311-b31fccda69e4_60x.webp?v=1678146643", "https://shop.umbrellaent.com.au/cdn/shop/files/returns_60x.png?v=1613759354" ]	[]	[]	[ "" ]	null	[]	null	Acclaimed actor Sam Neill (Death in Brunswick, Jurassic Park) stars as the suave and enigmatic bushranger, Captain Starlight, in this lavish action adventure tale set in the rugged Australian outback. Joined by bush larrikin, Ben Marston (Ed Devereaux - Skippy), and Bens two adventure-hungry sons(Steven Vidler and Chri	en	//shop.umbrellaent.com.au/cdn/shop/files/UME003_-_Umbrella_Icon_rev_96x96.png?v=1620348710	Umbrella Entertainment	https://shop.umbrellaent.com.au/products/robbery-under-arms-mini-series-classic-australian-stories	Returns and Exchange Should your order arrive damaged or faulty, please contact us immediately on 03 9020 5130 or customerservice@umbrellaent.com.au with your order number to arrange for a replacement, exchange or refund. All exchanges or refunds can only be made within 40 Days of Original Purchase Date. If any item in your order has a cracked case, contact us and we will ship you a replacement case at no extra charge.
6420	dbpedia	1	14	https://shop.umbrellaent.com.au/products/robbery-under-arms-mini-series-classic-australian-stories	en	Robbery Under Arms (Mini Series) (Classic Australian Stories)	http://shop.umbrellaent.com.au/cdn/shop/products/3977.jpg?v=1619521907	http://shop.umbrellaent.com.au/cdn/shop/products/3977.jpg?v=1619521907	[ "https://shop.umbrellaent.com.au/cdn/shop/products/3977_{width}x.jpg?v=1619521907", "https://shop.umbrellaent.com.au/cdn/shop/products/3977_800x.jpg?v=1619521907", "https://shop.umbrellaent.com.au/cdn/shop/products/3977_130x.jpg?v=1619521907", "https://shop.umbrellaent.com.au/cdn/shop/files/shipping_60x.png?v=1613759354", "https://shop.umbrellaent.com.au/cdn/shop/files/shipping_60x_2ce9d01f-3657-434b-b311-b31fccda69e4_60x.webp?v=1678146643", "https://shop.umbrellaent.com.au/cdn/shop/files/shipping_60x_2ce9d01f-3657-434b-b311-b31fccda69e4_60x.webp?v=1678146643", "https://shop.umbrellaent.com.au/cdn/shop/files/returns_60x.png?v=1613759354" ]	[]	[]	[ "" ]	null	[]	null	Acclaimed actor Sam Neill (Death in Brunswick, Jurassic Park) stars as the suave and enigmatic bushranger, Captain Starlight, in this lavish action adventure tale set in the rugged Australian outback. Joined by bush larrikin, Ben Marston (Ed Devereaux - Skippy), and Bens two adventure-hungry sons(Steven Vidler and Chri	en	//shop.umbrellaent.com.au/cdn/shop/files/UME003_-_Umbrella_Icon_rev_96x96.png?v=1620348710	Umbrella Entertainment	https://shop.umbrellaent.com.au/products/robbery-under-arms-mini-series-classic-australian-stories	Returns and Exchange Should your order arrive damaged or faulty, please contact us immediately on 03 9020 5130 or customerservice@umbrellaent.com.au with your order number to arrange for a replacement, exchange or refund. All exchanges or refunds can only be made within 40 Days of Original Purchase Date. If any item in your order has a cracked case, contact us and we will ship you a replacement case at no extra charge.
6420	dbpedia	1	1	https://www.imdb.com/title/tt0050904/	en	Die Farm der Verfluchten (1957)	https://m.media-amazon.c…Mjpg_UX1000_.jpg	https://m.media-amazon.c…Mjpg_UX1000_.jpg	[ "https://fls-na.amazon.com/1/batch/1/OP/A1EVAM02EL8SFB:135-3256395-3747207:Y62F10ADHXWDR5VPPX55$uedata=s:%2Fuedata%2Fuedata%3Fstaticb%26id%3DY62F10ADHXWDR5VPPX55:0", "https://m.media-amazon.com/images/M/MV5BODMzNzQ5MTIzOF5BMl5BanBnXkFtZTgwNjY2MTM0OTE@._V1_QL75_UY281_CR11,0,190,281_.jpg", "https://m.media-amazon.com/images/M/MV5BYTFlZmIyMWQtZTJkYi00OWZlLWE2YzYtYTU4MDA3MTRhNjY4XkEyXkFqcGc@._V1_QL75_UX271_.jpg", "https://m.media-amazon.com/images/M/MV5BMmUwYzQxY2UtZDZmMC00YjI2LWI1NDMtNDE5YTE5Y2E4ZTkwXkEyXkFqcGc@._V1_QL75_UX271_.jpg", "https://m.media-amazon.com/images/M/MV5BMmZmNmFjNGYtNmUxOC00N2NhLWE2OWUtZDVhOTMxMjAwMzE3XkEyXkFqcGc@._V1_QL75_UX271_.jpg", "https://m.media-amazon.com/images/M/MV5BZTAxODQ1MjQtMTI4OC00MzQ0LTk1NTktMjc3OGY3MjI5YTQ3XkEyXkFqcGc@._V1_QL75_UX271_.jpg", 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"https://m.media-amazon.com/images/M/MV5BODMzNzQ5MTIzOF5BMl5BanBnXkFtZTgwNjY2MTM0OTE@._V1_QL75_UY133_CR5,0,90,133_.jpg", "https://m.media-amazon.com/images/G/01/IMDb/Mobile/DesktopQRCode-png.png", "https://fls-na.amazon.com/1/batch/1/OP/A1EVAM02EL8SFB:135-3256395-3747207:Y62F10ADHXWDR5VPPX55$uedata=s:%2Fuedata%2Fuedata%3Fnoscript%26id%3DY62F10ADHXWDR5VPPX55:0" ]	[]	[]	[ "Reviews", "Showtimes", "DVDs", "Photos", "User Ratings", "Synopsis", "Trailers", "Credits" ]	null	[]	1957-12-26T00:00:00	Die Farm der Verfluchten: Directed by Jack Lee. With Peter Finch, Ronald Lewis, David McCallum, Maureen Swanson. Two brothers join their father in Captain Starlight's bush ranger gang in 19th Century Australia.	en	https://m.media-amazon.c…B1582158068_.png	IMDb	https://www.imdb.com/title/tt0050904/	Awkward in fitting English actors into a faraway setting, and yes, over-coloured in Technicolor: so this English director caught some of the paradoxes of Australia, the raw young country less than 100 years settled in Boldrewood's yarn. Three things Jack Lee (who died only c2003) understood and expressed more fully than perhaps anyone, English or Australian. First, the wild irresponsibility of the bushranger released from society's constraints (Peter Finch's manic side caught this brilliantly). Second, the special eternal power of the ancient bush country (in this case, the Flinders Ranges, also the setting for 2002's The Tracker). Third, however briefly seen, the deep calm and perfect attunement to his country of the native man Warrigal, so that in this raw place, it is only the dispossessed who has ownership - a nod here to the real-life horseman Johnny Cadell, a screen natural.
6420	dbpedia	1	55	https://www.wikiwand.com/en/Robbery_Under_Arms_(1985_film)	en	Robbery Under Arms (1985 film)	https://wikiwandv2-19431…s/icon-32x32.png	https://wikiwandv2-19431…s/icon-32x32.png	[ "https://upload.wikimedia.org/wikipedia/en/e/e2/Robbery_Under_Arms_Soundtrack_Album_cover.jpg" ]	[]	[]	[ "" ]	null	[]	null	Robbery Under Arms is a 1985 Australian action adventure film starring Sam Neill as bushranger Captain Starlight.	en	https://wikiwandv2-19431…icon-180x180.png	Wikiwand	https://www.wikiwand.com/en/Robbery_Under_Arms_(1985_film)	1985 Australian film / From Wikipedia, the free encyclopedia Dear Wikiwand AI, let's keep it short by simply answering these key questions: Can you list the top facts and stats about Robbery Under Arms (1985 film)? Summarize this article for a 10 year old SHOW ALL QUESTIONS
6420	dbpedia	0	19	https://sigedon.com/shop/vintage-movie-posters/movie-posters/action/1957-robbery-under-arms-original-movie-poster-uk-british-film-jack-lee-serbian/	en	1957 Robbery Under Arms Original Movie Poster UK British Film Jack Lee Serbian	https://sigedon.com/wp-c…182497598061.jpg	https://sigedon.com/wp-c…182497598061.jpg	[ "https://sigedon.com/wp-content/uploads/2020/07/sigedon-logo5.png", "https://sigedon.com/wp-content/uploads/2020/07/sigedon-logo5.png", "https://sigedon.com/wp-content/uploads/2020/07/sigedon-logo5.png", "https://sigedon.com/wp-content/uploads/2020/07/sigedon-logo5.png", "https://sigedon.com/wp-content/uploads/imported/1/1957-Robbery-Under-Arms-Original-Movie-Poster-UK-British-Film-Jack-Lee-Serbian-182497598061-1200x1558.jpg", "https://sigedon.com/wp-content/uploads/imported/8/1971-Original-Movie-Poster-Fight-in-Vain-Pierre-Lambert-Brice-French-Action-YU-401235155138-275x275.jpg", "https://sigedon.com/wp-content/uploads/imported/1/1969-Original-Movie-Poster-This-Man-Must-Die-Claude-Chabrol-Blake-French-YU-401235153721-275x275.jpg", "https://sigedon.com/wp-content/uploads/imported/3/1955-Original-Movie-Poster-To-Hell-and-Back-Do-pakla-i-nazad-Audie-Murphy-Hibbs-182332476923-275x275.jpg", "https://sigedon.com/wp-content/uploads/imported/9/1983-Original-Movie-Poster-Dragon-Force-Michael-Mak-Kung-Fu-Action-400952564669-275x275.jpg", "https://sigedon.com/wp-content/uploads/2015/07/IMG_7321-275x275.jpg", "https://sigedon.com/wp-content/uploads/2020/07/seals-5-1000x138-1.png", "https://sigedon.com/wp-content/uploads/2020/07/sigedon-logo5.png", "https://sigedon.com/wp-content/uploads/2020/07/seals-5-1000x138-1-35.png", "https://www.facebook.com/tr?id=493006588133422&ev=PageView&noscript=1" ]	[]	[]	[ "" ]	null	[]	2017-03-21T10:05:28+00:00	Original Movie Poster Serbian edition Robbery Under Arms Director: Jack Lee Starring: Peter Finch, Ronald Lewis, Laurence Naismith Year:	en	https://sigedon.com/wp-c…o-krug-32x32.png	Sigedon	https://sigedon.com/shop/vintage-movie-posters/movie-posters/action/1957-robbery-under-arms-original-movie-poster-uk-british-film-jack-lee-serbian/	Shipping method: All items are shipped via registered priority airmail. In other words, you will receive a tracking number with whom you can trace the book’s location at any given time. In case you want another carrier like UPS, DHL or other, please notify before payment. Packaging: Books - shipped in reinforced cardboard packages and plastic foil to protect the package from moisture damage. Posters, maps, prints, drawings and similar - strong cardboard tubes. Everything else - unless otherwise specified, items will be sent in envelopes reinforced on one side with cardboard and foil. Combined Shipping: It is possible to combine purchases. Since we don’t charge shipping for books, you don’t need to make request a separate invoice. Please note: If you have ordered more than one item from a different category, please wait for the combined shipping invoice. Shipping time: We send all items within 24h of received payment received on a working day. In case we are on holidays (state, religious, personal or other) the item will be shipped the first next working day. Post offices sometimes need up to 48h to process the tracking number. Usually all tracking numbers will be visible by then. Delivery time: Please note, delays due to customs office inspections are not included in the estimate. Europe(incl Russia): 5-20 days. North America: 15-30 days. USA: 20-50 days. South & Central America: 15-45 days. Australia & Oceania: 20-50 days. Africa: 15-40 days.
6420	dbpedia	2	20	https://www.wikiwand.com/en/Robbery_Under_Arms_(1920_film)	en	Robbery Under Arms (1920 film)	https://wikiwandv2-19431…s/icon-32x32.png	https://wikiwandv2-19431…s/icon-32x32.png	[]	[]	[]	[ "" ]	null	[]	null	Robbery Under Arms is a 1920 Australian film directed by Kenneth Brampton and financed by mining magnate Pearson Tewksbury. It is an early example of the "Meat pie Western".	en	https://wikiwandv2-19431…icon-180x180.png	Wikiwand	https://www.wikiwand.com/en/Robbery_Under_Arms_(1920_film)	1920 film / From Wikipedia, the free encyclopedia Dear Wikiwand AI, let's keep it short by simply answering these key questions: Can you list the top facts and stats about Robbery Under Arms (1920 film)? Summarize this article for a 10 year old SHOW ALL QUESTIONS
6420	dbpedia	0	4	https://www.rottentomatoes.com/m/robbery_under_arms	en	Robbery Under Arms	https://resizing.flixste…0150_p_v7_aa.jpg	https://resizing.flixste…0150_p_v7_aa.jpg	[ "https://images.fandango.com/cms/assets/97c33f00-313f-11ee-9aaf-6762c75465cf--newsletter.png", "https://images.fandango.com/cms/assets/97c33f00-313f-11ee-9aaf-6762c75465cf--newsletter.png", "https://www.rottentomatoes.com/assets/pizza-pie/images/rtlogo.9b892cff3fd.png", "https://images.fandango.com/cms/assets/266533e0-7afb-11ed-83f2-4f600722b564--privacyoptions.svg", "https://images.fandango.com/cms/assets/266533e0-7afb-11ed-83f2-4f600722b564--privacyoptions.svg" ]	[]	[]	[ "" ]	null	[]	null	Two brothers (Steven Vidler, Christopher Cummins) join their father in Captain Starlight's (Sam Neill) bushranger gang in 19th-century Australia.	en	https://www.rottentomatoes.com/assets/pizza-pie/images/favicon.ico	Rotten Tomatoes	https://www.rottentomatoes.com/m/robbery_under_arms	Let's keep in touch! > Sign up for the Rotten Tomatoes newsletter to get weekly updates on: Upcoming Movies and TV shows Rotten Tomatoes Podcast Media News + More Sign me up No thanks
6420	dbpedia	1	34	https://www.goodreads.com/book/show/1759893.Robbery_under_Arms_a_story_of_life_and_adventure_in_the_bush_and_in_the_Australian_goldfields	en	Robbery under Arms; a story of life and adventure in the bush and in the Australian goldfields	https://s.gr-assets.com/…93237a214a0e.png	https://s.gr-assets.com/…93237a214a0e.png	[ "https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/siteheaderbannerimages/1722529892i/425.jpg", "https://dryofg8nmyqjw.cloudfront.net/images/no-cover.png", "https://dryofg8nmyqjw.cloudfront.net/images/no-cover.png", "https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/nophoto/user/u_700x933.png", "https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/users/1570612781i/5816707._UY200_CR33,0,200,200_.jpg", "https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/users/1495249339i/21715891._UY200_CR0,0,200,200_.jpg", "https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/users/1713414949i/2266055._UX200_CR0,0,200,200_.jpg", "https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/users/1711815179i/117162960._UX200_CR0,4,200,200_.jpg", "https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/users/1719192712i/52931852._UX200_CR0,32,200,200_.jpg", "https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/users/1554199377i/73933960._UY200_CR33,0,200,200_.jpg", "https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/users/1690474729i/136792086._UY200_CR23,0,200,200_.jpg", "https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/users/1544395177i/900147.jpg", "https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/users/1383593740i/15745392._UX200_CR0,6,200,200_.jpg", "https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/users/1379746887i/4225979.jpg", "https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/users/1229828252i/1758411.jpg", "https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/users/1343204615i/11268170.jpg", "https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/users/1302168828i/3211081._UY200_CR33,0,200,200_.jpg", "https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/users/1601528235i/121867244._UX200_CR0,15,200,200_.jpg", "https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/users/1606988186i/106183790._UY200_CR33,0,200,200_.jpg", "https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/users/1616315917i/132195778._UX200_CR0,33,200,200_.jpg", "https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/users/1328655896i/7658905.jpg", "https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/users/1384392278i/25619235.jpg", "https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/users/1589127448i/113582366._UX200_CR0,6,200,200_.jpg", "https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/users/1601231074i/25312316._UX200_CR0,0,200,200_.jpg", "https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/users/1644016261i/124945792._UX200_CR0,33,200,200_.jpg", "https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/users/1680052777i/138108754._UX200_CR0,0,200,200_.jpg", "https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/users/1459996774i/38248002._UX200_CR0,0,200,200_.jpg", "https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/users/1469031527i/11104899._UY200_CR33,0,200,200_.jpg", "https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/users/1469031527i/11104899._UY200_CR33,0,200,200_.jpg", "https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/users/1469031527i/11104899._UY200_CR33,0,200,200_.jpg", "https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/users/1586828832i/4321532._UY200_CR33,0,200,200_.jpg", "https://dryofg8nmyqjw.cloudfront.net/images/badge-apple_app_store@2x.png", "https://dryofg8nmyqjw.cloudfront.net/images/badge-google_play_store@2x.png" ]	[]	[]	[ "" ]	null	[ "Rolf Boldrewood" ]	null	Read 47 reviews from the world’s largest community for readers. This is a reproduction of the original artefact. Generally these books are created from car…	en	/favicon.ico	Goodreads	https://www.goodreads.com/book/show/1759893.Robbery_under_Arms_a_story_of_life_and_adventure_in_the_bush_and_in_the_Australian_goldfields	December 8, 2013 Previous rating 4 stars Going through my bookshelves doing the annual clean up, as you do, I came across my well worn copy of Robbery Under Arms (one of the few novels I will never 'clean out'). I got to thinking, what rating did I give this and did I ever review it. So on here I come, to see a 4 star rating and no review of one of my all time favourite Australian classics. Up it goes to 5 stars, followed by a review. I have read this story from cover to cover 3 times. It is a slow paced story in its essence. The reason for this being that in order to immerse oneself in the good old Australian way of live before the turn of the 20th Century one must enjoy the bush life. Bush rangers, cattle thieves and of course, those upright and tight citizens of colonial times. The description is unlike that of anything you will read today because being written in 1888 the Australia as we know it did not exist. Hence the slow pace. Life was slow then compared to now. This does not make it boring by any stretch of the imagination. Based on the Marston family and their progression from the life of farmers to that of highway men, this story craftily intertwines them with Captain Starlight. When published in the newspapers, in installments, Browne (Bolderwood) had characterised Starlight and Co. to a point where the public thought him and them real. This was due to his first hand experience with bush rangers. It is this real life experience that comes through, grabs you and sucks you into the story to such a level that you can vividly picture settings, characters and plot line or you just damn well want to be there! I am all for this becoming a set text in the classroom once again! November 3, 2018 For a story about bushrangers this sure was boring. Also racist and sexist, even for the time period it was written in. I believe at one point the narrator says that women need to be starved like dogs to appreciate what they have. Also apparently women are only capable of experiencing two emotions while men are much more complex. No thanks. May 30, 2016 My impression of Robbery Under Arms is one of appreciation that such a book exists. Boldrewood (or Browne, as that was his actual name) captures the setting and spirit of colonial Australia during the middle of the 19th Century, as it happened. The book captures the feeling of that remote colony and his writing captures the dialect of a people that worked apart from the Old World to make Australia their home. From there, there is a feeling of kinship that grows from the similarities that exist between the history of the American West and those of this then-distant land. This book is filled with cattle, ranchers, horses, towns, cowboys, ranges and mountains. Had the story been set in Oklahoma the spirit these things would have changed very little. But while the actions that drive this book could have been written by Elmore Leonard or Zane Grey, they weren't. This book, through-and-through, is uniquely Australian. The central theme gives rise to considerations of justice. Does the doling out of punishment that simply fits the crime, regardless of circumstances, truly balance the scales held in the hand of justice? Or are the scales held aloft as a distraction for that other item she holds in her other hand? Society controls punishment and those outside of society have little say in it's application. Thus, mercy is more of a man-made miracle with respect to just punishment and the finger of society forever rests upon the scales. The tone of the book is truly sincere. It's no spoiler to say that the story is told from the first-person perspective of a condemned man and from his narrative the reader grows to understand this man's path towards his fate. The narration is matter-of-fact and deliberately avoids gimmicks such as mystery, suspense, and over-played action. This approach allows the reader to focus on the acts and circumstances of the characters and to better understand the story of the condemned. October 28, 2021 For all his cross doings, Dick Marston will be hanged in a month. Die--die--yes, die; be strung up like a dog, as they say. I'm blessed if ever I did know of a dog being hanged, though, if it comes to that, a shot or a bait generally makes an end of 'em in this country. Ha, ha! Did I laugh? What a rum thing it is that a man should have a laugh in him when he's only got twenty-nine days more to live--a day for every year of my life. Dick has ruined many lives besides his own. There is enough adventure in this book for 10 westerns. In addition to the crimes and getaways, Dick often ruminates on his life. His ruminations are an odd mixture of fatalism, regret, and solipsism. April 2, 2018 To enjoy this book, read a chapter a week. That's about a pleasant pace. Put it down often and really try to imagine the society sights, the sounds, and even the smells. Don't rush it, don't obsess, I've cost myself some sweet dreams by slogging it out. Not that that was my original intention, my mind changed after finding the story content contemptibly familiar. I wish the author had written more about music, how that was back 150 years beyond my imagination. Not the best aussie book I've read, The Amazing Life & Adventures of William Buckley takes that trophy. A novel in the Social Realist style (I reckon). Ironically, it is less realistic for the effort. Depictions of attitudes are rather expressions of platitudes, those lonely souls in the bush who take to drink to escape the boredom rarely reflect upon themselves as they are drinking, as lonely souls in the bush who took to drink to escape boredom. When they drink wouldn't it be sex & violence on their minds? To be clear, the honest effort really does come out of these pages, wildlife and customs, sounds and societies of the gold-fields and such-like are encompassed in the effort by Mr. Boldrewood to describe the totality of his experience. Two major crimes are covered, let me now share these two delightful pieces of Australiana. The first is the theft of 1,000 cattle. This is an approximate number, and the convicts who undertook this act of villainy were captured & convicted by evidence in the form of a white bull. Mr. Boldrewood seems to have a over-balanced view of the crime, tar on all and targets for all. The second crime, is the robbery of the bank. The real equivalent was the Kelly Gang, who first bound all the local police before robbing the bank and perhaps had a few beers at the town's public house before departing. May 1, 2019 Unexpectedly wonderful! I just adored this book about the exploits and fates of a group of bushrangers in New South Wales in mid-nineteenth century Australia. I found the characters, the story, the portrayal of colonial Australia and the language of the time mesmerising. The bulk of the action takes place around 1851 and is narrated by the central character Dick Marston while he is in gaol awaiting death by hanging. From the beginning you know that Dick ends up a condemned man and from there he tells the story of the events that led to that fate. I found the characters to be wonderfully written and they felt real to me. I cared about them and kept hoping against all probability that things would turn out right for them. I was on the edge of my seat the entire time that I read this book, fearing that at any minute Dick, his brother Jim and the leader of the gang of outlaws - Starlight - would meet their fates. I found the ending highly satisfying as well. This book is a wonderful insight into Australia at this time in its history and I highly recommend it. May 28, 2019 "Robbery under arms is a bushranger novel by Thomas Alexander Browne, published under his pseudonym Rolf Boldrewood, It was first published in serialized form by The Sydney Mail between July 1882 and August 1883, then in three volumes in London in 1888. It was abridged into a single volume in 1889 as part of Macmillan's one-volume Colonial Library series and has not been out of print since." (https://en.m.wikipedia.org/wiki/Robbe... 28 May 2019) In this famous Australian novel, a young man, Dick Marston, who has been condemned to hang, writes down the sorry tale of his drift into crime and outlawry. This is a ripping yarn of cattle-duffing (rustling, in American parlance), gaol-breaking, bank robbery, highway robbery, and audacious confidence trickery, leavened with a good deal of Dick's rather monotonous lamentation of the poor choices he has made in his life. Marston's partners in crime are an English gentleman known as Captain Starlight, Starlight's sinister aboriginal servant Warrigal, Dick's decent but haplessly loyal brother Jim, and his reprobate father, a transported Lincolnshire poacher, every single one of them a consummate bushman and horseman. An important challenge, for a novelist constructing a narrative from the point of view of a felon, is to engage the sympathy of normally law-abiding readers, to make the reader's guilty pleasure in audacious crime feel less guilty. Boldrewood's chief protagonists, though outlaws, are constructed according to approved 19th-century norms of masculine virtue: Starlight is every inch a gentleman, by birth and in his conduct; the Marston brothers, though of more humble origins, are presented as young men of thoroughly decent feelings and character. Masculinity is constructed in a very conventional way; courage, fortitude, honour, and chivalry. The notion of chivalry informs all relations, good and bad, between the sexes. Young men may fall in love, but there is nary a whiff of actual sex anywhere in the narrative. The conduct of even the worst of men in the presence of women appears pretty tame: when Moran, Burke, and Daly hold the Whitman women at gunpoint, the boorish Moran at first confines himself to compelling the eldest Miss Whitman to play the piano and sing, while he and his companions drink themselves into a stupor; later when Moran, demanding a dance from Miss Falkland, puts his arm around her, he crosses a line beyond which Boldrewood will not permit him to go, and Jim gallantly rescues her, knocking Moran's head so hard against a wall that he falls down unconscious. While readers may wink at cattle-duffing, gaol-breaking, and tying up bank-clerks and troopers at gunpoint, it is more difficult to deflect the gravity of murder. The survivors of the bounty hunters who have come close to discovering the Marston Gang's life-saving bolt-hole, the Terrible Hollow, are killed in cold blood by Dan Moran (who remains unaware of what he is protecting). Though Starlight and the Marstons are tainted in the eyes of the public by this crime, only Marston senior was actually there. The murder of Sergeant Hawkins is quite a different case. The robbery of the Turon Goldfield escort began with an ambush; many shots were fired and Sergeant Hawkins, who was driving the wagon, was shot dead in the first volley. Dick later rationalizes the killing: "We were all sorry for Sergeant Hawkins, and would have been better pleased if he'd been only wounded like the others. But these sorts of things couldn't be helped. It was the fortune of war; his luck this time, ours next." His justification is that, as outlaws, the gang are at war, and combatants are licensed to kill enemy combatants by whatever means serve that end. I don't buy it. This is cold-blooded murder, and grievous bodily harm to the troopers who weren't killed. Nobody was forced to fire on the escort. I know nothing of the revisions which were made between the original serialized Robbery under Arms and the single-volume 1889 edition, but I'd place a small bet that the scene at the Turon Goldfields (which is never really explained), in which Moran fixes his gaze on the trooper (a sergeant) driving the escort wagon, was added later to suggest to the reader that Hawkins' murderer is Moran: "As for Moran, we could see him fix his eyes upon the sergeant who was driving, and look at him as if he could look right through him. He never took his eyes off him the whole time, but glared at him like a maniac". Thus the Marstons and Captain Starlight are exculpated in the mind of the reader, and they remain acceptably wholesome characters for whom allowances may be made. High adventure has been an almost exclusively masculine affair in English-language fiction until quite recently, so it is to Boldrewood's credit that there are so many women in the novel, some of them quite strong and active characters. Aileen Marston, sister of Dick and Jim, works the family farm, rides well, knows her own mind, and is capable of making bold decisions; while I suspect some feminists will deplore the fate that the novel assigns to her, it is plausibly a fate of her own choosing, given her background and the times, and in no sense an emblematic punishment for presumptuous agency. Women within the Marston circle, with the single exception of Kate (explicitly presented as a bad lot), have hearts of gold and are unfailingly loyal to their menfolk. When men and women relax together, they mostly sing around the piano and make jolly banter. I suspect that English readers of Robbery under Arms would have found these colonial women attractively free of airs and pretense. The novel's single indigenous character is not sympathetically presented, always seething with ill-concealed hostility to the Marston brothers. His name, Warrigal, is a Dharuk (Eora) word meaning "wild dingo", but which in Australian English may be loosely applied to wild horses, wild dogs, wild men, or even uncultivated plants (Tetragonia tetragonoides a.k.a. warrigal greens). The parallel between Starlight's servant Warrigal and Marston senior's dog Crib is not easily missed; both are reckoned to have a more than common degree of intelligence and initiative ("sagacity" was once a popular word for such qualities in an animal), both suffer occasional harsh beatings at the hands of their master, and both are loyal to the point of adoration. I don't think I'm stretching a point if I state that Warrigal is presented as an intelligent and useful working animal, like Crib. Apart from Warrigal, Australian indigenous people exist in the novel only as trackers assisting the police. Boldrewood was a man of his time. The adventures and escapes of the Marston Gang make very entertaining reading, and Dick Marston's narrative voice, while sometimes a little quaint, carries the tale along well. The gentleman highwayman may seem a bit of a cliché, but perhaps it wasn't so when this was written. It is no surprise that Robbery under Arms has never been out of print. It's a thoroughly enjoyable adventure story with a range of well-drawn bush characters, and town ones too. If it's a bit operatic in places, I won't knock it for that. If you're looking for a cracking good adventure story, this is hard to beat. May 19, 2014 I have been travelling solo the last few days and took along this CD audio abridged edition for the long 7 hour drive to Albury NSW. What a treat this turned out to be and for a bit of serendipity the story is set around the very area that I travelled and then stayed. The Snowy Mountains provides beautiful scenery with its stark and rocky landscape and I could imagine Captain Starlight and his bushrangers riding through the hills on their many adventures and escapades. Actor John Stanton provides the narration and delivers a very lively rendition of this classic Australian story. August 16, 2014 This is a beaut Aussie tale of bold, bad bushrangers which reads surprisingly well for its age. See http://anzlitlovers.wordpress.com/200... February 4, 2015 A great work of Australian writing. Filled with adventure and is also a moral story. April 23, 2023 I really enjoyed this old-fashioned tale set in the mid-1800s in colonial Australia with adventures in bushranging and goldmining. The story explores themes of family, pursuit of adventure versus the 'settled' life, and the nature of justice in a surprisingly sophisticated manner. I really liked the way the book captured the Australian landscape, everyday life, as well as the customs and language of people at that time, noting that it was first published in the 1880's. The book is over 400 pages, and times I found it a little slow, particularly some of the introspection of the protagonist. However, there was real value in spending time working through his musings and reflections on choices rather than just focusing on the 'what happens next' elements of the story. The characters were well developed, credible and engaging and the adventures and action parts of the story were handled well, and not 'over-dramatised'. The simple language and authentic tone made this an easy and enjoyable read. April 2, 2021 This is a long story told by a protagonist on death row who deserved to be where he was. The story is deliberately rough in its language, and is complex, human and credible. The characterisation is convincing with variety and intrigue, with few stereotypes, which that era was understandably prone to. I learnt a fair bit about early Australian (European) life. I note one reviewer disliked "sexist" passages, however, if the story, told by a dark character in Victorian times, had displayed modern egalitarian views it would have totally lacked credibility. Genteel readers beware. The end was relatively long giving the author plenty of time to blow it and spoil the book, but he didn't, and produced an ending that stirred me at least. December 4, 2020 I love this book. I read it many years ago, and thinking about it still fills me with warmth, as the characters are so enjoyable to read. Although, it is sometimes a dark story, set in a bleak Australian world, where cattle rustling is a part of everyday life, and so has many obvious dangers attached. A very gripping book. November 29, 2022 Told in a colloquial and Australian manner, which perfectly suited the time and theme of the story, giving a very authentic feel. The tale was gripping and exciting from start to finish, driven by a strong plot. I found myself becoming attached to the main characters, and while the final shootout was occurring my heart was in my throat - definitely the sign of a great book. May 21, 2024 This is classic Australian literature in its finest form. Follows the life of Dick Morton, captain starlight, Jim Morton and their father Ben. Written around the 1860s, it’s stylist typical of the period. In spite of its age, the story is riveting and reflective of the era. Deathly a worthwhile read. June 22, 2020 Well, that was a long, slow, gruelling read. A classic of Australian literature, yes, but slow going, and written in an almost incomprehensible dialect. I ended up learning a lot about Australian dialects and bushrangers' cant in the process. August 23, 2021 What a fantastic book!!! A fast paced story of Bushrangers - stealing, holding up coaches, etc. And set in the local area where I live. Which made it all the more interesting to read. Highly recommended. July 8, 2022 Enjoyed the book and its tales of bushrangers in the late 1800's, but the book was long, long, long with repetitive tales of close-calls with the police and subsequent escapes to their hideaway valley. It could have done with some editing to trim it down. July 13, 2023 Loved the sweeping saga of the writing. Language is dated and some references would be unacceptable today. The redemptive tones are interesting as are the enduring bonds of family and friendship. Recommended for those who like classics. Reminded me of LORNA DOONE. December 10, 2021 Don't think this is so dated that it's not worth reading. Much of formative Australia is on show. It's well-written and introspective. Much worthwhile here on the Australian character. December 10, 2023 This was a very long read, and I almost gave up. If you are struggling, it is worth remembering this was originally printed a chapter at a time, so it was helpful to read at chapter increments July 21, 2024 True to form. Cowboy culture down under and a good story to boot. September 8, 2020 Robbery Under Arms by Rolf Boldrewood At the young age of 29 Dick Marston is sitting in Sydney jail 29 days away from being hung for “robbery under arms” and “bush ranging”, for holding up a convoy carrying bullion from the goldfields during which a policeman is killed. Books have helped him come to terms with his imprisonment, but they have also brought home to him the life he could have had if he had not ended up living a life of crime. So he decides to write an account of his life because “maybe it’ll save some other young chap from pulling back like a colt when he’s first roped, , setting himself against everything in the way of proper breaking, making a fool of himself and generally choking himself down as I have done.” Originally published in 1888 in serial form the book is a real page turner, richly evoking pioneer Australian life. Dick’s father, Ben Marston, had been transported to Australia for poaching but once he had been released from servitude he obtained some land in the bush of New South Wales, built a hut by a creek for his wife Norah and their growing family and began to farm cattle. Dick is the oldest and he is joined by a brother Jim, two years later and a sister Aillen four years later. In deference to his wife’s Roman Catholicism ben allows her to raise Aileen as a Catholic while the two boys are raised Protestant like their father. By the time they are teenagers the boys have become stockmen running the farm during their father’s frequent long absences. They did receive six years of education because the publican in the nearest village hired a teacher for his six children and invited all the other local children to participate but this ends when the teacher dies and is not replaced. The sons sense that people pity them for having the father they do even though they don’t really understand why, but they do begin to question the origin of some of the cattle their father brings with him on his visits home. What makes this book so enthralling is that as Dick grows up there are so many points when a different choice would have kept him on the straight and narrow or would have enabled him to get back onto an honest path. Dick realizes that his father must be a rustler, but his father does not pull him into his criminal business. It’s more that Dick wants to connect with his father, to know him and his world and so, reluctantly at first, his father takes him to the secret valley where he and the gang hide stolen cattle and horses and re-brand them before driving them to distant markets for sale. That initial experience is exhilarating. They make camp in a cave and their father provides “the best meal I’ve ever tasted since I was born.” But now Dick looks back bitterly at this as the turning point when he turned away from working to achieve stability and raise a family instead of going after easy money and a good time. He also told himself in the beginning that he was just helping his father out temporarily, that “I could draw back in time, just after I tackle this job.” It is in the secret valley that he first meets” Captain Starlight”, the charismatic leader of the rustlers. The captain urges the boys not to follow their father but to go back home and lead an honest life before it is too late. Captain Starlight is just one of the characters in the novel who seek to put the boys back on an honest track. From time to time they get real jobs as sheep shearers and stockmen and when they work in the gold fields, they make good money. But their outlaw past is always about to catch up with them or at least they believe it is. Dick and Jim dream of leaving Australia and making a new start far away, but it never quite works out despite the best efforts of people who know the good side of them and would do anything to save them. This book is a real page turner. The author, Ralph Boldrewood (real name Thomas Alexander Browne), came to Australia as a child and grew up to run a large farm in Queensland for several years. He worked in the gold fields as a cop and then a commissioner. His love of the outback lifestyle and the untamed landscape, and his years in the goldfields is evident in his writing which encompassed short stories, memoirs and over 20 serialized novels. He was writing at a time when there was an enormous appetite among readers for books that celebrated bush life and the strength and stoicism of the people who were exploiting what Australia had to offer. His descriptions of the landscape and the people draw you in, the characters like Captain Starlight, sister Ailene who never gave up on them, half-caste Warrigal and their wiry determined mother make this a fascinating book even before you experience their dramatic exploits and narrow, mostly, escapes. A very good read! December 14, 2018 It isn't spectacular, but I enjoyed reading it. A fairly simple tale of a rural boy going down the path of a criminal, but who finds redemption in the end (at great cost). The writing itself is also simple, but it fits the setting and the characters involved, and it's fun finding old Australian slang this many centuries later. The book has a bit of a problem with its morality, I think - specifically, when it wants to apply it. It dances between castigating the main characters (the Marston brothers, their father, and the leader of their gang of bushrangers, Starlight) and singing their praises. They're criminals, but they don't do the really bad stuff. The newspapers praise how well-mannered they are after having killed policemen in shootouts, and there's a running theme of 'playing fair' with the police with the implication that it makes it more above board. The book also becomes ambivalent about the cause of their criminal downfall - whether they were forced into it by obligation to friends and family, whether they had a choice at every step and made the wrong one, or whether it was inherently built into them to become rough types or not. I also found the story of the protagonist's brother, Jim Marston, pretty frustrating. He is essentially used as the punching bag for the story to punish the protagonist's more impulsive actions, and is dragged along and has his life destroyed, each time essentially in reaction to Dick's own choices. It ended up feeling contrived and and cruel, but that may have been the point. This entire review has been hidden because of spoilers. November 23, 2012 This is a deceptively small volume, hardy and ideal to take travelling, very much in keeping with its subject matter. The style may seem long-winded to the modern reader, and it is definitely a product of its time. Thomas Wood's introduction picks up on some of its shortcomings, chiefly the author's tendency to moralise through his protagonist, but that strangely provides another point of interest: the study of a man who chooses a path he knows to be wrong, and self-defeating. In fact the author captures very well the inconsistencies that exist within our human nature, the inner conflicts that we deal with either by suppression or distraction, transference or projection or a myriad of other defences, and rarely find resolution for. And this is something he applies across the cast of characters. Noone's goodness guarantees their happiness, and noone's moral failings guarantee their downfall. Life, as it is protrayed in these pages, is difficult and complicated, full of choice but also strangely constricted too. So it is a book that is hard, compelling and enjoyable that raises many questions. It would make an excellent film too, if done well. I have got a lot more out of it than I expected and I hope it travels widely and gives enjoyment and food for thought for many more readers. November 23, 2012 This is a deceptively small volume, hardy and ideal to take travelling, very much in keeping with its subject matter. The style may seem long-winded to the modern reader, and it is definitely a product of its time. Thomas Wood's introduction picks up on some of its shortcomings, chiefly the author's tendency to moralise through his protagonist, but that strangely provides another point of interest: the study of a man who chooses a path he knows to be wrong, and self-defeating. In fact the author captures very well the inconsistencies that exist within our human nature, the inner conflicts that we deal with either by suppression or distraction, transference or projection or a myriad of other defences, and rarely find resolution for. And this is something he applies across the cast of characters. Noone's goodness guarantees their happiness, and noone's moral failings guarantee their downfall. Life, as it is protrayed in these pages, is difficult and complicated, full of choice but also strangely constricted too. So it is a book that is hard, compelling and enjoyable that raises many questions. It would make an excellent film too, if done well. I have got a lot more out of it than I expected and I hope it travels widely and gives enjoyment and food for thought for many more readers. November 23, 2012 This is a deceptively small volume, hardy and ideal to take travelling, very much in keeping with its subject matter. The style may seem long-winded to the modern reader, and it is definitely a product of its time. Thomas Wood's introduction picks up on some of its shortcomings, chiefly the author's tendency to moralise through his protagonist, but that strangely provides another point of interest: the study of a man who chooses a path he knows to be wrong, and self-defeating. In fact the author captures very well the inconsistencies that exist within our human nature, the inner conflicts that we deal with either by suppression or distraction, transference or projection or a myriad of other defences, and rarely find resolution for. And this is something he applies across the cast of characters. Noone's goodness guarantees their happiness, and noone's moral failings guarantee their downfall. Life, as it is protrayed in these pages, is difficult and complicated, full of choice but also strangely constricted too. So it is a book that is hard, compelling and enjoyable that raises many questions. It would make an excellent film too, if done well. I have got a lot more out of it than I expected and I hope it travels widely and gives enjoyment and food for thought for many more readers.
6420	dbpedia	0	54	https://mlpp.pressbooks.pub/writingsuccess/chapter/2-7-misplaced-and-dangling-modifiers/	en	2.7 Misplaced and Dangling Modifiers – Writing for Success	https://mlpp.pressbooks.…avicon-32x32.png	https://mlpp.pressbooks.…avicon-32x32.png	[ "https://mlpp.pressbooks.pub/app/uploads/2017/02/cropped-block-and-wordmark-color-new.png", "https://mlpp.pressbooks.pub/app/themes/pressbooks-book/packages/buckram/assets/images/cc-by-nc.svg", "https://mlpp.pressbooks.pub/app/themes/pressbooks-book/assets/images/yt_icon_mono_dark.png" ]	[]	[]	[ "" ]	null	[ "University of Minnesota Libraries Publishing" ]	2015-10-27T00:00:00		en	https://mlpp.pressbooks.…e-touch-icon.png		https://mlpp.pressbooks.pub/writingsuccess/chapter/2-7-misplaced-and-dangling-modifiers/	Look for an -ing modifier at the beginning of your sentence or another modifying phrase: Painting for three hours at night, the kitchen was finally finished by Maggie. (Painting is the -ing modifier.) Make sure the modifier and noun go together logically. If they do not, it is very likely you have a dangling modifier. After identifying the dangling modifier, rewrite the sentence. Painting for three hours at night, Maggie finally finished the kitchen.
6420	dbpedia	1	18	https://en.wikisource.org/wiki/Robbery_Under_Arms	en	Robbery Under Arms	https://en.wikisource.org/static/favicon/wikisource.ico	https://en.wikisource.org/static/favicon/wikisource.ico	[ "https://upload.wikimedia.org/wikipedia/commons/thumb/8/81/Wikimedia-logo.svg/18px-Wikimedia-logo.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/6/62/PD-icon.svg/48px-PD-icon.svg.png", "https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1", "https://en.wikisource.org/static/images/footer/wikimedia-button.svg", "https://en.wikisource.org/static/images/footer/poweredby_mediawiki.svg" ]	[]	[]	[ "" ]	null	[]	null		en	/static/favicon/wikisource.ico		https://en.wikisource.org/wiki/Robbery_Under_Arms	Robbery Under Arms is a classic Australian novel by Rolf Boldrewood (a pseudonym for Thomas Alexander Browne). It was first published in serialised form by the Sydney Mail between July 1882 and August 1883, then in three volumes in London in 1888. It was edited into a single volume in 1889 as part of Macmillan's Colonial Library series and has not been out of print since. It is considered to be one of the greatest Australian colonial novels, along with Marcus Clarke's For the Term of his Natural Life, and has inspired numerous adaptations in film, television and theatre. Writing in the first person, the narrator Dick Marston tells the story of his life and loves and his association with the notorious bushranger Captain Starlight, a renegade from a noble English family. Set in the bush and goldfields of Australia in the 1850s, Starlight's gang, with Dick and his brother Jim's help, sets out on a series of escapades that include cattle theft and robbery under arms. Warning: template has been deprecated.
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"https://static.wikia.nocookie.net/f7bb9d33-4f9a-4faa-88fe-2a0bd8138668" ]	[]	[]	[ "" ]	null	[ "Contributors to Honkai: Star Rail Wiki" ]	2024-07-12T14:06:28+00:00	Seabiscuit is the seventh part of the Trailblaze Mission chapter In Our Time. It automatically begins after completing The Only Path to Tomorrow. Pass through the Audition Plaza and prepare to make your entrance Go to the first stage entrance Select the stage you wish to challenge Dreamplay...	en	https://static.wikia.nocookie.net/houkai-star-rail/images/4/4a/Site-favicon.ico/revision/latest?cb=20220429044254	Honkai: Star Rail Wiki	https://honkai-star-rail.fandom.com/wiki/Seabiscuit	Seabiscuit is the seventh part of the Trailblaze Mission chapter In Our Time. It automatically begins after completing The Only Path to Tomorrow. Steps[] Pass through the Audition Plaza and prepare to make your entrance Go to the first stage entrance Select the stage you wish to challenge Dreamplay Fantasia: Acting Challenge Dreamplay Fantasia: Action Challenge Select the stage you wish to challenge Gunfire Time: Time Trial Gunfire Time: Gunfire Trial Go to the third stage entrance Select the stage you wish to challenge Take Victory in the "Superstar Showdown" Reach the finish line Pass through the Path of the Superstars to reach the Penacony Grand Theater Dialogue[] Pass through the Audition Plaza and prepare to make your entrance[] Mission Description To seal the Stellaron, you decided that you would need to enter the Penacony Grand Theater in advance. Unfortunately, with the Charmony Festival soon at hand, the theater is temporarily closed down for rehearsals. Just when you thought your plans were thwarted, the wise March 7th proposed an unexpected plan that turned the situation on its head: It turns out that before the Charmony Festival begins, The Family will be opening up the theater to the pre-ceremony warm-up talent competition — the "SoulGlad™ Festivity Auditions!" If you can take first place, you will be able to enter the Grand Theater before the regular audience members. There is no time to lose. You hurry straight to the Moment of Scorchsand to participate in the competition... On the way there, you repeatedly mull over the lesson that this event has taught you: From now on, make sure you have a strategy firmly in place before traveling. Go to the first stage entrance[] Step Description You successfully made it to the SoulGlad™ Festivity Auditions in Scorchsand Hall. Those who dream of becoming huge stars gather here and compete in a ferocious competition in hopes of becoming the one and only "Festive Superstar." As the sponsor of the Festivity Auditions, the entire venue is covered in SoulGlad™ memorabilia: Beverage advertisements and billboards litter every square inch of the streets, and buildings and statues in the shape of SoulGlad™ bottles surround you as far as the eye can see. Unfortunately, this is not the time to be having fun and playing games... Steel your nerves, use all your strength, and think of a way to speed around this SoulGlad amusement park! Select the stage you wish to challenge[] Dreamplay Fantasia: Acting Challenge[] Learn about the challenge from the guide[] Step Description The first choice! You and Firefly arrive at the Dreamplay Fantasia: Acting Challenge arena. According to the guide's instructions, your "acting" skills will be tested here... What are acting skills exactly? You have no idea. For you, sincerety has always been the ultimate instrument. Pass the first "School of Acting" test[] Pass the second "School of Acting" test[] Pass the third "School of Acting" test[] Use Clockwork on the strict judge[] Dreamplay Fantasia: Action Challenge[] Learn about the challenge from the guide[] Step Description The first choice! Firefly and you arrive at the stage for Dreamplay Fantasia: Action Challenge. According to the guide, you'll face the trial of "action" here... You can't possibly be more familiar with "action" — However, in a world where no one can jump, can you really perform real "action"? Pass the first "School of Action" test[] Pass the second "School of Action" test[] Pass the third "School of Action" test[] Go to the second stage entrance[] Select the stage you wish to challenge[] Gunfire Time: Time Trial[] Step Description The second choice! You and Firefly arrive at the Dreamplay Fantasia — Gunfire Time: Time Trial stage. According to the guide's instructions, you need to play the role ever-popular protagonist from the Clockie series — Clockie. Smash through the final obstacles together... ...Help this inauthentic Clockie overcome an existential crisis. The game can also be rather profound, can't it? Investigate the talking Clock Statue[] Find the Big Ticker's missing parts[] Fix the Big Ticker's fragmented core[] Adjust Building Blocks and Dream Mirror to help the Clockie collect gears.[] Gunfire Time: Gunfire Trial[] Step Description The second choice! You and Firefly arrive at the Dreamplay Fantasia — Gunfire Time: Gunfire Trial arena. According to the guide's instructions, you need to play the role of the evil-retributing, charisma-overflowing character from the Clockie series — Brother Hanu. "What is this competition supposed to be about?" You wonder. "Are we trying to see who has the coolest 'hmph'?" Enter the world of Hanu's Adventure[] Enter the passage[] Seek the Puzzle Gentlemen's assistance[] Collect Jigsaw Fragments[] Complete the Dream Jigsaw[] Go to the second floor[] Talk to Brother Hanu[] Return to the world of Hanu's Adventure[] Retrieve Brother Hanu's beloved launcher[] Defeat the Malevolent Mischief Makers[] Leave the world of Hanu's Adventure[] Go to the third stage entrance[] Select the stage you wish to challenge[] Take Victory in the "Superstar Showdown"[] Step Description You are about to face the final and most challenging stage of the Soulglad™ Festivity Auditions — "The Superstar Showdown"! Only they who laugh last in the ring will be able to become the next Penacony Festive Superstar... Will that person be you? Or will it be the towering, strong, passionate nobleman who easily secured the top score in the acting challenge? Stay tuned to find out! Reach the finish line[] Pass through the Path of the Superstars to reach the Penacony Grand Theater[] Step Description You successfully defeat the knight whose passion was like a burning flame, and claim your entry ticket to the "Path of the Superstar." You will soon receive a personal reception from Miss Robin herself... No, you are already within reach of the Penacony Grand Theater and the Stellaron! Remember the famous words of Hamster Ball Knight: "Go, go, go, go!" Notes[] Trivia[] The name of this mission in all languages is a reference to the 2003 American sports movie Seabiscuit, which was loosely based on the real life champion racehorse Seabiscuit. Other Languages[] LanguageOfficial NameEnglishSeabiscuitChinese (Simplified)奔腾年代Chinese (Traditional)奔騰年代Japanese奔走する時代Korean씨비스킷SpanishLa era del tumultoFrenchL'ère du tumulteRussianФаворитThaiยุคพุ่งทะยานVietnameseThời Đại Đầy Hứa HẹnGermanMit dem Willen zum ErfolgIndonesianEra Melaju CepatPortugueseA Era do Tumulto Change History[]
6420	dbpedia	0	15	https://libraries.sa.gov.au/client/en_AU/sapubliclibraries/search/detailnonmodal/ent:%24002f%24002fSD_ILS%24002f0%24002fSD_ILS:1272220/ada%3Fqu%3DAUTHOR%253D%2522Neill%252C%2BSam.%2522%26d%3Dent%253A%252F%252FSD_ILS%252F0%252FSD_ILS%253A1272220%257EILS%257E101%26dt%3Dlist%26ps%3D500%26h%3D8	en	System Error			[]	[]	[]	[ "" ]	null	[]	null			/client/assets/5.1326/ctx//client/favicon.ico		null	We're sorry; this application has encountered an error. You may try clicking the browser Back button to return to the previous page or clicking the button below to return to the library's home page. If you get this error again, contact the library for assistance.
6420	dbpedia	2	6	https://letterboxd.com/film/robbery-under-arms-1957/	en	Robbery Under Arms (1957)	https://a.ltrbxd.com/res…jpg?v=6113d72fc8	https://a.ltrbxd.com/res…jpg?v=6113d72fc8	[ "https://s.ltrbxd.com/static/img/empty-poster-1000.231946d0.png", "https://s.ltrbxd.com/static/img/empty-poster-230.6b1dabe6.png", "https://s.ltrbxd.com/static/img/flags/GBR.015a4362.svg", "https://s.ltrbxd.com/static/img/flags/USA.165ff2bd.svg", "https://s.ltrbxd.com/static/img/flags/GBR.015a4362.svg", "https://s.ltrbxd.com/static/img/flags/USA.165ff2bd.svg", "https://a.ltrbxd.com/resized/avatar/upload/6/9/3/8/1/2/5/shard/avtr-0-80-0-80-crop.jpg?v=af49c9df4e", "https://a.ltrbxd.com/resized/avatar/upload/3/0/3/6/2/9/shard/avtr-0-80-0-80-crop.jpg?v=6d77f34b51", "https://secure.gravatar.com/avatar/8503a3f4635c038221b6b6b9ca1a70e2?rating=PG&size=80&border=&default=https%3A%2F%2Fs.ltrbxd.com%2Fstatic%2Fimg%2Favatar80.ccc31669.png", "https://secure.gravatar.com/avatar/cc6366e29fd42d8bb63601d5f9e4f697?rating=PG&size=80&border=&default=https%3A%2F%2Fs.ltrbxd.com%2Fstatic%2Fimg%2Favatar80.ccc31669.png", "https://secure.gravatar.com/avatar/c92c976fde5b8d0c47341447f2067378?rating=PG&size=80&border=&default=https%3A%2F%2Fs.ltrbxd.com%2Fstatic%2Fimg%2Favatar80.ccc31669.png", "https://a.ltrbxd.com/resized/avatar/upload/6/2/5/3/0/3/shard/avtr-0-80-0-80-crop.jpg?v=d6ab883d0c" ]	[]	[]	[ "" ]	null	[]	null	During the mid 1860s, brothers Dick and Jim Marston are drawn into a life of crime by their ex-convict father Ben and his friend, infamous cattlethief Captain Starlight. Making their way to Melbourne with the proceeds of a recent raid, the brothers meet and romance the Morrison sisters, Kate and Jean, whom they eventually marry; but just as they are poised to start a new life in America, Captain Starlight and his gang arrive in town, planning a raid at the local bank.	en	https://s.ltrbxd.com/sta…6px.a8f34e0d.svg		https://letterboxd.com/film/robbery-under-arms-1957/	A minor Australian-set* western. Peter Finch is wonderful as a gentleman outlaw, charming and charismatic in a black shirt and riding a white horse. Unfortunately, he’s not the protagonist. That would be Ronald Lewis and David McCallum who, after failing as jewel thieves in the little seen gem The Secret Place, try their hand at being bushranger brothers. Their uninteresting characters are mainly defined by their choice of romantic partner (fallen brunette Maureen Swanson and respectable Jill Ireland), and one being slightly less ok with a life of crime. The movie does touch on how hiding out in between jobs can feel just as restrictive as prison, though that’s barely explored. There’s a well-staged stagecoach holdup and bank robbery, and some… Cowboys; shootouts; cattle rustling; saloons; stagecoaches. Such familiar elements, but this is 1865 Australia not Arizona. So if Robbery Under Arms is not a Western, is it a Southern? In any case, it's a British Rank picture, shot on location in Southern Australia and New South Wales with interiors at Pinewood. It is the setting that distinguishes the film, the searing heat amid the wide dusty vistas of Oz being almost palpable. Alas it is the sole distinguishing feature since the script is standard and the treatment adequate. Peter Finch is in effect a supporting character - Captain Starlight, a rustling rogue with a band of ne'er-do-wells at the time of an Australian gold rush. The story centres around two… MannVanuary II 20. Aussie Western The Marston brothers, Dick and Jim, have been through the sheep-shearing season, and with their pockets stuffed with cash, are off for a bit of rest and relaxation, but instead a couple of interactions are going to take their lives in a different direction. First of all, their ex-convict father introduces them to a fellow who goes by the name (among others) of Captain Starlight, and the lucrative, but obviously dangerous world, of cattle-rustling. And secondly, they meet a couple of girls. Which one of these causes them the most trouble is hard to say. The story is somewhat episodic, never really getting into a flow, focussing on the Marstons who, just when you think… Two brothers join their father in Captain Starlight’s (Peter Finch) bushranger gang in 19th century Australia in this action drama directed by Jack Lee, also starring Ronald Lewis and Maureen Swanson. Based on the novel of the same name by Rolf Boldrewood, which was published in 1988, the film is set in 1865 Australia, where two brothers are drawn into a life of crime. When they arrive in Melbourne, the two find romance with two sisters. Peter Finch gives an OK performance in his role as Captain Starlight, acting like he is in charge, while Ronald Lewis and David McCallum are OK in their respective roles as Dick Marston and Jim Marston, the two Marston brothers who commit awful acts.…
6420	dbpedia	1	59	https://www.everand.com/book/554228226/Robbery-Under-Arms	en	Robbery Under Arms by Rolf Boldrewood, Mint Editions (Ebook)	https://imgv2-1-f.scribdassets.com/img/word_document/554228226/original/f889f1f18b/1723829633?v=1	https://imgv2-1-f.scribdassets.com/img/word_document/554228226/original/f889f1f18b/1723829633?v=1	[ "https://s-f.scribdassets.com/webpack/assets/images/content_preview/everand_subscription_banner/evarand_eng_desktop_1x.f0d8b73f.png", "https://imgv2-2-f.scribdassets.com/img/audiobook_square/486608794/76x76/0fc91b7408/1723593560?v=1", "https://imgv2-2-f.scribdassets.com/img/audiobook_square/237882614/76x76/3806dcfe03/1723417553?v=1", "https://imgv2-2-f.scribdassets.com/img/audiobook_square/315849956/76x76/65195be232/1723486096?v=1", "https://imgv2-2-f.scribdassets.com/img/audiobook_square/331780429/76x76/41f9356efb/1723651161?v=1", "https://imgv2-1-f.scribdassets.com/img/audiobook_square/390806353/76x76/67f5931007/1723502356?v=1", "https://imgv2-1-f.scribdassets.com/img/audiobook_square/237829567/76x76/fd3b2bee1b/1723482649?v=1", "https://imgv2-1-f.scribdassets.com/img/audiobook_square/446816495/76x76/f79188eb33/1723519456?v=1", "https://imgv2-2-f.scribdassets.com/img/audiobook_square/390618673/76x76/80556b2868/1723415885?v=1" ]	[]	[]	[ "" ]	null	[ "Rolf Boldrewood" ]	2021-11-16T00:00:00	Read Robbery Under Arms by Rolf Boldrewood,Mint Editions with a free trial. Read millions of eBooks and audiobooks on the web, iPad, iPhone and Android.	en	https://s-f.scribdassets.com/everand.ico?5bf378a0d?v=5	Everand	https://www.everand.com/book/554228226/Robbery-Under-Arms	Chapter 1 My name’s Dick Marston, Sydney-side native. I’m twenty-nine years old, six feet in my stocking soles, and thirteen stone weight. Pretty strong and active with it, so they say. I don’t want to blow—not here, any road—but it takes a good man to put me on my back, or stand up to me with the gloves, or the naked mauleys. I can ride anything—anything that ever was lapped in horsehide—swim like a musk-duck, and track like a Myall blackfellow. Most things that a man can do I’m up to, and that’s all about it. As I lift myself now I can feel the muscle swell on my arm like a cricket ball, in spite of the—well, in spite of everything. The morning sun comes shining through the window bars; and ever since he was up have I been cursing the daylight, cursing myself, and them that brought me into the world. Did I curse mother, and the hour I was born into this miserable life? Why should I curse the day? Why do I lie here, groaning; yes, crying like a child, and beating my head against the stone floor? I am not mad, though I am shut up in a cell. No. Better for me if I was. But it’s all up now; there’s no get away this time; and I, Dick Marston, as strong as a bullock, as active as a rock-wallaby, chock-full of life and spirits and health, have been tried for bush-ranging—robbery under arms they call it—and though the blood runs through my veins like the water in the mountain creeks, and every bit of bone and sinew is as sound as the day I was born, I must die on the gallows this day month. Die—die—yes, die; be strung up like a dog, as they say. I’m blessed if ever I did know of a dog being hanged, though, if it comes to that, a shot or a bait generally makes an end of ’em in this country. Ha, ha! Did I laugh? What a rum thing it is that a man should have a laugh in him when he’s only got twenty-nine days more to live—a day for every year of my life. Well, laughing or crying, this is what it has come to at last. All the drinking and recklessness; the flash talk and the idle ways; the merry cross-country rides that we used to have, night or day, it made no odds to us; every man well mounted, as like as not on a racehorse in training taken out of his stable within the week; the sharp brushes with the police, when now and then a man was wounded on each side, but no one killed. That came later on, worse luck. The jolly sprees we used to have in the bush townships, where we chucked our money about like gentlemen, where all the girls had a smile and a kind word for a lot of game upstanding chaps, that acted like men, if they did keep the road a little lively. Our bush telegraphs were safe to let us know when the traps were closing in on us, and then—why the coach would be stuck up a hundred miles away, in a different direction, within twenty-four hours. Marston’s gang again! The police are in pursuit! That’s what we’d see in the papers. We had ’em sent to us regular; besides having the pick of ’em when we cut open the mail bags. And now—that chain rubbed a sore, curse it!—all that racket’s over. It’s more than hard to die in this settled, infernal, fixed sort of way, like a bullock in the killing-yard, all ready to be pithed. I used to pity them when I was a boy, walking round the yard, pushing their noses through the rails, trying for a likely place to jump, stamping and pawing and roaring and knocking their heads against the heavy close rails, with misery and rage in their eyes, till their time was up. Nobody told THEM beforehand, though! Have I and the likes of me ever felt much the same, I wonder, shut up in a pen like this, with the rails up, and not a place a rat could creep through, waiting till our killing time was come? The poor devils of steers have never done anything but ramble off the run now and again, while we—but it’s too late to think of that. It IS hard. There’s no saying it isn’t; no, nor thinking what a fool, what a blind, stupid, thundering idiot a fellow’s been, to laugh at the steady working life that would have helped him up, bit by bit, to a good farm, a good wife, and innocent little kids about him, like that chap, George Storefield, that came to see me last week. He was real rightdown sorry for me, I could tell, though Jim and I used to laugh at him, and call him a regular old crawler of a milker’s calf in the old days. The tears came into his eyes reg’lar like a woman as he gave my hand a squeeze and turned his head away. We was little chaps together, you know. A man always feels that, you know. And old George, he’ll go back—a fifty-mile ride, but what’s that on a good horse? He’ll be late home, but he can cross the rock ford the short way over the creek. I can see him turn his horse loose at the garden-gate, and walk through the quinces that lead up to the cottage, with his saddle on his arm. Can’t I see it all, as plain as if I was there? And his wife and the young ’uns ’ll run out when they hear father’s horse, and want to hear all the news. When he goes in there’s his meal tidy and decent waiting for him, while he tells them about the poor chap he’s been to see as is to be scragged next month. Ha! ha! what a rum joke it is, isn’t it? And then he’ll go out in the verandah, with the roses growin’ all over the posts and smellin’ sweet in the cool night air. After that he’ll have his smoke, and sit there thinkin’ about me, perhaps, and old days, and what not, till all hours—till his wife comes and fetches him in. And here I lie—my God! why didn’t they knock me on the head when I was born, like a lamb in a dry season, or a blind puppy—blind enough, God knows! They do so in some countries, if the books say true, and what a hell of misery that must save some people from! Well, it’s done now, and there’s no get away. I may as well make the best of it. A sergeant of police was shot in our last scrimmage, and they must fit someone over that. It’s only natural. He was rash, or Starlight would never have dropped him that day. Not if he’d been sober either. We’d been drinking all night at that Willow Tree shanty. Bad grog, too! When a man’s half drunk he’s fit for any devilment that comes before him. Drink! How do you think a chap that’s taken to the bush—regularly turned out, I mean, with a price on his head, and a fire burning in his heart night and day—can stand his life if he don’t drink? When he thinks of what he might have been, and what he is! Why, nearly every man he meets is paid to run him down, or trap him some way like a stray dog that’s taken to sheep-killin’. He knows a score of men, and women too, that are only looking out for a chance to sell his blood on the quiet and pouch the money. Do you think that makes a chap mad and miserable, and tired of his life, or not? And if a drop of grog will take him right out of his wretched self for a bit why shouldn’t he drink? People don’t know what they are talking about. Why, he is that miserable that he wonders why he don’t hang himself, and save the Government all the trouble; and if a few nobblers make him feel as if he might have some good chances yet, and that it doesn’t so much matter after all, why shouldn’t he drink? He does drink, of course; every miserable man, and a good many women as have something to fear or repent of, drink. The worst of it is that too much of it brings on the horrors, and then the devil, instead of giving you a jog now and then, sends one of his imps to grin in your face and pull your heartstrings all day and all night long. By George, I’m getting clever—too clever, altogether, I think. If I could forget for one moment, in the middle of all the nonsense, that I was to die on Thursday three weeks! die on Thursday three weeks! die on Thursday! That’s the way the time runs in my ears like a chime of bells. But it’s all mere bosh I’ve been reading these long six months I’ve been chained up here—after I was committed for trial. When I came out of the hospital after curing me of that wound—for I was hit bad by that black tracker—they gave me some books to read for fear I’d go mad and cheat the hangman. I was always fond of reading, and many a night I’ve read to poor old mother and Aileen before I left the old place. I was that weak and low, after I took the turn, and I felt glad to get a book to take me away from sitting, staring, and blinking at nothing by the hour together. It was all very well then; I was too weak to think much. But when I began to get well again I kept always coming across something in the book that made me groan or cry out, as if someone had stuck a knife in me. A dark chap did once—through the ribs—it didn’t feel so bad, a little sharpish at first; why didn’t he aim a bit higher? He never was no good, even at that. As I was saying, there’d be something about a horse, or the country, or the spring weather—it’s just coming in now, and the Indian corn’s shooting after the rain, and I’LL never see it; or they’d put in a bit about the cows walking through the river in the hot summer afternoons; or they’d go describing about a girl, until I began to think of sister Aileen again; then I’d run my head against the wall, or do something like a madman, and they’d stop the books for a week; and I’d be as miserable as a bandicoot, worse and worse a lot, with all the devil’s tricks and bad thoughts in my head, and nothing to put them away. I must either kill myself, or get something to fill up my time till the day—yes, the day comes. I’ve always been a middling writer, tho’ I can’t say much for the grammar, and spelling, and that, but I’ll put it all down, from the beginning to the end, and maybe it’ll save someother unfortunate young chap from pulling back like a colt when he’s first roped, setting himself against everything in the way of proper breaking, making a fool of himself generally, and choking himself down, as I’ve done. The gaoler—he looks hard—he has to do that, there’s more than one or two within here that would have him by the throat, with his heart’s blood running, in half a minute, if they had their way, and the warder was off guard. He knows that very well. But he’s not a bad-hearted chap. You can have books, or paper and pens, anything you like, he said, you unfortunate young beggar, until you’re turned off. If I’d only had you to see after me when I was young, says I— Come; don’t whine, he said, then he burst out laughing. You didn’t mean it, I see. I ought to have known better. You’re not one of that sort, and I like you all the better for it. WELL, HERE GOES. LOTS OF pens, a big bottle of ink, and ever so much foolscap paper, the right sort for me, or I shouldn’t have been here. I’m blessed if it doesn’t look as if I was going to write copies again. Don’t I remember how I used to go to school in old times; the rides there and back on the old pony; and pretty little Grace Storefield that I was so fond of, and used to show her how to do her lessons. I believe I learned more that way than if I’d had only myself to think about. There was another girl, the daughter of the poundkeeper, that I wanted her to beat; and the way we both worked, and I coached her up, was a caution. And she did get above her in her class. How proud we were! She gave me a kiss, too, and a bit of her hair. Poor Gracey! I wonder where she is now, and what she’d think if she saw me here today. If I could have looked ahead, and seen myself—chained now like a dog, and going to die a dog’s death this day month! Anyhow, I must make a start. How do people begin when they set to work to write their own sayings and doings? There’s been a deal more doing than talking in my life—it was the wrong sort—more’s the pity. Well, let’s see; his parents were poor, but respectable. That’s what they always say. My parents were poor, and mother was as good a soul as ever broke bread, and wouldn’t have taken a shilling’s worth that wasn’t her own if she’d been starving. But as for father, he’d been a poacher in England, a Lincolnshire man he was, and got sent out for it. He wasn’t much more than a boy, he said, and it was only for a hare or two, which didn’t seem much. But I begin to think, being able to see the right of things a bit now, and having no bad grog inside of me to turn a fellow’s head upside down, as poaching must be something like cattle and horse duffing—not the worst thing in the world itself, but mighty likely to lead to it. Dad had always been a hard-working, steady-going sort of chap, good at most things, and like a lot more of the Government men, as the convicts were always called round our part, he saved some money as soon as he had done his time, and married mother, who was a simple emigrant girl just out from Ireland. Father was a square-built, good-looking chap, I believe, then; not so tall as I am by three inches, but wonderfully strong and quick on his pins. They did say as he could hammer any man in the district before he got old and stiff. I never saw him shape but once, and then he rolled into a man big enough to eat him, and polished him off in a way that showed me—though I was a bit of a boy then—that he’d been at the game before. He didn’t ride so bad either, though he hadn’t had much of it where he came from; but he was afraid of nothing, and had a quiet way with colts. He could make pretty good play in thick country, and ride a roughish horse, too. Well, our farm was on a good little flat, with a big mountain in front, and a scrubby, rangy country at the back for miles. People often asked him why he chose such a place. It suits me, he used to say, with a laugh, and talk of something else. We could only raise about enough corn and potatoes, in a general way, for ourselves from the flat; but there were other chances and pickings which helped to make the pot boil, and them we’d have been a deal better without. First of all, though our cultivation paddock was small, and the good land seemed squeezed in between the hills, there was a narrow tract up the creek, and here it widened out into a large well-grassed flat. This was where our cattle ran, for, of course, we had a team of workers and a few milkers when we came. No one ever took up a farm in those days without a dray and a team, a year’s rations, a few horses and milkers, pigs and fowls, and a little furniture. They didn’t collar a 40-acre selection, as they do now—spend all their money in getting the land and squat down as bare as robins—a man with his wife and children all under a sheet of bark, nothing on their backs, and very little in their bellies. However, some of them do pretty well, though they do say they have to live on ’possums for a time. We didn’t do much, in spite of our grand start. The flat was well enough, but there were other places in the gullies beyond that that father had dropped upon when he was out shooting. He was a tremendous chap for poking about on foot or on horseback, and though he was an Englishman, he was what you call a born bushman. I never saw any man almost as was his equal. Wherever he’d been once, there he could take you to again; and what was more, if it was in the dead of the night he could do it just the same. People said he was as good as a blackfellow, but I never saw one that was as good as he was, all round. In a strange country, too. That was what beat me—he’d know the way the creek run, and noticed when the cattle headed to camp, and a lot of things that other people couldn’t see, or if they did, couldn’t remember again. He was a great man for solitary walks, too—he and an old dog he had, called Crib, a cross-bred mongrel-looking brute, most like what they call a lurcher in England, father said. Anyhow, he could do most anything but talk. He could bite to some purpose, drive cattle or sheep, catch a kangaroo, if it wasn’t a regular flyer, fight like a bulldog, and swim like a retriever, track anything, and fetch and carry, but bark he wouldn’t. He’d stand and look at dad as if he worshipped him, and he’d make him some sign and off he’d go like a child that’s got a message. Why he was so fond of the old man we boys couldn’t make out. We were afraid of him, and as far as we could see he never patted or made much of Crib. He thrashed him unmerciful as he did us boys. Still the dog was that fond of him you’d think he’d like to die for him there and then. But dogs are not like boys, or men either—better, perhaps. Well, we were all born at the hut by the creek, I suppose, for I remember it as soon as I could remember anything. It was a snug hut enough, for father was a good bush carpenter, and didn’t turn his back to anyone for splitting and fencing, hut-building and shingle-splitting; he had had a year or two at sawing, too, but after he was married he dropped that. But I’ve heard mother say that he took great pride in the hut when he brought her to it first, and said it was the best-built hut within fifty miles. He split every slab, cut every post and wallplate and rafter himself, with a man to help him at odd times; and after the frame was up, and the bark on the roof, he camped underneath and finished every bit of it—chimney, flooring, doors, windows, and partitions—by himself. Then he dug up a little garden in front, and planted a dozen or two peaches and quinces in it; put a couple of roses—a red and a white one—by the posts of the verandah, and it was all ready for his pretty Norah, as she says he used to call her then. If I’ve heard her tell about the garden and the quince trees and the two roses once, I’ve heard her tell it a hundred times. Poor mother! we used to get round her—Aileen, and Jim, and I—and say, Tell us about the garden, mother. She’d never refuse; those were her happy days, she always said. She used to cry afterwards—nearly always. The first thing almost that I can remember was riding the old pony, ’Possum, out to bring in the milkers. Father was away somewhere, so mother took us all out and put me on the pony, and let me have a whip. Aileen walked alongside, and very proud I was. My legs stuck out straight on the old pony’s fat back. Mother had ridden him up when she came—the first horse she ever rode, she said. He was a quiet little old roan, with a bright eye and legs like gate-posts, but he never fell down with us boys, for all that. If we fell off he stopped still and began to feed, so that he suited us all to pieces. We soon got sharp enough to flail him along with a quince stick, and we used to bring up the milkers, I expect, a good deal faster than was good for them. After a bit we could milk, leg-rope, and bail up for ourselves, and help dad brand the calves, which began to come pretty thick. There were only three of us children—my brother Jim, who was two years younger than I was, and then Aileen, who was four years behind him. I know we were both able to nurse the baby a while after she came, and neither of us wanted better fun than to be allowed to watch her, or rock the cradle, or as a great treat to carry her a few steps. Somehow we was that fond and proud of her from the first that we’d have done anything in the world for her. And so we would now—I was going to say—but that poor Jim lies under a forest oak on a sandhill, and I—well, I’m here, and if I’d listened to her advice I should have been a free man. A free man! How it sounds, doesn’t it? with the sun shining, and the blue sky over your head, and the birds twittering, and the grass beneath your feet! I wonder if I shall go mad before my time’s up. Mother was a Roman Catholic—most Irishwomen are; and dad was a Protestant, if he was anything. However, that says nothing. People that don’t talk much about their religion, or follow it up at all, won’t change it for all that. So father, though mother tried him hard enough when they were first married, wouldn’t hear of turning, not if he was to be killed for it, as I once heard him say. No! he says, my father and grandfather, and all the lot, was Church people, and so I shall live and die. I don’t know as it would make much matter to me, but such as my notions is, I shall stick to ’em as long as the craft holds together. You can bring up the girl in your own way; it’s made a good woman of you, or found you one, which is most likely, and so she may take her chance. But I stand for Church and King, and so shall the boys, as sure as my name’s Ben Marston. Chapter 2 Father was one of those people that gets shut of a deal of trouble in this world by always sticking to one thing. If he said he’d do this or that he always did it and nothing else. As for turning him, a wild bull half-way down a range was a likelier try-on. So nobody ever bothered him after he’d once opened his mouth. They knew it was so much lost labour. I sometimes thought Aileen was a bit like him in her way of sticking to things. But then she was always right, you see. So that clinched it. Mother gave in like a wise woman, as she was. The clergyman from Bargo came one day and christened me and Jim—made one job of it. But mother took Aileen herself in the spring cart all the way to the township and had her christened in the chapel, in the middle of the service all right and regular, by Father Roche. There’s good and bad of every sort, and I’ve met plenty that were no chop of all churches; but if Father Roche, or Father anybody else, had any hand in making mother and Aileen half as good as they were, I’d turn tomorrow, if I ever got out again. I don’t suppose it was the religion that made much difference in our case, for Patsey Daly and his three brothers, that lived on the creek higher up, were as much on the cross as men could be, and many a time I’ve seen them ride to chapel and attend mass, and look as if they’d never seen a clearskin in their lives. Patsey was hanged afterwards for bush-ranging and gold robbery, and he had more than one man’s blood to answer for. Now we weren’t like that; we never troubled the church one way or the other. We knew we were doing what we oughtn’t to do, and scorned to look pious and keep two faces under one hood. By degrees we all grew older, began to be active and able to do half a man’s work. We learned to ride pretty well—at least, that is we could ride a bare-backed horse at full gallop through timber or down a range; could back a colt just caught and have him as quiet as an old cow in a week. We could use the axe and the cross-cut saw, for father dropped that sort of work himself, and made Jim and I do all the rough jobs of mending the fences, getting firewood, milking the cows, and, after a bit, ploughing the bit of flat we kept in cultivation. Jim and I, when we were fifteen and thirteen—he was bigger for his age than I was, and so near my own strength that I didn’t care about touching him—were the smartest lads on the creek, father said—he didn’t often praise us, either. We had often ridden over to help at the muster of the large cattle stations that were on the side of the range, and not more than twenty or thirty miles from us. Some of our young stock used to stray among the squatters’ cattle, and we liked attending the muster because there was plenty of galloping about and cutting out, and fun in the men’s hut at night, and often a half-crown or so for helping someone away with a big mob of cattle or a lot for the pound. Father didn’t go himself, and I used to notice that whenever we came up and said we were Ben Marston’s boys both master and super looked rather glum, and then appeared not to think anymore about it. I heard the owner of one of these stations say to his managing man, Pity, isn’t it? fine boys, too. I didn’t understand what they meant. I do now. We could do a few things besides riding, because, as I told you before, we had been to a bit of a school kept by an old chap that had once seen better days, that lived three miles off, near a little bush township. This village, like most of these places, had a public-house and a blacksmith’s shop. That was about all. The publican kept the store, and managed pretty well to get hold of all the money that was made by the people round about, that is of those that were good drinking men. He had half-a-dozen children, and, though he was not up to much, he wasn’t that bad that he didn’t want his children to have the chance of being better than himself. I’ve seen a good many crooked people in my day, but very few that, though they’d given themselves up as a bad job, didn’t hope a bit that their youngsters mightn’t take after them. Curious, isn’t it? But it is true, I can tell you. So Lammerby, the publican, though he was a greedy, sly sort of fellow, that bought things he knew were stolen, and lent out money and charged everybody two prices for the things he sold ’em, didn’t like the thought of his children growing up like Myall cattle, as he said himself, and so he fished out this old Mr. Howard, that had been a friend or a victim or some kind of pal of his in old times, near Sydney, and got him to come and keep school. He was a curious man, this Mr. Howard. What he had been or done none of us ever knew, but he spoke up to one of the squatters that said something sharp to him one day in a way that showed us boys that he thought himself as good as he was. And he stood up straight and looked him in the face, till we hardly could think he was the same man that was so bent and shambling and broken-down-looking most times. He used to live in a little hut in the township all by himself. It was just big enough to hold him and us at our lessons. He had his dinner at the inn, along with Mr. and Mrs. Lammerby. She was always kind to him, and made him puddings and things when he was ill. He was pretty often ill, and then he’d hear us our lessons at the bedside, and make a short day of it. Mostly he drank nothing but tea. He used to smoke a good deal out of a big meerschaum pipe with figures on it that he used to show us when he was in a good humour. But two or three times a year he used to set-to and drink for a week, and then school was left off till he was right. We didn’t think much of that. Everybody, almost, that we knew did the same—all the men—nearly all, that is—and some of the women—not mother, though; she wouldn’t have touched a drop of wine or spirits to save her life, and never did to her dying day. We just thought of it as if they’d got a touch of fever or sunstroke, or broke a rib or something. They’d get over it in a week or two, and be all right again. All the same, poor old Mr. Howard wasn’t always on the booze, not by any manner of means. He never touched a drop of anything, not even ginger-beer, while he was straight, and he kept us all going from nine o’clock in the morning till three in the afternoon, summer and winter, for more than six years. Then he died, poor old chap—found dead in his bed one morning. Many a basting he gave me and Jim with an old malacca cane he had with a silver knob to it. We were all pretty frightened of him. He’d say to me and Jim and the other boys, It’s the best chance of making men of yourselves you ever had, if you only knew it. You’ll be rich farmers or settlers, perhaps magistrates, one of these days—that is, if you’re not hanged. It’s you, I mean, he’d say, pointing to me and Jim and the Dalys; I believe some of you WILL be hanged unless you change a good deal. It’s cold blood and bad blood that runs in your veins, and you’ll come to earn the wages of sin some day. It’s a strange thing, he used to say, as if he was talking to himself, that the girls are so good, while the boys are delivered over to the Evil One, except a case here and there. Look at Mary Darcy and Jane Lammerby, and my little pet Aileen here. I defy any village in Britain to turn out such girls—plenty of rosy-cheeked gigglers—but the natural refinement and intelligence of these little damsels astonishes me. Well, the old man died suddenly, as I said, and we were all very sorry, and the school was broken up. But he had taught us all to write fairly and to keep accounts, to read and spell decently, and to know a little geography. It wasn’t a great deal, but what we knew we knew well, and I often think of what he said, now it’s too late, we ought to have made better use of it. After school broke up father said Jim and I knew quite as much as was likely to be any good to us, and we must work for our living like other people. We’d always done a pretty fair share of that, and our hands were hard with using the axe and the spade, let alone holding the plough at odd times and harrowing, helping father to kill and brand, and a lot of other things, besides getting up while the stars were in the sky so as to get the cows milked early, before it was time to go to school. All this time we had lived in a free kind of way—we wanted for nothing. We had plenty of good beef, and a calf now and then. About this time I began to wonder how it was that so many cattle and horses passed through father’s hands, and what became of them. I hadn’t lived all my life on Rocky Creek, and among some of the smartest hands in that line that old New South Wales ever bred, without knowing what clearskins and cross beasts meant, and being well aware that our brand was often put on a calf that no cow of ours ever suckled. Don’t I remember well the first calf I ever helped to put our letters on? I’ve often wished I’d defied father, then taken my licking, and bolted away from home. It’s that very calf and the things it led to that’s helped to put me where I am! Just as I sit here, and these cursed irons rattle whenever I move my feet, I can see that very evening, and father and the old dog with a little mob of our crawling cattle and half-a-dozen head of strangers, cows and calves, and a fat little steer coming through the scrub to the old stockyard. It was an awkward place for a yard, people used to say; scrubby and stony all round, a blind sort of hole—you couldn’t see till you were right on the top of it. But there was a wing ran out a good way through the scrub—there’s no better guide to a yard like that—and there was a sort of track cattle followed easy enough once you were round the hill. Anyhow, between father and the dog and the old mare he always rode, very few beasts ever broke away. These strange cattle had been driven a good way, I could see. The cows and calves looked done up, and the steer’s tongue was out—it was hottish weather; the old dog had been heeling him up too, for he was bleeding up to the hocks, and the end of his tail was bitten off. He was a savage old wretch was Crib. Like all dogs that never bark—and men too—his bite was all the worse. Go and get the brands—confound you—don’t stand there frightening the cattle, says father, as the tired cattle, after smelling and jostling a bit, rushed into the yard. You, Jim, make a fire, and look sharp about it. I want to brand old Polly’s calf and another or two. Father came down to the hut while the brands were getting ready, and began to look at the harness-cask, which stood in a little back skillion. It was pretty empty; we had been living on eggs, bacon, and bread and butter for a week. Oh, mother! there’s such a pretty red calf in the yard, I said, with a star and a white spot on the flank; and there’s a yellow steer fat enough to kill! What! said mother, turning round and looking at father with her eyes staring—a sort of dark blue they were—people used to say mine and Jim’s were the same colour—and her brown hair pushed back off her face, as if she was looking at a ghost. Is it doing that again you are, after all you promised me, and you so nearly caught—after the last one? Didn’t I go on my knees to ye to ask ye to drop it and lead a good life, and didn’t ye tell me ye’d never do the like again? And the poor innocent children, too, I wonder ye’ve the heart to do it. It came into my head now to wonder why the sergeant and two policemen had come down from Bargo, very early in the morning, about three months ago, and asked father to show them the beef in his cask, and the hide belonging to it. I wondered at the time the beast was killed why father made the hide into a rope, and before he did that had cut out the brand and dropped it into a hot fire. The police saw a hide with our brand on, all right—killed about a fortnight. They didn’t know it had been taken off a cancered bullock, and that father took the trouble to stick him and bleed him before he took the hide off, so as it shouldn’t look dark. Father certainly knew most things in the way of working on the cross. I can see now he’d have made his money a deal easier, and no trouble of mind, if he’d only chosen to go straight. When mother said this, father looked at her for a bit as if he was sorry for it; then he straightened himself up, and an ugly look came into his face as he growled out— You mind your own business; we must live as well as other people. There’s squatters here that does as bad. They’re just like the squires at home; think a poor man hasn’t a right to live. You bring the brand and look alive, Dick, or I’ll sharpen ye up a bit. The brand was in the corner, but mother got between me and it, and stretched out her hand to father as if to stop me and him. In God’s name, she cried out, aren’t ye satisfied with losing your own soul and bringing disgrace upon your family, but ye must be the ruin of your innocent children? Don’t touch the brand, Dick! But father wasn’t a man to be crossed, and what made it worse he had a couple of glasses of bad grog in him. There was an old villain of a shanty-keeper that lived on a back creek. He’d been there as he came by and had a glass or two. He had a regular savage temper, father had, though he was quiet enough and not bad to us when he was right. But the grog always spoiled him. He gave poor mother a shove which sent her reeling against the wall, where she fell down and hit her head against the stool, and lay there. Aileen, sitting down in the corner, turned white, and began to cry, while father catches me a box on the ear which sends me kicking, picks up the brand out of the corner, and walks out, with me after him. I think if I’d been another year or so older I’d have struck back—I felt that savage about poor mother that I could have gone at him myself—but we had been too long used to do everything he told us; and somehow, even if a chap’s father’s a bad one, he don’t seem like other men to him. So, as Jim had lighted the fire, we branded the little red heifer calf first—a fine fat six-months-old nugget she was—and then three bull calves, all strangers, and then Polly’s calf, I suppose just for a blind. Jim and I knew the four calves were all strangers, but we didn’t know the brands of the mothers; they all seemed different. After this all was made right to kill a beast. The gallows was ready rigged in a corner of the yard; father brought his gun and shot the yellow steer. The calves were put into our calf-pen—Polly’s and all—and all the cows turned out to go where they liked. We helped father to skin and hang up the beast, and pretty late it was when we finished. Mother had laid us out our tea and gone to bed with Aileen. We had ours and then went to bed. Father sat outside and smoked in the starlight. Hours after I woke up and heard mother crying. Before daylight we were up again, and the steer was cut up and salted and in the harness-cask soon after sunrise. His head and feet were all popped into a big pot where we used to make soup for the pigs, and by the time it had been boiling an hour or two there was no fear of anyone swearing to the yellow steer by head-mark. We had a hearty breakfast off the skirt, but mother wouldn’t touch a bit, nor let Aileen take any; she took nothing but a bit of bread and a cup of tea, and sat there looking miserable and downcast. Father said nothing, but sat very dark-looking, and ate his food as if nothing was the matter. After breakfast he took his mare, the old dog followed; there was no need to whistle for him—it’s my belief he knew more than many a Christian—and away they went. Father didn’t come home for a week—he had got into the habit of staying away for days and days together. Then things went on the old way. Chapter 3 So the years went on—slow enough they seemed to us sometimes—the green winters, pretty cold, I tell you, with frost and hail-storms, and the long hot summers. We were not called boys any longer, except by mother and Aileen, but took our places among the men of the district. We lived mostly at home, in the old way; sometimes working pretty hard, sometimes doing very little. When the cows were milked and the wood chopped, there was nothing to do for the rest of the day. The creek was that close that mother used to go and dip the bucket into it herself, when she wanted one, from a little wooden step above the clear reedy waterhole. Now and then we used to dig in the garden. There was reaping and corn-pulling and husking for part of the year; but often, for weeks at a time, there was next to nothing to do. No hunting worth much—we were sick of kangarooing, like the dogs themselves, that as they grew old would run a little way and then pull up if a mob came, jump, jump, past them. No shooting, except a few ducks and pigeons. Father used to laugh at the shooting in this country, and say they’d never have poachers here—the game wasn’t worth it. No fishing, except an odd codfish, in the deepest waterholes; and you might sit half a day without a bite. Now this was very bad for us boys. Lads want plenty of work, and a little play now and then to keep them straight. If there’s none, they’ll make it; and you can’t tell how far they’ll go when they once start. Well, Jim and I used to get our horses and ride off quietly in the afternoon, as if we were going after cattle; but, in reality, as soon as we were out of sight of mother, to ride over to that old villain, Grimes, the shanty-keeper, where we met the young Dalys, and others of the same sort—talked a good deal of nonsense and gossip; what was worse played at all-fours and euchre, which we had learned from an American harvest hand, at one of the large farms. Besides playing for money, which put us rather into trouble sometimes, as we couldn’t always find a half-crown if we lost it, we learned another bad habit, and that was to drink spirits. What burning nasty stuff I thought it at first; and so did we all! But everyone wanted to be thought a man, and up to all kinds of wickedness, so we used to make it a point of drinking our nobbler, and sometimes treating the others twice, if we had cash. There was another family that lived a couple of miles off, higher up the creek, and we had always been good friends with them, though they never came to our house, and only we boys went to theirs. They were the parents of the little girl that went to school with us, and a boy who was a year older than me. Their father had been a gardener at home, and he married a native girl who was born somewhere about the Hawkesbury, near Windsor. Her father had been a farmer, and many a time she told us how sorry she was to go away from the old place, and what fine corn and pumpkins they grew; and how they had a church at Windsor, and used to take their hay and fruit and potatoes to Sydney, and what a grand place Sydney was, with stone buildings called markets for people to sell fruit and vegetables and poultry in; and how you could walk down into Lower George Street and see Sydney Harbour, a great shining salt-water plain, a thousand times as big as the biggest waterhole, with ships and boats and sailors, and every kind of strange thing upon it. Mrs. Storefield was pretty fond of talking, and she was always fond of me, because once when she was out after the cows, and her man was away, and she had left Grace at home, the little thing crawled down to the waterhole and tumbled in. I happened to be riding up with a message for mother, to borrow some soap, when I heard a little cry like a lamb’s, and there was poor little Gracey struggling in the water like a drowning kitten, with her face under. Another minute or two would have finished her, but I was off the old pony and into the water like a teal flapper. I had her out in a second or two, and she gasped and cried a bit, but soon came to, and when Mrs. Storefield came home she first cried over her as if she would break her heart, and kissed her, and then she kissed me, and said, Now, Dick Marston, you look here. Your mother’s a good woman, though simple; your father I don’t like, and I hear many stories about him that makes me think the less we ought to see of the lot of you the better. But you’ve saved my child’s life today, and I’ll be a friend and a mother to you as long as I live, even if you turn out bad, and I’m rather afraid you will—you and Jim both—but it won’t be my fault for want of trying to keep you straight; and John and I will be your kind and loving friends as long as we live, no matter what happens. After that—it was strange enough—but I always took to the little toddling thing that I’d pulled out of the water. I wasn’t very big myself, if it comes to that, and she seemed to have a feeling about it, for she’d come to me everytime I went there, and sit on my knee and look at me with her big brown serious eyes—they were just the same after she grew up—and talk to me in her little childish lingo. I believe she knew all about it, for she used to say, Dick pull Gracey out of water; and then she’d throw her arms round my neck and kiss me, and walk off to her mother. If I’d let her drown then, and tied a stone round my neck and dropped through the reeds to the bottom of the big waterhole, it would have been better for both of us. When John came home he was nearly as bad as the old woman, and wanted to give me a filly, but I wouldn’t have it, boy as I was. I never cared for money nor money’s worth, and I was not going to be paid for picking a kid out of the water. George Storefield, Gracey’s brother, was about my own age. He thought a lot of what I’d done for her, and years afterwards I threatened to punch his head if he said anything more about it. He laughed, and held out his hand. You and I might have been better friends lately, says he; but don’t you forget you’ve got another brother besides Jim—one that will stick to you, too, fair weather or foul. I always had a great belief in George, though we didn’t get on over well, and often had fallings out. He was too steady and hardworking altogether for Jim and me. He worked all day and everyday, and saved every penny he made. Catch him gaffing!—no, not for a sixpence. He called the Dalys and Jacksons thieves and swindlers, who would be locked up, or even hanged, some day, unless they mended themselves. As for drinking a glass of grog, you might just as soon ask him to take a little laudanum or arsenic. Why should I drink grog, he used to say—such stuff, too, as you get at that old villain Grimes’s—with a good appetite and a good conscience? I’m afraid of no man; the police may come and live on my ground for what I care. I work all day, have a read in the evening, and sleep like a top when I turn in. What do I want more? Oh, but you never see any life, Jim said; you’re just like an old working bullock that walks up to the yoke in the morning and never stops hauling till he’s let go at night. This is a free country, and I don’t think a fellow was born for that kind of thing and nothing else. This country’s like any other country, Jim, George would say, holding up his head, and looking straight at him with his steady gray eyes; a man must work and save when he’s young if he don’t want to be a beggar or a slave when he’s old. I believe in a man enjoying himself as well as you do, but my notion of that is to have a good farm, well stocked and paid for, by and by, and then to take it easy, perhaps when my back is a little stiffer than it is now. But a man must have a little fun when he is young, I said. What’s the use of having money when you’re old and rusty, and can’t take pleasure in anything? A man needn’t be so very old at forty, he says then, and twenty years’ steady work will put all of us youngsters well up the ladder. Besides, I don’t call it fun getting half-drunk with a lot of blackguards at a low pothouse or a shanty, listening to the stupid talk and boasting lies of a pack of loafers and worse. They’re fit for nothing better; but you and Jim are. Now, look here, I’ve got a small contract from Mr. Andrews for a lot of fencing stuff. It will pay us wages and something over. If you like to go in with me, we’ll go share and share. I know what hands you both are at splitting and fencing. What do you say? Jim, poor Jim, was inclined to take George’s offer. He was that good-hearted that a kind word would turn him anytime. But I was put out at his laying it down so about the Dalys and us shantying and gaffing, and I do think now that some folks are born so as they can’t do without a taste of some sort of fun once in a way. I can’t put it out clear, but it ought to be fixed somehow for us chaps that haven’t got the gift of working all day and everyday, but can do two days’ work in one when we like, that we should have our allowance of reasonable fun and pleasure—that is, what we called pleasure, not what somebody thinks we ought to take pleasure in. Anyway, I turned on George rather rough, and I says, We’re not good enough for the likes of you, Mr. Storefield. It’s very kind of you to think of us, but we’ll take our own line and you take yours. I’m sorry for it, Dick, and more sorry that you take huff at an old friend. All I want is to do you good, and act a friend’s part. Goodbye—some day you’ll see it. You’re hard on George, says Jim, there’s no pleasing you today; one would think there were lots of chaps fighting how to give us a lift. Goodbye, George, old man; I’m sorry we can’t wire in with you; we’d soon knock out those posts and rails on the ironbark range. You’d better stop, Jim, and take a hand in the deal, says I (or, rather, the devil, for I believe he gets inside a chap at times), and then you and George can take a turn at local-preaching when you’re cut out. I’m off. So without another word I jumped on to my horse and went off down the hill, across the creek, and over the boulders the other side, without much caring where I was going. The fact was, I felt I had acted meanly in sneering at a man who only said what he did for my good; and I wasn’t at all sure that I hadn’t made a breach between Gracey and myself, and, though I had such a temper when it was roused that all the world wouldn’t have stopped me, everytime I thought of not seeing that girl again made my heart ache as if it would burst. I was nearly home before I heard the clatter of a horse’s feet, and Jim rode up alongside of me. He was just the same as ever, with a smile on his face. You didn’t often see it without one. I knew he had come after me, and had given up his own fancy for mine. I thought you were going to stay and turn good, I said. Why didn’t you? It might have been better for me if I had, he said, but you know very well, Dick, that whatever turns up, whether it’s for good or evil, you and I go together. We looked at one another for a moment. Our eyes met. We didn’t say anything; but we understood one another as well as if we had talked for a week. We rode up to the door of our cottage without speaking. The sun had set, and some of the stars had come out, early as it was, for it was late autumn. Aileen was sitting on a bench in the verandah reading, mother was working away as usual at something in the house. Mother couldn’t read or write, but you never caught her sitting with her hands before her. Except when she was asleep I don’t think she ever was quite still. Aileen ran out to us, and stood while we let go our horses, and brought the saddles and bridles under the verandah. I’m glad you’re come home for one thing, she said. There is a message from father. He wants you to meet him. Who brought it? I said. One of the Dalys—Patsey, I think. All right, said Jim, kissing her as he lifted her up in his great strong arms. I must go in and have a gossip with the old woman. Aileen can tell me after tea. I daresay it’s not so good that it won’t keep. Mother was that fond of both of us that I believe, as sure as I sit here, she’d have put her head on the block, or died in any other way for either of her boys, not because it was her duty, but glad and cheerful like, to have saved us from death or disgrace. I think she was fonder of us two than she was of Aileen. Mothers are generally fonder of their sons. Why I never could see; and if she thought more of one than the other it was Jim. He was the youngest, and he had that kind of big, frolicsome, loving way with him, like a Newfoundland pup about half-grown. I always used to think, somehow, nobody ever seemed to be able to get into a pelter with Jim, not even father, and that was a thing as some people couldn’t be got to believe. As for mother and Aileen, they were as fond of him as if he’d been a big baby. So while he went to sit down on the stretcher, and let mother put her arms round his neck and hug him and cry over him, as she always did if he’d been away more than a day or two, I took a walk down the creek with Aileen in the starlight, to hear all about this message from father. Besides, I could see that she was very serious over it, and I thought there might be something in it more than common. First of all, did you make any agreement with George Storefield? she said. No; why should I? Has he been talking to you about me? What right has he to meddle with my business? Oh, Dick, don’t talk like that. Anything that he said was only to do you a kindness, and Jim. Hang him, and his kindness too, I said. Let him keep it for those that want it. But what did he tell you? He said, first of all, answered poor Aileen, with the tears in her eyes, and trying to take hold of my hand, that he had a contract for fencing timber, which he had taken at good prices, which he would share with you and Jim; that he knew you two and himself could finish it in a few weeks, and that he expected to get the contract for the timber for the new bridge at Dargo, which he would let you go shares in too. He didn’t like to speak about that, because it wasn’t certain; but he had calculated all the quantities and prices, and he was sure you would make 70 or 80 Pounds each before Christmas. Now, was there any harm in that; and don’t you think it was very good of him to think of it?
6420	dbpedia	1	6	https://www.rottentomatoes.com/m/robbery-under-arms	en	Robbery Under Arms	https://resizing.flixste…9728_p_v8_aa.jpg	https://resizing.flixste…9728_p_v8_aa.jpg	[ "https://images.fandango.com/cms/assets/97c33f00-313f-11ee-9aaf-6762c75465cf--newsletter.png", "https://images.fandango.com/cms/assets/97c33f00-313f-11ee-9aaf-6762c75465cf--newsletter.png", "https://www.rottentomatoes.com/assets/pizza-pie/images/rtlogo.9b892cff3fd.png", "https://resizing.flixster.com/DOGYjvelfQZn-R784xGXZV8pXEk=/fit-in/128x128/v2/http://resizing.flixster.com/hfjxGyLrFf7F1P3PVBvIICqr_cc=/128x128/v1.YzszNTU2O2o7MTk5ODA7MjA0ODszMDA7MzAw", "https://images.fandango.com/cms/assets/266533e0-7afb-11ed-83f2-4f600722b564--privacyoptions.svg", "https://images.fandango.com/cms/assets/266533e0-7afb-11ed-83f2-4f600722b564--privacyoptions.svg" ]	[]	[]	[ "" ]	null	[]	null	Two brothers join their father in Captain Starlight's (Peter Finch) bushranger gang in 19th-century Australia.	en	https://www.rottentomatoes.com/assets/pizza-pie/images/favicon.ico	Rotten Tomatoes	https://www.rottentomatoes.com/m/robbery-under-arms	Let's keep in touch! > Sign up for the Rotten Tomatoes newsletter to get weekly updates on: Upcoming Movies and TV shows Rotten Tomatoes Podcast Media News + More Sign me up No thanks
6420	dbpedia	2	50	https://www.target.com/p/robbery-under-arms-mint-editions-bushrangers-convicts-and-escaped-criminal-fiction-by-rolf-boldrewood-hardcover/-/A-91482518	en	(mint Editions (bushrangers, Convicts, And Escaped Criminal Fiction)) By Rolf Boldrewood (hardcover) : Target	https://target.scene7.com/is/image/Target/GUEST_a6a8b3aa-04b7-4f81-9a26-f2691184dd0a	https://target.scene7.com/is/image/Target/GUEST_a6a8b3aa-04b7-4f81-9a26-f2691184dd0a	[ "https://target.scene7.com/is/image/Target/GUEST_a6a8b3aa-04b7-4f81-9a26-f2691184dd0a?wid=800&hei=800&qlt=80&fmt=pjpeg" ]	[]	[]	[ "Robbery Under Arms - (Mint Editions (Bushrangers", "Convicts", "and Escaped Criminal Fiction)) by Rolf Boldrewood (Hardcover)" ]	null	[]	null	Shop Robbery Under Arms - (Mint Editions (Bushrangers, Convicts, and Escaped Criminal Fiction)) by Rolf Boldrewood (Hardcover) at Target. Choose from Same Day Delivery, Drive Up or Order Pickup. Free standard shipping with $35 orders.	en	https://assets.targetimg1.com/static/images/favicon.ico		https://www.target.com/p/robbery-under-arms-mint-editions-bushrangers-convicts-and-escaped-criminal-fiction-by-rolf-boldrewood-hardcover/-/A-91482518	undefined out of 5 stars with 0 reviews be the first!
6420	dbpedia	1	13	https://www.amazon.com/Robbery-Under-Arms/dp/B00F99HTYM	en	Amazon.com			[ "https://images-na.ssl-images-amazon.com/captcha/ahkfsmoa/Captcha_wxfzcaxvam.jpg", "https://fls-na.amazon.com/1/oc-csi/1/OP/requestId=JKGX7Z474GZPA7KQK7P8&js=0" ]	[]	[]	[ "" ]	null	[]	null		en			null	Enter the characters you see below Sorry, we just need to make sure you're not a robot. For best results, please make sure your browser is accepting cookies.
6420	dbpedia	2	11	https://itpworld.online/2022/06/01/robbery-under-arms-uk-australia-1957/	en	Robbery Under Arms (UK-Australia 1957)	https://itpworld.online/…poster.jpg?w=600	https://itpworld.online/…poster.jpg?w=600	[ "https://itpworld.online/wp-content/uploads/2022/10/itpworldlogo.jpg?w=108", "https://itpworld.online/wp-content/uploads/2022/05/robbery-under-arms-poster.jpg?w=616&h=504", "https://itpworld.online/wp-content/uploads/2022/05/robbery3.jpg?w=616&h=346", "https://itpworld.online/wp-content/uploads/2022/05/warriors.jpg?w=430&h=576", "https://itpworld.online/wp-content/uploads/2022/05/robbery5.jpg?w=616&h=479", "https://itpworld.online/wp-content/uploads/2022/05/displayad.jpg?w=616&h=400", "https://itpworld.online/wp-content/uploads/2022/06/mccallum.jpg?w=445&h=576", "https://itpworld.online/wp-content/uploads/2022/06/swanson2.jpg?w=616", "http://s04.flagcounter.com/count2/3Rw/bg_FFFFFF/txt_000000/border_CCCCCC/columns_2/maxflags_10/viewers_0/labels_0/pageviews_0/flags_0/percent_0/", "https://secure.gravatar.com/blavatar/c14777775d490f91f717679e428731e6041c4e450dd717fe8374c7ee450e3c3a?s=50&d=https%3A%2F%2Fs2.wp.com%2Fi%2Flogo%2Fwpcom-gray-white.png", "https://secure.gravatar.com/blavatar/c14777775d490f91f717679e428731e6041c4e450dd717fe8374c7ee450e3c3a?s=50&d=https%3A%2F%2Fs2.wp.com%2Fi%2Flogo%2Fwpcom-gray-white.png", "https://pixel.wp.com/b.gif?v=noscript" ]	[]	[]	[ "" ]	null	[]	2022-06-01T00:00:00	In 1956 the film adaptation of Nevil Shute's novel A Town Like Alice was a big commercial and critical success. It starred Virginia McKenna and Peter Finch with Joseph Janni as producer and Jack Lee as director. Finch was a bankable name in Australia and in the UK, partly because of his well publicised drinking…	en	https://secure.gravatar.com/blavatar/c14777775d490f91f717679e428731e6041c4e450dd717fe8374c7ee450e3c3a?s=32	ITP Global Film	https://itpworld.online/2022/06/01/robbery-under-arms-uk-australia-1957/	In 1956 the film adaptation of Nevil Shute’s novel A Town Like Alice was a big commercial and critical success. It starred Virginia McKenna and Peter Finch with Joseph Janni as producer and Jack Lee as director. Finch was a bankable name in Australia and in the UK, partly because of his well publicised drinking and affairs with female celebrity figures. Because the film had an Australian dimension involving the capture of Australian troops as well as British settlers in Malaya at the time of the Japanese invasion in 1941, Janni and Lee were eager to to make another film with Finch in Australia. They eventually decided on a new version of an already four-times adapted novel set in the late nineteenth century. They used the same pair of writers, W.P. Lipscomb and Richard Mason plus an additional writer, Alexander Baron and two of the other cast members from the earlier film. The experienced Harry Waxman shot the new film mainly in the Flinders Ranges of South Australia as well as in the Pagewood Studios in Sydney and Pinewood in the UK. This adventurous production links the film to both the Australian genre of the ‘bushranger’ film and to the cycle of British-Australian films produced by Ealing Studios starting with The Overlanders (1946) and finishing with The Siege of Pinchgut (1959). Peter Finch was a supporting player in one of these, Eureka Stockade in 1949, and he starred in The Shiralee in 1957, immediately before working on Robbery Under Arms. Ealing had in fact tried to make their own adaptation of Robbery Under Arms at several points over the course of their Australian production period. Robbery Under Arms was written by the Australian author Thomas Alexander Browne using the pseudonym Rolf Boldrewood. It first appeared serialised in a Sydney magazine from 1882 and was then published in book form in 1888 and has remained in print ever since, becoming a classic of ‘Australian colonial fiction’. Originally used to refer to ‘transported’ men who escaped into the bush to evade the authorities, ‘bushranger’ became a descriptor for any criminals who carried out ‘robbery under arms’ as the official charge sheet put it. Film versions of the novel were among the first Australian films in the 1900s with further adaptations in 1911 and 1920 and a later TV movie in 1985 starring Sam Neill. The novel is long with several episodes. The 1957 version cuts several of these and presents a more linear narrative. It also sets the story slightly earlier in 1865. The most striking decision is the casting of Peter Finch as ‘Captain Starlight’, the rather glamorous and seemingly aristocratic leader of a bushranger outfit. Although Finch was appropriately cast as the character, Starlight isn’t the leading character in the narrative. Instead, the leads are two brothers Dick (Ronald Lewis) and Jim (David McCallum) Marston. Dick is the leader of the two and the narrative begins when, exhausted after a successful spell of sheep shearing, the pair decide to seek adventure. They find this when they discover that their ex-convict father is working with Starlight on a cattle drive of a thousand stolen head. It seems like exciting and lucrative work but they will find themselves always having to avoid the colonial police force as well as angry ranchers. Their involvement with a pair of sisters (Kate, played by Maureen Swanson and Jean, played by Jill Ireland) causes further complications. The main events in the narrative are familiar from Hollywood Westerns – a stage hold-up, saloon brawls etc. Indigenous Australians appear in the form of trackers, working with both Starlight’s gang and the colonial police, and warriors encountered in the bush. The resolution of the narrative is inevitable as a ‘posse’ of locals aids the colonial police to hunt down Starlight’s gang. He may be the ‘gentleman’ thief but some of his companions are more brutal. Mothers will lose young sons and settler culture in Australia does not come out well, apart from a local brother-sister combination who seem honourable. The Marstons might have followed their example but that would not fulfil the genre expectations. As with other British productions in Commonwealth/Empire territories, the appeal of the film is found in the Eastmancolor images of the mountains and plains that present the action. One of the odd aspects of the production is the IMDb suggestion that the film was shot in ‘open matte’ Academy ratio (1.33:1) but intended to be projected with masking to create a widescreen (1.75:1) image. I watched the Network Region 2 DVD in Academy and that seems to be the format for other DVDs as well. I think the amount of cropping/masking for a widescreen image would destroy many compositions so that suggestion sounds unlikely to me. There is also a discrepancy in the running times listed for the UK, US and Australia. The Region 2 DVD runs 95 minutes which with PAL speed-up is closest to the UK cinema running time of 99 minutes. Australia seemingly got 5 minutes more but the US 16 mins less. The film received a mixed response from critics but was certainly a box office hit in Australia and seems to have got a wide release in the UK. The two main criticisms seem to have been about the quality of the performances and the poor script. Personally, I found all the performances to be fine. There is some criticism of the mix of speech patterns by the British actors as leads and Australians as support but this probably matches some of the interchanges of the 1860s. For the critics in the 1950s the script was on the one hand filled with passages, especially in the opening scenes, when the pace was too slow but overall included too many ‘action scenes’ and didn’t develop the relationships between characters. I think it likely that the film was seen as both very similar to American Westerns but also vastly inferior. This seems to miss the film’s genuine interest in its Australian story and I’ve written about it here in preparation for work on other Australian Westerns. Australian film history begins with such films but production declined during the 1930s and didn’t fully revive until the ‘New Australian Cinema’ of the 1970s. The British productions in Australia between 1946 and 1959 at least helped to keep local production alive during the lean years. Two repercussions for the actors involved in the Robbery Under Arms production were that David McCallum and Jill Ireland married during the production, having met on Hell Drivers which was released in the UK earlier in 1957. They later migrated to Hollywood where McCallum starred in the TV series The Man from U.N.C.L.E. Maureen Swanson, who shares second billing on the UK poster above with McCallum, was a rising star at this point and she had featured in A Town Like Alice and other Rank productions, including a second billing in a Norman Wisdom comedy, Up in the World (1956). As Ronald Bergan points out in her obituary (she died in 2011), Swanson didn’t fit into the group of ‘Charm School starlets’ as she had trained as a ballet dancer but she was also not one of the young ‘sex bomb’ types such as Diana Dors or Joan Collins. Yet after Robbery Under Arms, in which the Monthly Film Bulletin reviewer says she gives a “Rhonda Fleming-like performance”, she moves into UK TV and then retires in 1961 after marrying into the aristocracy. Her performance as Kate reveals an actor with passion and Rank lost a potential major star. Robbery Under Arms is a film with flaws certainly but I don’t think it deserved the critical reaction it received. I enjoyed the film and particularly the cinematography and the performances by Maureen Swanson and David McCallum (both initially from Glasgow). This is an interesting introduction to Australian stories on screen before the emergence of the 1970s New Cinema. As well as on the Network DVD, the film has also appeared on Talking Pictures TV in the UK.
6420	dbpedia	1	44	https://tv.apple.com/au/show/robbery-under-arms/umc.cmc.22349jaey0c1xx47w02ctb7zc	en	Robbery Under Arms	https://is1-ssl.mzstatic…xuw/1200x675.jpg	https://is1-ssl.mzstatic…xuw/1200x675.jpg	[ "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif", "https://tv.apple.com/assets/artwork/1x1.gif" ]	[]	[]	[ "" ]	null	[]	1986-02-17T00:00:00+00:00	Captain Starlight, his trusty Aboriginal sidekick Warriga, and their band of adventure-hungry men go in search of riches, romance, and other men's catâ¦	en	/assets/favicon/apple-touch-icon-9a18d92f405f4cba68b503b186df5f5b.png	AppleÂ TV	https://tv.apple.com/au/show/robbery-under-arms/umc.cmc.22349jaey0c1xx47w02ctb7zc	EPISODE 1 Episode 1 The men organise a large stolen herd of cattle drive to the auction in Adelaide. Later, they engage in a cricket match on a flash ground. 1 hr 30 min Â· 27 Mar 1985 EPISODE 2 Episode 2 Starlight's gang invites Peter Moran for a big gold heist, but he creates trouble when he refuses to be ordered around by an Englishman. 1 hr 35 min Â· 27 Mar 1985
6420	dbpedia	2	85	https://filmjems.co.uk/products/robbery-under-arms-1957	en	ROBBERY UNDER ARMS (1957)	https://isteam.wsimg.com/ip/7eadbddc-5d5e-11e5-b9b0-14feb5d41b49/ols/2188_original/:/rs=w:600,h:600	https://isteam.wsimg.com/ip/7eadbddc-5d5e-11e5-b9b0-14feb5d41b49/ols/2188_original/:/rs=w:600,h:600	[ "https://isteam.wsimg.com/ip/7eadbddc-5d5e-11e5-b9b0-14feb5d41b49/ols/3602_original/:/rs=w:400,h:400", "https://isteam.wsimg.com/ip/7eadbddc-5d5e-11e5-b9b0-14feb5d41b49/ols/2188_original/:/rs=w:600,h:600", "https://isteam.wsimg.com/ip/7eadbddc-5d5e-11e5-b9b0-14feb5d41b49/ols/4067_original/:/rs=w:600,h:600", "https://isteam.wsimg.com/ip/7eadbddc-5d5e-11e5-b9b0-14feb5d41b49/ols/4072_original/:/rs=w:600,h:600", "https://isteam.wsimg.com/ip/7eadbddc-5d5e-11e5-b9b0-14feb5d41b49/ols/4086_original/:/rs=w:600,h:600", "https://isteam.wsimg.com/ip/7eadbddc-5d5e-11e5-b9b0-14feb5d41b49/ols/2188_original/:/rs=w:600,h:600" ]	[]	[]	[ "" ]	null	[]	null					null	TWO BROTHERS JOIN THEIR FATHER IN CAPTAIN STARLIGHT'S BUSH RANGER GANG IN 19TH CENTURY AUSTRALIA. STARRING PETER FINCH, RONALD LEWIS, DAVID MCCALLUM, JILL IRELAND, MAUREEN SWANSON.
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6420	dbpedia	3	4	https://memory.ucsf.edu/caregiving-support/behavior-personality-changes	en	Behavior & Personality Changes	https://memory.ucsf.edu/…/img-metatag.jpg	https://memory.ucsf.edu/…/img-metatag.jpg	[ "https://memory.ucsf.edu/sites/memory.ucsf.edu/files/Weill_WebLogo_Lockup_MemoryandAgingCenter_Web_0.png", "https://memory.ucsf.edu/sites/memory.ucsf.edu/files/wysiwyg/BrainLobes.png" ]	[]	[]	[ "" ]	null	[]	null		en	https://memory.ucsf.edu/profiles/ucsf_b1gfoot/themes/ucsf_b1gfoot_theme/favicon.ico	Memory and Aging Center	https://memory.ucsf.edu/caregiving-support/behavior-personality-changes	The symptoms of dementia often cause a feeling of insecurity. For example, memory loss may lead to worry about forgetting an appointment while visual-spatial problems can make people feel lost or disoriented even when they are in a familiar place. Having less ability to cope with stress, people with dementia often become dependent on their caregiver to help them manage their emotions. The caregiver may become the person’s “anchor,” or the person they trust who helps them feel secure. The person with dementia might follow or “shadow” the caregiver wherever they go, call the caregiver several times a day on the phone, or ask repeated questions over and over again. They may feel threatened and become agitated when their caregiver feels tired and acts frustrated, or impatient, or when the caregiver tries to ignore them. Similarly, they may become worried and agitated when they cannot find their caregiver, even for a moment. For example, if the person with dementia cannot see or hear their caregiver, they might wander away looking for them and get lost. This table offers some ideas for helping the person with dementia feel secure. If their anxiety is very distressing or puts their safety at risk, their doctor should be consulted to see if medication might help. Antidepressants are generally safe and can help soften anxiety. Stronger medications like benzodiazepines or antipsychotics have more side effects, although, in some situations, the benefits of the medication outweigh the potential harm. IF THEN The person is following you around and getting worried or agitated when they cannot see or hear you. Reduce clutter and background noise that may make the environment disorienting for the person. Set up a “control station” near their favorite chair. Make sure they have a snack, some water, an activity or two (e.g., book, puzzle, craft), and any other security objects they prefer (e.g., phone, stuffed animal, purse). Consider if the person may need more help or supervision than you are able to provide. Try starting a day program or hiring in-home help. It may take some time but the person will likely adjust to it. Reassure the person with a calm tone of voice. The person is asking the same questions repeatedly or seeking frequent reassurance Remind yourself that the person is not doing this on purpose. They have short-term memory loss or a short attention span and they are doing the best they can. Use a hearing aid or voice amplifier if hearing loss is an issue. Avoid using an annoyed or mocking tone of voice as this is likely to make the person feel defensive. Think of a script that you can repeat without having to think about it. For example: That was a lovely breakfast (lunch/dinner). Will you help me rinse the dishes? It was fun talking with you about that silly cat. I will call you again tomorrow morning. Have a nice time at bingo this afternoon. Try to use a matter-of-fact tone of voice. Use humor if you find that the person responds well to it. Limit the amount of information you give the person if more information will cause them to worry. For example, you might wait to tell the person about a doctor’s appointment until it is almost time to get ready to go. Try to set up a predictable and consistent daily routine for the person. This will help them maintain function and know what to expect. If the person lives in a facility, consider setting up a scheduled time to call or visit them each day. Keeping a calendar or written daily schedule may be helpful for some people and for others it may cause more confusion. Giving the person something to do may distract them from worrying. Often people want to be helpful, try to find simple chores they can help with routinely. Regular exercise may be another outlet for nervous energy. People with dementia may use your emotions as cues for their own. For example, if you are anxious and worried, they may become anxious and worried. Take a deep breath and try to stay calm. The person becomes so distressed they are inconsolable Take a deep breath and do your best to stay calm yourself. Reduce background noise (turn off television) and dim any bright lights if possible. Sometimes it helps to have another familiar person, like a neighbor or relative call or visit to distract and reassure the person. Arguing with the person or trying to physically restrain them is likely to make the situation worse. If there is any immediate threat of danger to the person or anyone else, call 911. Contact the person’s doctor to make an urgent appointment to rule out an underlying medical cause and consider pharmacologic treatment. If you are at the end of your rope and need help figuring out what to do at any time day or night, call the Alzheimer’s Association’s 24/7 Helpline at 1.800.272.3900. If the person responds well to affection, consider holding their hand, giving them a hug, or rubbing their back. Consider distracting the person with their favorite food treat like ice cream or chocolate. Sometimes people feel calmer when riding in the car or going for a walk. Make sure you bring a cell phone just in case you end up needing to call for help to keep the person safe. Apathy, or indifference, is defined as passivity and a lack of interest or enthusiasm. People with dementia may lose interest in activities or hobbies they once found interesting and fun. They often have trouble coming up with ideas for activities and may rely more on others to come up with things to do. Apathy is one of the most common symptoms of dementia, and the person with dementia is usually not aware of or bothered by it. Apathy can be hard for families for many reasons. Families may have trouble getting used to passivity in a person who was once motivated and active. Families may worry that the person is sad, because apathy often resembles depression, although not everyone with apathy is depressed. Families may put a lot of effort into finding ways to engage the person with dementia, and this process may be tiring and frustrating. They may feel like they have failed when they are unable to get the person with dementia to be more active. The person with dementia often needs help from others to plan, set up, and start an activity. As the disease progresses, they will need more help to do simpler things. Finally, families may worry that inactivity will lead to other health problems. The truth is, apathy is hard to treat. There are no medications to treat apathy, although donepezil (Aricept®, used in people with Alzheimer’s disease) can sometimes improve it. In many cases, the area of the brain (the frontal lobes) that makes a person active and interested is affected by dementia. The person with dementia may not be able to start an activity on their own, but they may be able to engage once someone helps them get started. Sometimes, the person with dementia will need help to stay focused on an activity. Sometimes, activities that once held the person’s attention become too much for them or too hard to follow. This does not mean the person “just needs to try harder;” they really cannot be active or show that familiar “spark” of interest and enthusiasm. Things You Can Do to Help Do not assume that old activities and hobbies are familiar and fun for the person with dementia; they may have become too difficult and confusing. Work on accepting that apathy is a symptom of dementia and try not to think of the person as being lazy. Find ways to appreciate the person as they are now, with less drive and interest than they had before. Do not expect the person with dementia to suggest things to do. Try to not let this become an area of conflict between you and the person with dementia. The conflict is not good for either of you! Consider simpler physical exercise, such as walking, that is more “automatic.” Try simpler activities that the person can do without being frustrated. For example, large piece puzzles, riding in the car, listening to music, and sorting, folding, or stacking objects, are some things that the person may enjoy doing. Notice when they are having trouble with a task and offer enough help so that they can be successful without taking over. For example, if the person has difficulty starting a puzzle, you might help by telling them to sort the pieces by color first, then separate the edge pieces, etc. Avoid asking open-ended questions that may result in the patient saying “no” or “nothing.” For example, instead of asking, “What do you want to do today?” ask, “What coat do you want to wear for our walk?” Set a routine for activities. For example, try playing cards every day after dinner. Knowing what to expect may make it easier for the person with dementia. For people who live in a care facility and who do not want to do group activities, ask if the activity director can offer one-on-one activities in the person’s room. Resource The Alzheimer’s Association website has a list of things to do that could be enjoyable for people with dementia Is this change in behavior caused by the dementia? When people notice a change in behavior, like increased confusion or agitation, they often ask whether the change is being caused by the dementia or if it is a sign of something else. This is a good question because it can be hard to tell! While a slow decrease in the person’s abilities over time is expected with most types of dementia, sudden changes that happen over hours or days may be a sign of what is called delirium. It is important to compare new behaviors or changes in abilities to the person’s usual abilities and behavior patterns. With careful assessment, the underlying causes of delirium can often be treated, helping the person recover some or all of their previous abilities. What are the signs of delirium? Changes that occur over hours or days and seem to come and go, or fluctuate throughout the day: Change in energy or alertness More sleepy than usual, or Hyperactive and anxious Inability to focus or pay attention; more easily distracted Communication problems, such as switching topics too often or using words that do not make sense Paranoid thinking or fear that someone or something is trying to harm them Seeing or hearing things that are not there Movement problems, such as moving slowly, fidgeting, or clumsiness What causes delirium? Many things can cause delirium, and sometimes there is more than one cause. Here are some common things we look for: Infection, such as urinary tract or respiratory Medication side effects Dehydration Constipation Urine retention or inability to empty the bladder completely (especially in older men) Pain Lack of sleep Nutritional problems from not eating well Electrolyte imbalance (such as low levels of sodium in the person’s blood) Other medical problems (diabetes, liver disease, kidney disease, lung disease or heart failure) What can you do to help? If you suspect that someone is experiencing delirium, it is important to make an appointment for him or her to see their primary care provider as soon as possible. Their provider may order urine and blood tests to look for possible causes of delirium. It may be helpful for the provider to know what happened before and after the changes in the person’s behavior occurred. If the person seems dramatically different, extremely distressed, or has difficulty breathing, call 911 or take them to a hospital. Things to help the person get back to “normal” as soon as possible When someone has delirium, they often feel disoriented, anxious, and frightened. It can be hard for them to feel comfortable or trust that they are safe. Here are some ways to help once treatment has been started: Try to stay calm and peaceful yourself Reassure the person that everything will be okay If the person seems aware that something is wrong, it’s okay to try to talk to them about what is happening. If talking about being sick is distressing for the person, then it’s probably best to avoid talking about it directly Promote activity during the day: Help the person out of bed for meals Take the person on a short walk three times a day (around the house is okay) Engage the person in simple calming activities Look at picture books or magazines Tell stories about the past Offer soothing touch (hand, foot, or back rub, brushing hair) Help with simple puzzles or adult coloring books, play music or cards Demonstrate deep breathing and encourage them to do the same Promote sleep at night: Minimize light and noise if it disrupts their sleep Make sure they are comfortably warm Look for any signs of pain (grimace, moan, or bracing with movement) Help them stay nourished and hydrated, offer snacks and encourage them to drink throughout the day Help them wear any glasses or hearing aids that they normally use Delirium may begin to improve as soon as underlying causes are treated; however, it can take months for the person to return to their previous level of function and behavior. Unfortunately, delirium can cause dementia to progress more quickly, and in some cases, the person may not be able to fully recover their previous abilities. Follow-up with the primary care provider It’s a good idea to schedule a follow-up visit with the person’s primary care provider within a month or so. The provider should check to see if any medications they ordered were helpful. This may also be done over the phone if symptoms have improved. Any medications that were used to help manage psychotic symptoms from delirium may be discontinued (in consultation with the provider) once the person has recovered. If the person has become weak or has more difficulty walking, the provider can make a referral for physical therapy. For more information: Urinary Tract Infections and Dementia UCSF Delirium Care Guide The Modified and Extended Hospital Elder Life Program: A remote model of care to expand delirium prevention Delirium Research Center at Vanderbilt People with dementia sometimes develop delusions or false beliefs, and hallucinations or they sense things that are not actually there. Delusions in dementia may be paranoid; for example, the person might believe someone is stealing from them, their spouse is cheating on them, or someone is out to get them. Delusions in dementia can also be related to memory loss. For example, the person might believe they have to go to work (when they’ve been retired for years), that they are able to drive safely (though their license was revoked) or that they need to take care of their children (who are now grown adults). Hallucinations involve seeing, hearing, feeling or smelling things that are not there. Hallucinations in dementia may be pleasant; for example, the person might see and talk to “little people,” animals or a person from their past (like a deceased parent). Hallucinations in dementia can also be scary and distressing. For example, the person might hear people yelling at them, see people coming after them or feel bugs crawling on their skin. Strong emotional memories from the person’s past may re-manifest as delusions and hallucinations in dementia. The person may have trouble separating past experiences from current reality and may re-live these events to a certain extent. For example, experiences of abuse, traumatic incidents or tragic loss may be triggered by environmental cues and re-experienced as a delusion or hallucination. Delusions and hallucinations can occur in all types of dementia and they are especially common in Lewy body dementia (LBD) and Parkinson’s disease dementia (PDD). Things in the environment can contribute to misperceptions. For example, dramatic or scary television programs might be perceived as actually happening in real life. Alarming noises, reflections in a mirror or window, dark shadows and glaring lights can be perceived as someone coming after them. Fatigue or lack of rest can make these symptoms worse. If the symptoms are new or getting worse, it is important to have the person evaluated by their doctor to rule out an underlying medical cause. Sudden changes in mental status can be caused by urinary tract infections, pneumonia, constipation, dehydration and other conditions. When the person is not bothered or distressed by their hallucinations or delusions, it is generally best to acknowledge their experience with a matter-of-fact tone of voice without endorsing or denying it. For example, you might say something like, “Oh, that’s interesting,” or “Hmm, I don’t see that,” or “Wouldn’t it be nice to have a private jet, they sure cost a lot of money!” and move on to another topic of conversation. Stay calm and avoid arguing with the person or telling them that they are wrong. This section offers some ideas for helping the person with dementia when they are having delusions or hallucinations. If their symptoms are distressing, their doctor should be consulted to rule out other causes, and see if medication might help. Acetylcholinesterase inhibitors like donepezil (trade name ‎Aricept) or rivastigmine (trade name‎ ‎Exelon) are often helpful. Stronger medications like antipsychotics have more side effects, though the benefits of the medication sometimes outweigh the potential harm. IF THEN The person believes they have to go to work or take care of a previous responsibility Remember that the person has a disease that affects their brain and they are not acting this way on purpose. Consider ways to adapt former roles. If the person has always been ‟a provider” or ‟a nurturer,” they might help take care of a pet or garden. If they’re used to being in charge, they might be a ‟director” and tell others how to do things they used to do (like cook or fix things). Avoid arguing or trying to reason with the person; this will often make the situation worse Try distracting the person with conversation. For example, ask them to tell you about their work and gradually guide the conversation to a somewhat related topic. If the person is talking about working in an office, you might change the subject to talking about typewriters or computers. Try distracting the person with compliments. For example, tell them how much you like their shirt or jewelry and then ask questions about it. Is it their favorite color? Was it expensive? Try redirecting the person with another activity. For example, ask for their help to do something else like rearrange furniture, sort the mail, tinker with a broken appliance, sweep the floor or fold laundry. Try reassuring the person by telling them a little lie. For example, you might tell them ‘the office is closed today’ or ‘the kids are at school.’ You will need to immediately redirect them to another topic of conversation or an activity to avoid conflict. Find ways to show the person your appreciation. For example, thank them for sharing their story with you, teaching you something you didn’t know, making you laugh, etc. Real caregivers share their strategies in this video: Conversations with Caregivers video: Playing Along. The person sees or hears someone coming to get them Remember that the person is not doing this on purpose or pretending to see or hear things. They have an illness that affects their brain and they are doing the best they can. Empathize with the person’s feelings and offer reassurance. For example, you might say: I’m so sorry, that’s a scary feeling. Let’s take a deep breath. I don’t hear anything. Come with me, let’s make sure everything is okay. When I feel scared, I like to spend time with my cat (say a prayer, drink some tea, wrap myself in a blanket, watch a heartwarming movie, etc.) Here’s my cat Charlie, isn’t he sweet? I am sorry that was so scary. Let’s turn on all of the lights and eat some ice cream until we feel better. Avoid telling the person they should not feel scared. Comfort the person with a respectful tone of voice as you would comfort any other adult. If the person responds well to affection, offer a hug, hold their hand or rub their back. Try to observe the environment from the person’s perspective. Search for visual or auditory cues that might be misperceived by the person. Minimize shadows, noises, and objects that could appear or sound scary or disturbing. Are there objects that help the person feel secure like a blanket, a stuffed animal, a religious or spiritual item or a photograph? Consider a robotic stuffed animal. If the person lives alone, this kind of paranoia may be a sign that they need more support and supervision. Consider hiring more in-home care or moving the person to a care facility. Remove or secure guns, knives, and other objects that could be used by the person to try to defend themselves from an innocent person they might falsely believe is after them. The person believes their spouse or caregiver is an imposter. This is also known as Capgras syndrome. Remember the delusion is caused by the disease. The person is not acting like this on purpose. Try not to take it personally. Sometimes it helps to have a familiar person, like a neighbor or relative, call or visit to reassure the person. Arguing with the person or trying to convince them they are wrong is likely to make the situation worse. This kind of paranoid delusion is especially difficult for loved ones, particularly the person who is believed to be an imposter If you are at the end of your rope and need help, call the Alzheimer’s Association’s 24/7 Helpline at 1.800.272.3900 Consider joining a support group or getting counseling to help you cope. The person with dementia may need to spend some time away from the person they believe to be an imposter. Consider hiring in-home help, enrolling the person in a day program or moving the person to another relative’s home or a care facility. Listen to an interesting podcast from NPR’s Radiolab program about Capgras Syndrome. The person is accusing someone of stealing from them or hiding their things People with dementia are at risk of being victims of fraud and robbery. It is important to investigate these complaints to see if it really is a delusion. Often, the person has misplaced their things and they need someone to calmly assist them in finding them. Remember the person is not doing this on purpose; try not to take it personally. Avoid arguing with the person; it is generally better to just try to help resolve the issue. If you are unable to find the item, apologize to the person for their loss. Offer to try to replace it. Help the person organize and store their things in places that are intuitive for them. Create visual cues that help the person locate things Purchase backups for things that are frequently misplaced like glasses, a wallet, purses and keys. If the person lives in a care facility, use iron-on labels to put their name on clothing, shoes and other personal items. The person becomes severely distressed, aggressive or impulsively tries to ‟escape” Take a deep breath and do your best to stay calm Reduce background noise (turn off the television or radio) and if possible, dim any bright lights. Sometimes it helps to have another familiar person, like a neighbor or relative, call or visit to distract and reassure the person. Arguing with the person or trying to physically restrain them is likely to make the situation worse If the person will engage in conversation, try calmly talking about concrete things you observe in the environment to help shift their attention to the present moment. For example, you might describe the weather or the immediate surroundings. Encourage use of all of their senses (look, listen, feel, smell). Avoid physically restraining the person unless they are in imminent danger or threatening the safety of others If there is any immediate threat of danger to the person or anyone else, call 911. Contact the person’s doctor to make an urgent appointment to rule out an underlying medical cause and consider pharmacologic treatment. If you are at the end of your rope and need help figuring out what to do at any time day or night, call the Alzheimer’s Association’s 24/7 Helpline at 1.800.272.3900. Once the situation de-escalates, consider developing a crisis response plan with the person’s care team to manage situations like this in the future. Here is more information about crisis response plans from the National Association for Mental Illness. Sometimes repetitive, rhythmic activities can be grounding for people. For example: rocking on a swing or chair, walking, humming, singing, tossing a ball back and forth, playing a hand drum, hitting a punching bag, etc. People with dementia often suffer from depression, especially in the early to moderate stages of the disease when they have some awareness of losing their abilities. The person may become self-conscious about saying or doing the wrong thing, and avoid friends and family. They may feel sensitive about others being condescending or treating them like children. They may grieve the future they used to imagine and worry about what will happen to them as the dementia progresses. People with dementia often feel guilty about being or becoming a burden on their loved ones. They often struggle with feeling useless and have difficulty finding ways to be helpful. Sometimes the person can feel utterly hopeless and despairing. People with dementia who suffer from depression are at risk for suicide and should be evaluated by their doctor or mental health professional. Medications are an important part of treatment for depression. In addition, the person will need a lot of support and encouragement to stay active and engaged. Organizations like the Dementia Alliance International and the Alzheimer’s Association offer peer support groups and other services. Individual and couples counseling can also be helpful. Religious or spiritual communities may offer support. This section offers practical ideas for supporting persons with depression and dementia. These tips are not intended to replace proper medical and mental health treatment. While this section focuses on the person with dementia, it is important to acknowledge that depression is also very common among family caregivers. Seeking treatment and support for your own physical and mental health should be a top priority. Your health and wellbeing have a direct impact on the person you care for. IF THEN The person is giving up activities and isolating themselves from others Remember that the person has an illness that affects their brain and they are doing the best they can. Make an effort to try new things together. Brainstorm some ideas and write them down on a “bucket list.” For example: try painting, singing karaoke, cooking a new recipe, dancing, taking a day trip, record yourselves telling stories, play hand drums, do a jigsaw puzzle together, Facetime with friends or relatives, etc. Try to think of creative ways to turn day-to-day activities into special rituals. For example, bathing can become “spa day,” watching television can be “movie night,” walking can be “endurance training,” and eating a meal can be a “date.” Use words and props that help “set the stage.” Consider ways to adapt former roles. If the person has always been “a provider” or “a nurturer,” maybe they can help take care of a pet or garden. If they’re used to being in charge, maybe they can be a “director” and tell others how to do things they used to do (like cook or fix things). Ask other people to make regular lunch or coffee dates with the person. You can use websites like lotsahelpinghands.com to coordinate your support team. Find ways to show the person your love and appreciation. Consider more passive activities like going for a drive, listening to music, watching old movies or television shows, observing nature or people from a bench or window. If the person is apathetic due to their dementia, it may be best to lower expectations about their level of engagement. Sometimes caregivers have to give themselves permission to stop trying so hard to get the person to do things. The person appears sad and becomes tearful or cries easily Remember that the person is not doing this on purpose or trying to make you feel bad. They have an illness that affects their brain and they are doing the best they can. If the person responds well to affection, offer a hug, hold their hand, or rub their back. Empathize with the person’s feelings even if why they are sad or crying does not make sense to you. Sometimes the person themselves will not understand or be able to articulate why they feel the way they do. Here are some examples of helpful things to say: You seem sad to me today. Is there something bothering you? Can we talk about it? I am sorry this is so difficult, I want to help. We’ll get through this together. Avoid telling the person they should not feel sad. Comfort the person as you would comfort any normal adult with a respectful tone of voice. Avoid using terms of endearment that are commonly used for children and might be condescending to an adult. If the person seems to be stuck in negative thoughts, validate their thoughts/feelings, and then try to gently redirect them to something else. For example, you might say: When I feel sad, I like to go for a walk (eat ice cream, hit a punching bag, bake cookies, watch a movie, etc.) Will you join me? Let’s try going for a walk. I am sorry things are so hard. I wish there was more we could do about it. For now, maybe we can try to go out and enjoy an ice cream together? Consider helping the person join a peer support group. If one is not available in your area, others have found 12-step groups helpful. Consider holding a family meeting if there is conflict or misunderstanding among family members that is affecting the person. Limit access to alcohol and monitor for overuse. Remove or secure guns, medications and other things that could be used for self-harm. The person becomes severely distressed or inconsolable Take a deep breath and do your best to stay calm. Reduce background noise (turn off the television) and dim any bright lights if possible. Sometimes it helps to have another familiar person, like a neighbor or relative call or visit to distract and reassure the person. Arguing with the person or trying to physically restrain them is likely to make the situation worse. If there is any immediate threat of danger to the person or anyone else, call 911. Contact the person’s doctor to make an urgent appointment to rule out an underlying medical cause and consider pharmacologic treatment. If you are at the end of your rope and need help figuring out what to do at any time day or night, call the Alzheimer’s Association’s 24/7 Helpline at 1.800.272.3900. Once the situation de-escalates, consider developing a crisis response plan with the person for managing situations like this in the future. Here is more information about crisis response plans from the National Association for Mental Illness. People with dementia often have problems sleeping and experience changes in their sleep patterns. Some of these changes are part of normal aging. Many of the changes in sleep patterns are caused by the impact of dementia on areas of the brain that control sleep. Many people with dementia sleep more during the day and thus, can be more awake and active at night. They may also awaken more easily during the night. Some people have trouble telling the difference between night and day. These sleep problems often disrupt the caregiver’s sleep. Many caregivers also report that they sleep poorly because they are worried and anxious. Sleep disruption can be stressful and burdensome for family caregivers, and we encourage caregivers to reach out for help. There are medical conditions that can affect sleep. Depression and anxiety can cause early morning awakening, trouble getting back to sleep and poor sleep quality. Restless legs syndrome is a disorder that causes unpleasant sensations in the legs causing the urge to move. Sleep apnea is a pattern of breathing that results in poor sleep quality. Acting out during sleep (for example, moving, hitting out, and vivid dreams) can disrupt normal sleep patterns. Illnesses, such as angina and congestive heart failure can affect one’s sleep patterns. Anyone experiencing these symptoms should consult their healthcare provider. Figuring out the Cause(s) It is important to try and figure out what may be causing the sleep problem. There may be multiple factors: the environment, the daily schedule, having a pet, the result of dementia, and/or the types of medications being taken. Figuring out the cause is an important step in deciding how to manage or treat the sleep disturbance. Sometimes it is helpful to keep a log or diary to see if there is a pattern to the sleep problem(s). For example, one caregiver slept in her mother’s room and discovered there was a bright light coming from a street lamp and that the neighbor routinely started their noisy car early in the morning. Moving her mother to a quieter, darker bedroom helped them both get better sleep. If you have insomnia, you may experience one or a combination of the following symptoms: Taking a long time (more than 30 to 45 minutes) to fall asleep Waking up several times each night Waking up early and being unable to get back to sleep Waking up feeling tired and not able to function well during the day Managing & Treating Sleep Problems There are drug and non-drug approaches to the treatment of sleep disruption. Most experts encourage the use of non-drug strategies. Sleep medications are associated with a greater chance of falls and other risk factors. The following are strategies that can be used for the person with dementia and the family caregiver. Set the Right Environment Keep a regular schedule: go to bed and get up at the same time every day. Try to exercise daily but not within three hours of bedtime. Make sure the temperature in the bedroom is comfortable (not too hot and not too cold). Reduce liquid intake before bedtime. Try not to nap during the day; if you do nap, try to do so before 3 p.m. and try to keep the nap short (about 20 minutes). Keep the bedroom as dark and quiet as possible; use a nightlight if needed, but be aware that bright light disrupts sleep/wake patterns. Calm activities at the end of the day and before bedtime may help with sleep. Avoid violent movies or TV shows; strong content and images can be upsetting and can make it hard to relax. Be aware that changes in your environment, such as moving to a new home or having unexpected visitors can be disruptive and confusing for the person with dementia. Avoid alcohol and products that contain caffeine (tea, chocolate or soda) and nicotine; these can cause overstimulation and interfere with sleep. Have access to daylight for several hours a day; exposure to light improves day/night patterns. For the person with dementia, avoid keeping their daytime clothing in view at night; this may be a cue that it’s time to get up. Medications for Sleep Always talk with your healthcare provider before using over-the-counter (OTC) sleep medicines; many of them can make confusion worse, and some common OTC medications (like Tylenol PM) contain Benadryl, which can actually worsen sleep and cause confusion in older adults. Ask your health care provider if any of the medication you currently take could be causing sleep disruption. If the person with dementia is taking a cholinesterase inhibitor (donepezil, rivastigmine or galantamine), avoid giving the medicine before bed; instead, give it in the morning. Be aware that medicines used to promote sleep carry risks for older adults and people with dementia, including imbalance and falls, fractures, and increased confusion. Consider whether using a sleeping medication is appropriate; selective serotonin reuptake inhibitors (SSRIs) are a commonly used type of medicine (i.e., trazodone). Any time you are prescribed a new medication, make sure to ask your healthcare provider about possible benefits and risks; ask about other treatment options that may be available. Other Things to Consider Be sure to treat conditions that may be causing pain and discomfort; consider using an analgesic at bedtime if your health care provider agrees. Do not restrain a person with dementia to keep them in bed; this can create agitation and a desire to escape and can lead to a fall or injury. Consider installing security alarms on doors and windows if there is concern that the person with dementia might wander from the house during the night; knowing that you have an alarm system may help you get better sleep. Consider using a bedside commode if getting up to the bathroom is causing sleep disruption. If you think being hungry at night is a problem, have a light snack just before bed. Use the toilet right before bedtime to help prevent nighttime waking. Consider hiring help in the home during the nighttime hours to help you, as the caregiver, get some sleep. There is evidence that meditation and mindfulness promote good sleep. Other Resources 6 Tips for Managing Sleep Problems in Alzheimer’s (NIA) A Good Night’s Sleep (NIA) Dementia and Sleep (Sleep Health Foundation) Good Sleep Habits (Sleep Health Foundation) Any person who has memory problems and is able to walk is at risk of wandering and getting lost. Wandering can happen at any time. Wandering may be triggered by an attraction to something in the environment such as a shiny doorknob or elevator buttons. Persons with dementia may also be responding to an impulse or need to “go somewhere” or “do something.” Sometimes a person may get lost because they are, or become, disoriented. Some people wander because they are confused or frightened. Wandering is not necessarily a problem unless the person is at risk of getting injured, being taken advantage of, or getting lost. IF THEN Your loved one with dementia can get around by themselves Prepare for the possibility that they may wander and get lost: Keep a recent, close-up photograph or video of the person in an accessible place, such as your wallet or cell phone. Inform family, friends, paid caregivers, and neighbors that the person is at risk for wandering and getting lost; ask that they keep an eye out for the person and alert you if they see them out and about on their own. Inform local public servants and business owners, such as the police, fire department, and store clerks, that the person is at risk for wandering and getting lost, and make sure they have your phone number Make a list of likely places where the person may wander in case you need to search for them (past jobs, former homes, places of worship, or favorite restaurants) Consider using an alarm, chime, or bell to alert you when the person is exiting a room or leaving home unattended Try to provide enough supervision to keep the person safe; consider hiring an in-home caregiver or companion or enrolling the person in a day program Try to keep the person engaged in a familiar routine each day, since unexpected changes and over- or under-stimulation can be a trigger for wandering Consider enrolling the person in the MedicAlert®+Alzheimer’s Association Safe Return® program at 1.800.625.3780 Consider getting the person an ID bracelet or necklace with your contact information on it Consider using a GPS tracking device or smartphone application that uses satellite technology to locate missing persons carrying or wearing a sensor device (i.e., shoe insert, watch or anklet) Your loved one is actively trying to leave, for example, to “go home” even though they are at home or “Go to work” even though they no longer work Environmental Strategies: Hide environmental “exit cues” or “trigger items,” such as keys, shoes, jackets, hats, and purses. Simplify the environment; reduce clutter, crowding, and background noise. Some television programs can be distressing. Try placing a large “DO NOT ENTER” sign on exit doors. Camouflage exit doors by painting them the same color as the walls or covering them with a removable curtain or screen. Cover knobs with cloth the same color as the door or use childproof knobs. Do not lock a person with dementia in the home or in a car unattended. Do not try to physically restrain a person with dementia unless you are attempting to protect them or others from immediate harm (such as getting hit by oncoming traffic). Communication Strategies: Avoid trying to convince the person that they are already home or that they no longer work. This will lead to an argument and make the person more insistent about what they believe to be true. Try to go along with what the person is saying and guide them to something else without letting them realize they are being redirected. Remember to be calm and reassuring instead of controlling. Try making an emotional connection with the person in that moment. Use communication that is supportive and focused on distraction, for example: “What was it like growing up in your house?” “What is your favorite room in the house?” “We can leave after lunch. Can you help me set the table?” “I love you. This is hard. We are going to get through this together.” The person tries to leave because they are frightened and agitated Stay calm. Consider calling a neighbor or friend to be on standby in case you need help. Avoid running after them or trying to hold them back unless there are obvious hazards, such as traffic or harsh weather. Chasing after them may make the situation more dangerous. Follow the person from a distance to give them personal space. Try to redirect their train of thought in a gentle manner. Some people will respond to verbal redirection, such as pointing out the weather or some other observation of the present moment: “It sure is gray and cold out today. Would you join me for some hot cocoa?” “Look at those cherry blossoms – how lovely! What is your favorite flower?” Use positive directions rather than negative. For example, say, “Come with me,” not “Stop, don’t go there.” Notice what may have triggered this behavior, for instance, a loud noise, a crowded or busy space, a change in routine, or your own emotional state. Your loved one seems bored or restless Encourage exercise to help reduce anxiety, agitation, and restlessness. Go for a walk, rock in a bench swing, toss a beach ball, dance, or participate in group exercises. Find moments of connection (try using their favorite music, a reassuring touch, reminiscing, storytelling, humor, pets, gardening, or conversation). Try going outside to experience a change in scenery (get a snack or an ice cream cone, visit a pet store, museum, or mall, or take a scenic drive). If your loved one is missing and you cannot find them Call 911 and let them know that a “vulnerable adult” with dementia is missing. If you are enrolled, call MedicAlert®+Alzheimer’s Association Safe Return® program at 1.800.625.3780. Write down what the person was wearing. Call someone to help you (family, friend, or neighbor) walk or drive around the block or the immediate area. If possible, have somebody stay at home so that they can answer the telephone and be there in case the person returns. Have the person’s most recent photo and medical information ready for the police. Gather your list of places that the person may wander – past jobs, former homes, places of worship, restaurants, or bars. Check dangerous areas near the home, such as bodies of water, open stairwells, dense foliage, tunnels, bus stops, and roads with heavy traffic. Resources Wandering and Alzheimer's Disease Wandering (Alzheimer's Association) Technology There is a lot of interest and hope that technology will provide safeguards against the risk of wandering and getting lost. Most products and services have not been studied to see if they are effective. We try to stay up-to-date on what is available but cannot endorse any of the devices or services below. Smart Phone Applications Find My iPhone is a free feature for iPhones Life360 is a free application for patients who always carry a smartphone. It uses GPS technology and communicates with other smartphones. Tracking Devices GPS Smartsole (The Alzheimer's Store) or at GPS Smartsole (MetALert): check the price for device, activation, and any monthly monitoring fee S911 Lola S Personal GPS Tracker: $185/device and monthly service fee from $50–200/mo, includes extra features like a panic alert button, in/out of fence alert, shock alert, etc. Up to 30 hours of battery life. Trackimo: $139.99 with the first 12-month subscription included, $5/mo after that. A compact GPS tracking device that enables you to track anything from anywhere using your smartphone or computer. Six days of battery life (standby mode)
6420	dbpedia	0	32	https://www.magersandquinn.com/product/ROBBERY-UNDER-ARMS/26583276	en	You are being redirected...			[]	[]	[]	[ "" ]	null	[]	null					null
6420	dbpedia	1	91	https://www.pinterest.co.uk/pin/247557310752559997/	en		https://s.pinimg.com/web…x48-7470a30d.png	https://s.pinimg.com/web…x48-7470a30d.png	[]	[]	[]	[ "" ]	null	[]	2018-05-11T16:20:23+00:00	Original Movie posters, Buy and Sell movie posters, Australian Daybills and Lobby Cards, Vintage movie memorabilia, Travel posters, collectibles, Brisbane, Melbourne, Sydney, Queensland	en	https://s.pinimg.com/web…144-3da7a67b.png	Pinterest	https://www.pinterest.co.uk/pin/captain-starlight--153685406005092477/
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With Peter Finch, Ronald Lewis, David McCallum, Maureen Swanson. Two brothers join their father in Captain Starlight's bush ranger gang in 19th Century Australia.	en	https://m.media-amazon.c…B1582158068_.png	IMDb	https://www.imdb.com/title/tt0050904/	Awkward in fitting English actors into a faraway setting, and yes, over-coloured in Technicolor: so this English director caught some of the paradoxes of Australia, the raw young country less than 100 years settled in Boldrewood's yarn. Three things Jack Lee (who died only c2003) understood and expressed more fully than perhaps anyone, English or Australian. First, the wild irresponsibility of the bushranger released from society's constraints (Peter Finch's manic side caught this brilliantly). Second, the special eternal power of the ancient bush country (in this case, the Flinders Ranges, also the setting for 2002's The Tracker). Third, however briefly seen, the deep calm and perfect attunement to his country of the native man Warrigal, so that in this raw place, it is only the dispossessed who has ownership - a nod here to the real-life horseman Johnny Cadell, a screen natural.
6420	dbpedia	3	10	https://en.wikipedia.org/wiki/Thief_(film)	en	Thief (film)	https://upload.wikimedia…5/Thief_1981.jpg	https://upload.wikimedia…5/Thief_1981.jpg	[ "https://en.wikipedia.org/static/images/icons/wikipedia.png", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-tagline-en.svg", "https://upload.wikimedia.org/wikipedia/en/6/65/Thief_1981.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/e/e5/Museum_Campus_2022.jpg/220px-Museum_Campus_2022.jpg", "https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1", "https://en.wikipedia.org/static/images/footer/wikimedia-button.svg", "https://en.wikipedia.org/static/images/footer/poweredby_mediawiki.svg" ]	[]	[]	[ "" ]	null	[ "Contributors to Wikimedia projects" ]	2004-12-27T05:26:35+00:00		en	/static/apple-touch/wikipedia.png		https://en.wikipedia.org/wiki/Thief_(film)	1981 film by Michael Mann For other films by this name, see Thief (disambiguation) § Film and television. ThiefDirected byMichael MannWritten byMichael MannBased onThe Home Invaders by Frank HohimerProduced by Jerry Bruckheimer Ronnie Caan StarringCinematographyDonald E. ThorinEdited byDov HoenigMusic byTangerine Dream Production company Mann/Caan Productions Distributed byUnited Artists Release date Running time 123 minutes[1]CountryUnited StatesLanguageEnglishBudget$5.5 million[2]Box office$11.5 million[3] Thief is a 1981 American neo-noir[4][5] heist film written and directed by Michael Mann in his feature film debut. It stars James Caan as a professional safecracker trying to escape his life of crime, and Tuesday Weld as his wife. The supporting cast includes Jim Belushi, Robert Prosky, Dennis Farina, and Willie Nelson. The screenplay is inspired by the memoir The Home Invaders: Confessions of a Cat Burglar, by former cat burglar Frank Hohimer.[6] The original musical score was composed and performed by Tangerine Dream. Produced by Jerry Bruckheimer and James Caan's brother Ronnie, Thief was screened at the 1981 Cannes Film Festival, where it competed for the Palme d'Or. It was released in the United States on March 27, 1981, to widespread critical acclaim. Thief earned $11.5 million at the box office, on a $5.5 million budget. Plot [edit] Frank is a jewel thief and ex-convict who has a set structure to his life since being released from Joliet Correctional Center in Joliet, Illinois. With a pair of successful Chicago businesses (a bar and a car dealership) as fronts for his criminal enterprise, Frank sets out to fulfill the missing part of his life vision: a family with Jessie, a cashier he has begun dating. After taking down a major diamond score, Frank gives the diamonds to his fence, Joe Gags. However, before Frank can collect his $185,000 share, Gags is thrown from a twelve-story window for skimming from the payments he had been collecting from loan shark clients. Barry, Frank's friend and associate making the pick-up, discovers that Attaglia, a plating company executive Gags was working for, is responsible for Gags' murder and stealing Frank's payoff. In a confrontation at the plating company, Frank demands his money back. This leads to a meeting with Attaglia's employer Leo, a high-level fence and Chicago Outfit boss. Unknown to Frank, Leo has been receiving Frank's goods from Gags for some time. Leo returns the money and says he admires Frank's eye for quality stolen goods and professionalism. He wants Frank working directly for him, offering large profits. Their meeting is monitored from a distance by police surveillance. Frank is initially reluctant, not wanting the added exposure or complications, but later that night, a conversation with Jessie changes his mind when she agrees to be part of his life, after he relates a tale of prison survival via a toughened mental attitude. Frank now agrees to do just one big score for Leo, telling Barry that this will be their last job. After being rejected at the state adoption agency, with Leo's help Frank is able to acquire a baby boy on the black market, whom he names David after his late mentor, nicknamed Okla. After resisting a shakedown from a group of corrupt police detectives, and then subsequently ditching their surveillance, Frank and his crew are involved in a large-scale Los Angeles diamond heist organized by Leo. All goes well with Frank's "burn job" and he is expecting the agreed-upon sum of $830,000 for the unmounted stones with a wholesale value $4 million. But when Frank returns from the job, Leo gives him less than $100,000. This is all that Frank will receive in cash according to Leo, who says he invested the rest of Frank's cut in shopping centers in Fort Worth and Dallas, Texas, an idea Frank had previously rejected. In addition, Leo has set up a Palm Beach score for Frank in six weeks without consulting him. Frank tells Leo that their deal is over and takes the cash as he leaves, demanding the rest of his money in 24 hours. Frank drives to his car lot, unaware that Leo's henchmen have already beaten and captured Barry and are waiting to ambush him. Frank is knocked out and Barry is killed by the enforcers. Frank awakens with Leo staring down at him, surrounded by his henchmen. Leo informs him that he, Jessie, their child, and everything he owns are Leo's property. He threatens Frank's family if he does not continue working for him. Leo warns Frank to focus on his responsibilities. When Frank returns home, he orders an uncomprehending Jessie out of their house, telling her their marriage is over, that she must immediately leave, and that he will not be joining her. Frank instructs an associate to drive her, the baby, and $410,000 in cash to somewhere where they cannot be located. With nothing to lose, Frank blows up their home using high-explosive charges. He then drives to his business establishments and does likewise. Armed with a pistol, he quietly breaks into Leo's house in a peaceful neighborhood and pistol whips Attaglia in the kitchen. Frank hunts for Leo, killing him in the living room. Frank then pursues Attaglia as he tries to escape from the house, but is confronted in the front yard by Leo’s bodyguards. In the ensuing gunfight, Frank is shot, but manages to kill the trio. Frank loosens what appears to be a bulletproof vest he was wearing beneath his jacket, and walks away into the night. Cast [edit] James Caan as Frank Tuesday Weld as Jessie Willie Nelson as David "Okla" Bertinneau James Belushi as Barry Robert Prosky as Leo Tom Signorelli as Attaglia Dennis Farina as Carl Nick Nickeas as Nick W.R. Bill Brown as Mitch Norm Tobin as Guido John Santucci as Sergeant Urizzi Gavin MacFadyen as Detective Boreksco Chuck Adamson as Detective Ancell Sam Cirone as Detective Martello Spero Anast as Detective Bukowski Walter Scott as Detective Simpson Hal Frank as Joe 'Gags' Patti Ross as Marie Mike Genovese as Ian Nathan Davis as Grossman Michael Paul Chan as Chinese Waiter William Petersen as Katz & Jammer Bartender Del Close, Bruce A. Young and John Kapelos as Mechanics Source:[7] Background [edit] Thief marked the feature film debut of Michael Mann as director, screenwriter and executive producer, after five years in television drama. Mann made his directorial debut with the TV film The Jericho Mile. This was partly shot in Folsom Prison. Mann says that influenced the writing of Thief: It probably informed my ability to imagine what Frank's life was like, where he was from, and what those 12 or 13 years in prison were like for him. The idea of creating his character, was to have somebody who has been outside of society. An outsider who has been removed from the evolution of everything from technology to the music that people listen to, to how you talk to a girl, to what do you want with your life and how do you go about getting it. Everything that's normal development, that we experience, he was excluded from, by design. In the design of the character and the engineering of the character, that was the idea.[8] Also notable is the scene where Leo disposes of bodies at an auto body shop, placing them in a plating solution in the exact same manner as used in the Charles Bronson movie The Mechanic. Production [edit] Development [edit] Mann made James Caan do research as a thief for his role, and said: I always find it interesting, people who are aware, alert, conscious of what they do and are pretty good at it… People who want to put in 50-60 hours a week and go home and are not really conscious of life moving by, don't really interest me very much... As part of the curriculum designed for an actor getting into character, I try to imagine what's going to really help bring this actor more fully into character. And so I try to imagine what experiences are going to make more dimensional his intake of Frank, so that he is Frank spontaneously when I'm shooting. So one of the most obvious things is it'd be pretty good if [James Caan] was as good at doing what Frank does as is Frank.[8] The character Leo was patterned after Chicago Outfit bosses Felix Alderisio and Leo Rugendorf.[9] Casting [edit] Thief marks the first film appearance of actors Dennis Farina, William Petersen, James Belushi and Robert Prosky. At the time a Chicago police officer, Farina appears as a mob henchman. Conversely, John Santucci (real name: John Schiavone[10]), who plays the role of corrupt cop Urizzi, was a recently paroled thief on whom the character Frank was partly based, and acted as a technical adviser on the film.[10][11] Another actor in the film, W.R. ‘Bill’ Brown, was also a former safecracker and associate of Joseph Scalise.[11] Chuck Adamson (Detective Ancell) and Nick Nickeas (Nick)[12] were also Chicago police officers, while Gavin MacFadyen, who plays Detective Boresko, was a journalist who later served as adviser to Mann’s 1999 film The Insider.[13] In 1986, Farina and Santucci both were cast in Mann and Adamson's TV series Crime Story, Farina as a Chicago police lieutenant and Santucci as a jewel thief. Petersen, who later would star (along with Farina) in the Mann film Manhunter, appears briefly as a barman at a club. The influential Chicago improv teacher Del Close has a brief appearance as a mechanic, in a scene that was improvised with the other mechanic actors.[14] Filming [edit] Thief was filmed on-location in Chicago and Los Angeles. Jerry Bruckheimer and Ronnie Caan served as the film's producers. Being Michael Mann's feature film directorial debut, Thief showcases many of the cinematic techniques that would later become his trademarks. Chief among these is the cinematography (by Donald E. Thorin), utilizing light and shadow to give the proceedings, especially those taking place in the darkness of night, a sense of danger. The film also earns plaudits for its meticulous attention to detail: the tools and techniques of the trade, right down to the oxy lance used to penetrate a safe, are authentic, the result of Mann's decision to hire real-life thieves to serve as technical advisers. The still of Frank holding a gun on Attaglia as he attempts to recover his money in an early scene was used for one of the movie's posters. Near the end of the film, Frank destroys his house. The film company built a false front onto a real house and attempted to destroy it with explosives. The explosions severely damaged the real house, however, leading to its demolition. James Caan's emotional several-minute monologue with Weld in a coffee shop is often cited as the film's high point, and Caan has long considered the scene his favorite of his career.[15] The actor liked the movie although he found the part challenging to play. "I like to be emotionally available but this guy is available to nothing."[16] Music [edit] See also: Thief (soundtrack) Mann has gained a reputation as a director who uses cutting-edge music for his films. Thief's moody soundscapes were composed and performed by Tangerine Dream, and was their second of many notable film scores composed by the group throughout the 1980s. The film was nominated for a Razzie Award for Worst Musical Score,[17] but that didn't deter Mann from choosing them a second time to compose the music for his next feature film, the ill-fated 1983 WWII fantasy horror The Keep. He originally intended to score the music with Chicago blues music. He said, "However, I felt that what the film was saying, thematically, and the facility with which the film might be able to have resonance with audience. I felt that to be so regionally specific in the music choice would make Frank's experience specific only to Frank. So I wanted the kind of transparency, if you like, the formality of electronic music, and hence Tangerine Dream."[8] He utilizes jazz/blues in one scene when Frank races to meet Jessie after the offer from Leo, transitioning from the meetup, all the way to the jazz club. Additional music cues were composed by Craig Safan. Reception [edit] Under the working title Violent Streets, the film debuted at the 34th Cannes Film Festival.[18] It went on to open in theaters in the United States on March 27, 1981, earning a modest $4.3 million. While not a financial success in its initial release, the film has become a reference point in Mann's career, especially with the release of his crime epic, Heat, with which this movie has many similarities. Critical response [edit] The movie received widespread critical acclaim. It holds an 80% rating on review site Rotten Tomatoes, based on 85 reviews, with an average rating of 7.70/10. The consensus states: "Thief's enigmatic conclusion will rob some audiences of satisfaction, but it's an authentic and sleekly rendered neo-noir, powered by a swaggering James Caan at the peak of his charisma."[19] Roger Ebert described Thief as "one of the most intelligent thrillers I've seen"[20] and gave the film 3+1⁄2 out of 4 stars, writing that "If Thief has a weak point, it is probably in the handling of the Willie Nelson character"[21] and went further, stating "Willie has played the character so well that we wanted more. But, then, I suppose it is a good thing when a movie creates characters we feel that strongly about, and Thief is populated with them. It's a thriller with plausible people in it. How rare."[22] See also [edit] Heist film References [edit]
6420	dbpedia	0	45	https://1001films.fandom.com/wiki/The_List	en	The List	https://static.wikia.nocookie.net/ucp-internal-test-starter-commons/images/a/aa/FandomFireLogo.png/revision/latest?cb=20210713142711	https://static.wikia.nocookie.net/ucp-internal-test-starter-commons/images/a/aa/FandomFireLogo.png/revision/latest?cb=20210713142711	[ "https://static.wikia.nocookie.net/6a181c72-e8bf-419b-b4db-18fd56a0eb60", "https://static.wikia.nocookie.net/6c42ce6a-b205-41f5-82c6-5011721932e7", "https://static.wikia.nocookie.net/464fc70a-5090-490b-b47e-0759e89c263f", "https://static.wikia.nocookie.net/f7bb9d33-4f9a-4faa-88fe-2a0bd8138668" ]	[]	[]	[ "" ]	null	[ "Contributors to 1001 Movies You Must See Before You Die Wiki" ]	2024-07-29T22:27:06+00:00	This is the current edition of the List, updated to include all films in all editions of the 1001 Book, including films culled to make way for newer releases. Some foreign films are listed with multiple titles, in English with the original language title in parenthesis. Any films currently with...	en	/skins-ucp/mw139/common/favicon.ico	1001 Movies You Must See Before You Die Wiki	https://1001films.fandom.com/wiki/The_List	This is the current edition of the List, updated to include all films in all editions of the 1001 Book, including films culled to make way for newer releases. Some foreign films are listed with multiple titles, in English with the original language title in parenthesis. Any films currently with wiki pages will have links. The order of the list is based upon the 2015 edition of the 1,001 Movies book, with the films removed from earlier editions being placed at the end of their respective years. A viewable and downloadable version of the list, complete with tracking columns for which films have been reviewed by the 1,001 Movies You Must See Before You Die Blog Club, and which films are available via Netflix, can be found here: http://www.listsfromchip.blogspot.com/2012/05/1001-movies-you-must-see-before-you-die.html The List
6420	dbpedia	1	48	https://letterboxd.com/film/robbery-under-arms-1920/details/	en	Robbery Under Arms (1920)	https://a.ltrbxd.com/res…jpg?v=72da69bd9f	https://a.ltrbxd.com/res…jpg?v=72da69bd9f	[ "https://s.ltrbxd.com/static/img/empty-poster-1000.231946d0.png", "https://s.ltrbxd.com/static/img/empty-poster-230.6b1dabe6.png", "https://s.ltrbxd.com/static/img/flags/USA.165ff2bd.svg", "https://s.ltrbxd.com/static/img/flags/USA.165ff2bd.svg", "https://a.ltrbxd.com/resized/avatar/upload/7/3/5/8/7/shard/avtr-0-80-0-80-crop.jpg?v=5130be3dc8", "https://secure.gravatar.com/avatar/79ecb4c615048d4ce9923da631292e5d?rating=PG&size=80&border=&default=https%3A%2F%2Fs.ltrbxd.com%2Fstatic%2Fimg%2Favatar80.ccc31669.png" ]	[]	[]	[ "" ]	null	[]	null	It's a bush-ranging yarn, very popular at the time, about Captain Starlight, played well by Brampton himself, and his co-horts the Marsden family. Dick Marsden is especially well played by Roland Conway, who is the quintessential Aussie bloke.	en	https://s.ltrbxd.com/sta…6px.a8f34e0d.svg		https://letterboxd.com/film/robbery-under-arms-1920/details/	Adventure on horseback on the lawless frontiers of NSW sounds like a sure-fire thing, and it's certainly "Western" as heck... but it's only marginally competent, is the thing. Most obvious shortcoming is the need for a title card to explain nearly every shot. Too many titles card thrown in for no reason and a very episodic plot. Its interesting but it wasn't all that entertaining.
6420	dbpedia	0	3	https://www.rottentomatoes.com/m/robbery-under-arms	en	Robbery Under Arms	https://resizing.flixste…9728_p_v8_aa.jpg	https://resizing.flixste…9728_p_v8_aa.jpg	[ "https://images.fandango.com/cms/assets/97c33f00-313f-11ee-9aaf-6762c75465cf--newsletter.png", "https://images.fandango.com/cms/assets/97c33f00-313f-11ee-9aaf-6762c75465cf--newsletter.png", "https://www.rottentomatoes.com/assets/pizza-pie/images/rtlogo.9b892cff3fd.png", "https://resizing.flixster.com/DOGYjvelfQZn-R784xGXZV8pXEk=/fit-in/128x128/v2/http://resizing.flixster.com/hfjxGyLrFf7F1P3PVBvIICqr_cc=/128x128/v1.YzszNTU2O2o7MTk5ODA7MjA0ODszMDA7MzAw", "https://images.fandango.com/cms/assets/266533e0-7afb-11ed-83f2-4f600722b564--privacyoptions.svg", "https://images.fandango.com/cms/assets/266533e0-7afb-11ed-83f2-4f600722b564--privacyoptions.svg" ]	[]	[]	[ "" ]	null	[]	null	Two brothers join their father in Captain Starlight's (Peter Finch) bushranger gang in 19th-century Australia.	en	https://www.rottentomatoes.com/assets/pizza-pie/images/favicon.ico	Rotten Tomatoes	https://www.rottentomatoes.com/m/robbery-under-arms	Let's keep in touch! > Sign up for the Rotten Tomatoes newsletter to get weekly updates on: Upcoming Movies and TV shows Rotten Tomatoes Podcast Media News + More Sign me up No thanks
6420	dbpedia	2	31	https://en.wikisource.org/wiki/Robbery_Under_Arms	en	Robbery Under Arms	https://en.wikisource.org/static/favicon/wikisource.ico	https://en.wikisource.org/static/favicon/wikisource.ico	[ "https://upload.wikimedia.org/wikipedia/commons/thumb/8/81/Wikimedia-logo.svg/18px-Wikimedia-logo.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/6/62/PD-icon.svg/48px-PD-icon.svg.png", "https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1", "https://en.wikisource.org/static/images/footer/wikimedia-button.svg", "https://en.wikisource.org/static/images/footer/poweredby_mediawiki.svg" ]	[]	[]	[ "" ]	null	[]	null		en	/static/favicon/wikisource.ico		https://en.wikisource.org/wiki/Robbery_Under_Arms	Robbery Under Arms is a classic Australian novel by Rolf Boldrewood (a pseudonym for Thomas Alexander Browne). It was first published in serialised form by the Sydney Mail between July 1882 and August 1883, then in three volumes in London in 1888. It was edited into a single volume in 1889 as part of Macmillan's Colonial Library series and has not been out of print since. It is considered to be one of the greatest Australian colonial novels, along with Marcus Clarke's For the Term of his Natural Life, and has inspired numerous adaptations in film, television and theatre. Writing in the first person, the narrator Dick Marston tells the story of his life and loves and his association with the notorious bushranger Captain Starlight, a renegade from a noble English family. Set in the bush and goldfields of Australia in the 1850s, Starlight's gang, with Dick and his brother Jim's help, sets out on a series of escapades that include cattle theft and robbery under arms. Warning: template has been deprecated.
6420	dbpedia	0	28	https://www.themoviedb.org/movie/269519-robbery-under-arms%3Flanguage%3Den-US	en	Die Farm der Verfluchten	https://media.themoviedb…U2ShGKg3Nflc.jpg	https://media.themoviedb…U2ShGKg3Nflc.jpg	[ "https://www.themoviedb.org/assets/2/v4/logos/v2/blue_short-8e7b30f73a4020692ccca9c88bafe5dcb6f8a62a4c6bc55cd9ba82bb2cd95f6c.svg", "https://media.themoviedb.org/t/p/w300_and_h450_bestv2/a6VC61wtytymu6FU2ShGKg3Nflc.jpg", "https://media.themoviedb.org/t/p/original/dQeAar5H991VYporEjUspolDarG.jpg", "https://media.themoviedb.org/t/p/w138_and_h175_face/eNPZn3KylhsSlRTkgr8Kg50yZiC.jpg", "https://media.themoviedb.org/t/p/w138_and_h175_face/hHLYAKJ41vToNJM5esiWS7ode6E.jpg", "https://media.themoviedb.org/t/p/w138_and_h175_face/qibowr2FSuU6i8Ma8IrpZRWPbZM.jpg", "https://media.themoviedb.org/t/p/w138_and_h175_face/6i7cJOddT9fr7fYV1X4e0sSVUnT.jpg", "https://media.themoviedb.org/t/p/w138_and_h175_face/blpEToArrhcrYdRlQU6fJckUcuG.jpg", "https://media.themoviedb.org/t/p/w138_and_h175_face/jIKae3BQSyZ1IKdsHc7eT2IPYDy.jpg", "https://media.themoviedb.org/t/p/w138_and_h175_face/rbu61vKkPU7tlMNsCWTTQDSIpv0.jpg", "https://media.themoviedb.org/t/p/w533_and_h300_bestv2/lqL77HXIrtbPV5C45NUHTDr7ouX.jpg", "https://media.themoviedb.org/t/p/w220_and_h330_face/a6VC61wtytymu6FU2ShGKg3Nflc.jpg", "https://secure.gravatar.com/avatar/b13c33460e6f67393e4ec1b77233ca3c.jpg?s=45", "https://secure.gravatar.com/avatar/27e154acf8fec34412d763a6d31d53c9.jpg?s=45", "https://www.themoviedb.org/assets/2/v4/logos/v2/blue_square_2-d537fb228cf3ded904ef09b136fe3fec72548ebc1fea3fbbd1ad9e36364db38b.svg" ]	[]	[]	[ "Movies", "TV Shows", "Streaming", "Reviews", "API", "Actors", "Actresses", "Photos", "User Ratings", "Synopsis", "Trailers", "Teasers", "Credits", "Cast" ]	null	[]	null	Australien 1885: Zwei Famerssöhne lassen sich verleiten, bei einem gigantischen Viehdiebstahl mitzumachen. Doch die Bande von Captain Starlight fliegt auf.	de	/assets/2/apple-touch-icon-57ed4b3b0450fd5e9a0c20f34e814b82adaa1085c79bdde2f00ca8787b63d2c4.png	The Movie Database	https://www.themoviedb.org/movie/269519-robbery-under-arms	You need to be logged in to continue. Click here to login or here to sign up.
6420	dbpedia	1	25	https://moviemem.com/products/australian-movie-stars/peter-finch-movie-posters/robbery-under-arms-movie-poster-1957-rare-peter-finch-6/	en	ROBBERY UNDER ARMS Movie Poster 1957 Rare PETER FINCH English half crown	https://moviemem.com/wp-…SUKHALFCROWN.jpg	https://moviemem.com/wp-…SUKHALFCROWN.jpg	[ "https://moviemem.com/wp-content/themes/moviemem/assets/images/logo.png", "https://moviemem.com/wp-content/uploads/2020/07/ROBBERYUNDERARMSUKHALFCROWN.jpg", "https://moviemem.com/wp-content/uploads/2019/03/paypal-footer-300x43.png" ]	[]	[]	[ "Robbery Under Arms (1957)\r\nDirected by Jack Lee. \r\nWith Peter Finch", "Ronald Lewis", "Laurence Naismith." ]	null	[]	2007-12-31T15:33:21+00:00	Original Movie posters, Buy and Sell movie posters, Australian Daybills and Lobby Cards, Vintage movie memorabilia, Travel posters, collectibles, Brisbane, Melbourne, Sydney, Queensland	en		Moviemem Original Movie Posters	https://moviemem.com/products/australian-movie-stars/peter-finch-movie-posters/robbery-under-arms-movie-poster-1957-rare-peter-finch-6/
6420	dbpedia	2	70	https://www.collection.nfsa.gov.au/title/9407	en	Search the Collection	https://www.collection.nfsa.gov.au/favicon.ico	https://www.collection.nfsa.gov.au/favicon.ico	[]	[]	[]	[ "" ]	null	[]	null		en	/favicon.ico		null
6420	dbpedia	0	69	https://www.openculture.com/freemoviesonline	en	4,000+ Free Movies Online: Great Classics, Indies, Noir, Westerns, Documentaries & More	https://cdn8.openculture…330383232372.jpg	https://cdn8.openculture…330383232372.jpg	[ "https://www.openculture.com/wp-content/plugins/native-lazyload/assets/images/placeholder.svg", "https://cdn8.openculture.com/wp-content/uploads/2011/02/free-movies-online.jpg", "https://www.openculture.com/wp-content/plugins/native-lazyload/assets/images/placeholder.svg", "https://cdn8.openculture.com/2017/03/30092526/btn_donate_cc_147x47.png", "https://cdn8.openculture.com/2017/03/30092526/btn_donate_cc_147x47.png", "https://www.openculture.com/wp-content/plugins/native-lazyload/assets/images/placeholder.svg", "https://www.openculture.com/wp-admin/admin-ajax.php?action=mailster_coolcaptcha_img&nocache=1724941265&formid=1", "https://cdn3.openculture.com/wp-content/themes/openculture_v4a/images/open-culture-stacked-logo.svg", "https://cdn3.openculture.com/wp-content/themes/openculture_v4a/images/open-culture-stacked-logo-black.svg", "https://pixel.quantserve.com/pixel/p-0dRTlf6K0FnoM.gif" ]	[]	[]	[ "" ]	null	[]	2011-02-14T07:42:38+00:00	Watch 4,000+ quality movies online. Includes classics, indies, film noir, documentaries showcasing the talent of our greatest actors, actresses and directors. Open Culture, openculture.com	en	https://www.openculture.com/wp-content/themes/openculture_v4a/images/favicon.ico	Open Culture	https://www.openculture.com/freemoviesonline	Free Comedy & Dramas 125 Korean Feature Films — Free — The Korean Film Archive has put on YouTube over 100 Korean feature films, including Im Kwon-taek’s Sopyonje and Hong Sangsoo’s The Day the Pig Fell Into a Well. A bonanza for fans of Korean film. 70 Movies in HD from Famed Russian Studio Mosfilm — Free — Includes films by Tarkovsky, Eisenstein and Kurosawa. These all appear on Mosfilm’s official YouTube channel. 300+ Free Movies Streaming on YouTube — Free — YouTube officially provides a large number of Hollywood movies that you can watch free with ads. Many films are unfortunately geo-restricted to certain geographies. Get more detail here. 3,000 Free Films from the National Film Board of Canada – Free – The National Film Board of Canada has put online thousands of films across all genres of film. Get an overview here. A Farewell to Arms — Free — Gary Cooper and Helen Hayes star in a film based on famous novel by Ernest Hemingway. (1932) A Hunting Accident — Free — Soviet romantic drama directed by Emil Loteanu, adapted from Anton Chekhov’s “The Shooting Party.” It was entered into the 1978 Cannes Film Festival. Click “CC” for titles. (1978) A Matter of Life and Death — Free — Romantic fantasy film created by the British writing-directing-producing team of Michael Powell and Emeric Pressburger, and set in England during the Second World War. It stars David Niven, Roger Livesey, Kim Hunter, Marius Goring and Raymond Massey. (1946) A Song of Love — Free — The only film by playwright Jean Genet. The erotic film was censored. (1950) A Star is Born — Free — Janet Gaynor portrays Esther Blodgett, a starry-eyed small town girl with a dream of making it big in Hollywood. (1937) Adventures of Robinson Crusoe — Free — The classic novel by Daniel Defoe gets adapted by the great Luis Buñuel. (1954) Afonya — Free — Directed by Georgi Daneliya, this Soviet comedy film became an unexpected blockbuster. It’s made available by the Russian film studio Mosfilm. Click “cc” to get subtitles. (1975) Alexander Nevsky — Free — A historical drama film directed by the great Russian filmmaker Sergei Eisenstein. (1938) Andrei Rublev — Free — A Soviet epic biographical historical drama film directed by Andrei Tarkovsky and co-written with Andrei Konchalovsky. Put online by Mosfilm. (1966) Angel on My Shoulder — Free — A gangster comedy starring Claude Rains and Paul Muni. (1946) Anna Karenina — Free — An 8‑part adaptation of Tolstoy’s classic novel by Karen Shakhnazarov. As You Like It - Free — It’s Laurence Olivier’s earliest Shakespeare performance on film. It’s also the first feature-length British sound Shakespeare film. (1936) Battleship Potemkin — Free — A classic Soviet silent drama film directed and co-written by Sergei Eisenstein. (1925) Becky Sharp — Free — The first feature film to use three-strip Technicolor film, or, put differently, the first real color film. (1935). Blade Runner 2049 Prequels — Free — Three short official prequels for Blade Runner 2049 have been released, advancing the Blade Runner story. One is shot by respected Japanese animator Shinichiro Watanabe. (2017) Captain Kidd - Free - Charles Laughton and John Carradine star in film with drama on the high seas. (1945) Castello Cavalcanti — Free — Wes Anderson’s short film takes place in a hamlet tucked away somewhere in Italy. Features Jason Schwartzman, star of Anderson’s 1998 breakout Rushmore. (2013) Charade — Free — Cary Grant and Audrey Hepburn star in the best Hitchcock film that Hitchcock never made. (1963) Charade — Free — The film consists of three short stories starring James Mason and his wife Pamela Mason. (1953) collective:unconscious — Free — Five indie filmmakers adapt each other’s dreams for the screen. The New Yorker’s Richard Brody called it one of his favorite films at the 2016 SXSW film festival. (2016) Cold Sweat — Free — Charles Bronson, Liv Ullman, James Mason, and Jill Ireland star in this action packed movie about a ruthless drug runner who holds a man’s family hostage. (1970) Crash: The Short Film — Free — Otherwise known as The Atrocity Exhibition, this pre-Cronenberg short film was directed by Harley Cokeliss and stars J.G. Ballard himself. (1971) Cyrano De Bergerac — Free — Michael Gordon’s tale based on the classic French tale. (1950) Darwin - Free — 53-minute exploration of the life and work of Charles Darwin by Peter Greenaway. (1993) Détour — Free — A short charming film shot by Michel Gondry purely on his iPhone. (2017) Diary — Free — Short film by Tim Hetherington (director of Restrepo) that reflects on his ten years of war reporting. (2010) Dinner for One — Free — A short comedy film that has become part of a New Year’s Eve tradition in Germany and many other European countries. Once held the Guinness World Record for Most Frequently Repeated TV Program. (1963) Doodlebug — Free — One of Christopher Nolan’s early short films. Made in 1997, released in 2003. Double Take — Free — Alfred Hitchcock meets Jorge Luis Borges Borges in Cold War America in a film directed by Johan Grimonprez and written by Tom McCarthy. (2009) Dreams That Money Can Buy — Free — A surrealist film by Man Ray, Marcel Duchamp, Alexander Calder, Fernand Léger & Hans Richter. (1947) Duet for Cannibals — Free — A tale of emotional cannibalism by Susan Sontag. A pair of psychological & sexual cannibals come close to devouring a younger couple. (1969) Eat, Sleep & Kiss — Free — Three silent anti-films by Andy Warhol. (1963–1964) Edgar Allan Poe’s the Raven — Free — Winner of the Best Short at the H.P. Lovecraft Film Festival, this film modernizes Poe’s story, situating it in Hollywood 1959. (2011) End of the World — Free — After witnessing a man’s death in a bizarre accident, Father Pergado goes on a spiritual retreat, where he encounters his alien double bent on world conquest. Sci-fi film stars Christopher Lee. (1977) Enthusiasm — Free — Dziga Vertov’s masterpiece of early sound film, Enthusiasm deals with the Five Year Plan of the late 1920s. His goal was “to grasp the feverish reality of life in the Don Basin, to convey as true to life as possible its atmosphere of the clash of hammers, of train whistles, of the songs of workers at rest.” In Russian. (1931) Erotikon - Free — Directed by Czech filmmaker Gustav Machatý and starring Hedy Lamarr, the film was controversial in its time because it had nude scenes. It was the first non-pornographic movie to portray sexual intercourse and the female orgasm. (1929) Evidence — Free — From the maker of Koyaanisqatsi, a short film about kids watching cartoons (1995). Fear and Desire — Free — An uncut print of Stanley Kubrick’s “lost” early film. Kubrick didn’t like how his first film came out, so removed it from circulation. (1953) Fight for Your Right Revisited - Free — Adam Yauch commemorates the Beastie Boys’ legendary video for (You Gotta) Fight for Your Right (To Party!). 30 minute surreal film stars Elijah Wood, Danny McBride and Seth Rogen. (2011) Five Minutes to Live — Free — Amazing bank heist movie stars Johnny Cash, Vic Tayback, Ron Howard, and country music great, Merle Travis. (1961) Flamenco at 5:15 — Free — Oscar-winning short film about a flamenco dance class given to senior students. Made available by the National Film Board of Canada. (1983) Franz Kafka’s It’s a Wonderful Life - Free — Directed by Peter Capaldi, the Oscar-winning short film shows Kafka, on Christmas Eve, struggling to come up with the opening line for his most famous work, The Metamorphosis. (1993) Freiheit — Free - The third short film George Lucas made while a film-school student at USC and the first with a narrative. (1966) From the Drain — Free — David Cronenberg‘s short film made while attending the University of Toronto. (1967) Geometria — Free — A ghoulish short film by Guillermo del Toro. One of his earliest films that you can watch online. (1987) Ghost Train - Free — Classic ghostly comedy, starring Arthur Askey and based on the play by ‘Dad’s Army’ actor Arnold Ridley. (1941) Great Expectations — Free ‑The classic story of Pip the British orphan. Based on the great Charles Dickens novel available in our collection of Free eBooks. (1946) Hardware Wars — Free — It’s the mother of all Star Wars fan films, and also one of the most popular short films ever made. (1978) Häxan: The Witches or Witchcraft Through The Ages — Free — Benjamin Christensen’s 1922 silent film Häxan gets a narration by William S. Burroughs. (1968) Hell’s Angels — Free — American war film, directed by Howard Hughes and starring Jean Harlow, about combat pilots of World War I. Stanley Kubrick listed it as one of his 10 favorite films on his only top 10 list. (1930) Hell’s House — Free — With Bette Davis and Pat O’Brien. The film is set during the final days of prohibition. (1932) Herbert White — Free — James Franco’s short film made during film school. Stars Michael Shannon. Based on a poem by Frank Bidart. (2010) Hercules — Free — Italian epic fantasy feature film based upon the Hercules myths. (1958) Hi Diddle Diddle — Free — When the bride’s mother is supposedly swindled out of her money by a spurned suitor, the groom’s father orchestrates a scheme of his own to set things right. Quentin Tarantino named it one of the 12 best films of all time. (1943) His Girl Friday — Free — Directed by Howard Hawks. A classic comedy starring Cary Grant, Rosalind Russell and Ralph Bellamy. (1940) Hometown in My Heart — Free — Made in the early years of Korean Independence, the film is about a young monk who longs to see his mother in a new light, by suppressing his emotions. (1949) Human: The Movie — Free — By director, photographer, and environmental activist Yann Arthus-Bertrand, this unique film features interviews with 2,020 people from 60 countries on what it means to be human. (2015) I Thought I Told You to Shut Up — Free — A short film narrated by Jonathan Demme about the making of the 1970s underground comic, Reid Fleming: World’s Toughest Milkman. (2015) Impressions de la haute Mongolie — Free — Surrealist false documentary directed by Salvador Dalí and José Montes-Baquer, starring Salvador Dalí himself. (1976) Indiscreet — Free — Features superstar Gloria Swanson and directed by Leo McCarey. A comedy that’s almost Chaplinesque. (1931) It Seemed Like a Good Idea at the Time - Free — Anthony Newley plays a poor avant-garde artist who struggles with an ex-wife’s remarriage to a building contractor. (1975) Ivan Vasilievich Changes Profession — Free — Soviet comic sci-fi film directed by Leonid Gaidai, based on the play Ivan Vasilievich by Mikhail Bulgakov. A huge Soviet blockbuster. Click “CC” for subtitles. (1973) Ivan’s Childhood — Free — A Soviet war drama film directed by Andrei Tarkovsky. Put online by Mosfilm. (1962) Ivan the Terrible — Free — A two-part Soviet epic historical drama film written and directed by Sergei Eisenstein. A biopic of Ivan IV of Russia, it was Eisenstein’s final film. (1944) J’attendrai le suivant — Free — A French film nominated for an Academy Award for the Best Short Film in 2002. Jungle Book — Free — A color action-adventure film based on the Rudyard Kipling’ novel, The Jungle Book. Directed by Zoltán Korda, the film was nominated for four Academy Awards. (1942) Killer Drill — Free — Directed by Lewis D. Collins, Killer Drill is about the Door-to-door salesman Johnny Dill, an exact double of a notorious gangster, who finds himself struck between the forces of good and evil. (1947) King Lear — Free — Made for TV adaptation of Shakespeare’s King Lear starring Orson Welles. (1953) La Dialectique Peut-Elle Casser Des Briques? (Can Dialectics Break Bricks?) - Free — A French Situationist film produced by René Viénet which explores the development of class conflict through revolutionary agitation against a backdrop of graphic kung-fu fighting. (1973) La Femme 100 Tetes — Free — An adaptation of Max Ernst’s collage book “La femme 100 têtes,” originally published in 1929. Consider the film a collage in motion. (1967) L’Age d’or — Free — French surrealist comedy directed by Luis Buñuel about the insanities of modern life, the hypocrisy of the sexual mores of bourgeois society and the value system of the Roman Catholic Church. Salvador Dalí co-wrote the screenplay. (1930) Lady Blue Shanghai — Free — David Lynch’s short movie that doubles as a commercial for Dior. Stars Marion Cotillard. (2010) Lick the Star — Free — Sofia Coppola’s very first short film follows a 7th-grade conspiracy (1998) Love and Pigeons — Free — Soviet romantic comedy film by Vladimir Menshov. His previous film Moscow Does Not Believe In Tears received the Academy Award for Best Foreign Language Film. (1984) Lumiere — Free — A very short film by David Lynch. 55 seconds. (1966) M — Free — Classic film directed by Fritz Lang, with Peter Lorre. About the search for a child murderer in Berlin, (1931) Meet John Doe — Free — Frank Capra’s comedy, with Gary Cooper and Barbara Stanwyck. Voted one of the most inspiring films of all time. (1941) Meetin’ WA — Free — In a short film Jean-Luc Godard meets Woody Allen. (1986) Menthe — Free — The second film by Lars von Trier is based on the sadomasochistic novel by Dominique Aury, Story of O, and tells the story of a voluntary female subjugation. (1979) Metamorfosis — Free ‑Franz Kafka’s best-known short story gets adapted into a Tim Burtonesque Spanish short film (2004) Mike Leigh’s Five Minute Films — Free — The BBC commissioned him to make a series of five-minute movies in 1975. They eventually aired in 1982. My Best Friend’s Birthday — Free — First (incomplete) film directed by Quentin Tarantino. Some good rockabilly fun. (1987) Mulberry — Free — S. Korean drama film directed by Lee Doo-yong. The film became “known for its erotic subject matter, made possible by the government’s gradual relaxation of censorship and control over the film industry during the 1980s.” (1986) Murder in Harlem - Free — Film by Oscar Micheaux, the first African-American to produce a feature-length film (1920) and sound movie (1931). His films provide a window into American views on race. (1935) No Exit/Huis Close - Free — Harold Pinter interprets the lead role of Garcia in Sartre’s famous claustrophobic play of self-definition and identity. (1965) Our Town — Free — Film adaptation of a play of the same name by Thornton Wilder starring William Holden, Martha Scott, Fay Bainter, Beulah Bondi, Thomas Mitchell, Guy Kibbee and Frank Craven. Find Alternate version. (1940) Penny Serenade — Free — With Cary Grant and Irene Dunne. “Depicts the story of a couple who must overcome adversity to keep their marriage and raise a child. Grant was nominated for the Academy Award for Best Actor for his performance.” (1941) Plaisir d’amour en Iran — Free — A short, six minute film by Agnès Varda, about a love story between a handsome Iranian (Ali Raffi) and a visiting French woman (Valérie Mairesse). The film was shot in Iran. (1976) Plan 9 from Outer Space — Free — An Ed Wood “classic.” Considered one of the worst films ever made and yet the ultimate cult flick. (1959) Plastic Bag - Free — Werner Herzog narrates the touching, existential journey of a plastic bag. A short film directed by Ramin Bahrani, who Roger Ebert called the “new great American director”. (2009) Pygmalion — Free — Classic is based on George Bernard Shaw’s play. Won Oscar for best screenplay. (1938) ¡Que viva México! — Free — A film project begun in 1930 by Russian avant-garde filmmaker Sergei Eisenstein portraying Mexican culture and politics from pre-Conquest civilization to the Mexican revolution. The troubled film was eventually abandoned. Rakka — Free — Starring Sigourney Weaver, “Rakka” takes us inside the aftermath of an alien invasion sometime in the year 2020. (2017) Reefer Madness — Free — Arguably the most unintentionally hilarious “anti-drug” exploitation film. (1936) Rembrandt — Free — A luminous biopic of the legendary Dutch painter. Alexander Korda considered this to be his finest film. (1936) Romance Sentimentale — Free — Directed by Sergei Eisenstein. (1930) Royal Wedding — Free — Musical comedy film starring Fred Astaire and Jane Powell, with music by Burton Lane and lyrics by Alan Jay Lerner. (1951) Ruslan and Ludmila — Free — Russian film directed by Aleksandr Ptushko. Based on poem written by Alexander Pushkin in 1820. Subtitled in English. Made available by Mosfilm. (1972) Scrooge — Free — The first sound version of Dickens’ classic, A Christmas Carol. Directed by Henry Edwards (1935) Secret Weapons — Free — David Cronenberg’s seldom seen made-for-TV movie. (1972) Sex Madness — Free — This is to sex what Reefer Madness is to drugs. YouTube version here. (1938) Shame — Free — Produced by Roger Corman and starring William Shatner. Mystery film about a man sent into a southern town to stir up race riots. (1962) Sherlock Holmes and the Secret Weapon — Free — Sherlock Holmes rescues an inventor of an new bomb site before the Nazis can get him. (1943) Sopyonje - Free — The film directed by Kwon-taek Im surprised S. Korea by both rekindling interest in the traditional music of pansori and by breaking box-office records despite playing on only three screens. You can find more Korean feature films at Korean Film Archive. (1993) Spider Baby — Free — A black comedy horror film, written and directed by Jack Hill. Stars Lon Chaney Jr. (1968) Stalker — Free — A science fiction art film directed by Andrei Tarkovsky with a screenplay written by Arkady and Boris Strugatsky, loosely based on their 1972 novel Roadside Picnic. Film has been put online by Mosfilm. (1979) Strike — Free — Sergei Eisenstein’s first feature film and an indicator of the brilliant films to follow. (1925) Terror by Night — Free — Sherlock Holmes film, the thirteenth to star Basil Rathbone and Nigel Bruce and was directed by Roy William Neill. The story revolves around the theft of a famous diamond aboard a train. (1946) Thanksgiving Prayer — Free — A short film by Gus Van Sant wherein William S. Burroughs reads a sarcastic Thanksgiving Prayer. (1988) The Amazing Quest of Ernest Bliss — Free — Cary Grant plays a rich socialite, who makes a bet with his therapist that he can make a living for one year using none of his current wealth. (1936) The Bigamist — Free — Directed by Ida Lupino, a pioneer among women filmmakers. (1953) The Blood of a Poet — Free — Avant-garde film directed by Jean Cocteau. The first part of the Orphic Trilogy. (1930) The Blue Angel — Free — The Weimar classic that made Marlene Dietrich an international star. (1930) The Contender — Free — Stars Buster Crabbe (best known for his role as Tarzan) in well known boxing film. (1944) The Cut Ups — Free — Directed by Anthony Balch, this avant-garde film brings William S. Burroughs’ cut up technique to film. (1966) The Dentist — Free — W.C. Fields in his second talking comedy short. One of four short films Fields made with the “king of comedy,” Mack Sennett. (1932) The Diamond Arm — Free — Directed by Leonid Gaidai, the film has become a Russian cult film and is considered to be one of the finest comedies of its time. (1969) The Discipline of D.E. — Free — Gus Van Sant’s short, 16 mm, black and white adaptation of William S. Burroughs’ short story. (1978) The Divorce of Lady X — Free — British romantic comedy film starring Laurence Olivier and Merle Oberon (1938). The Dove — Free — A parody of some of Ingmar Bergman’s best known films, including Wild Strawberries (Smultronstaellet) and The Seventh Seal (Det Sjunde Inseglet). Features first film appearance by Madeline Kahn. Nominated for Academy Award. (1968) The Fall of the House of Usher — Free — Poe’s classic tale turned into an avant garde film. It was scripted by e.e. cummings. (1928) The Fast And The Furious — Free — A 1950s B‑action film written by Roger Corman. (1955) The Flying Deuces — Free — This was the first comedy that Laurel and Hardy starred in without producer Hal Roach, although they had previously been “guest stars” in four MGM movies. (1939) The Great Saint Louis Bank Robbery — Free — Steve McQueen stars in a gritty, downbeat, and sometimes savage heist movie. (1959) The Hire — Free — Eight short films made by famous directors (John Frankenheimer, Guy Ritchie, Joe Carnahan, Tony Scott, Alejandro González Iñárritu, John Woo, Wong Kar-wai, Ang Lee) for BMW. Stars Clive Owens. (2001–2002) The Jackie Robinson Story — Free — Starring Jackie Robinson himself, the film retraces the life and times of the great baseball player and civil rights figure. (1950) The Jungle Book — Free — Directed by Zoltan Korda, it starred Sabu, Jospeh Calleia, John Qualen, Frank Puglia, etc. (1942) The Last Farm — Free — Short Icelandic film nominated for Oscar in 2006. The Last Man on Earth — Free — Post apocalyptic horror film starring Vincent Price and based on Richard Matheson novel I Am Legend. (1964) The Last Time I Saw Paris — Free — Elizabeth Taylor and Van Johnson star in romantic drama based on F. Scott Fitzgerald ‘s story “Babylon Revisited.” YouTube version here. (1953) The Legend of Hallowdega — Free — Black comedy mockumentary directed by Terry Gilliam. Stars David Arquette and Justin Kirk, with appearances by Dale Earnhardt Jr. and Darrell Waltrip. (2010) The Little Shop of Horrors — Free — Directed by Roger Corman with Jack Nicholson. It’s is a farce about an inadequate florist’s assistant who cultivates a plant that feeds on human flesh and blood. (1960) The Lunch Date — Free — Adam Davidson’s commentary on race in America. The short film won an Oscar and a prize at Cannes. (1989) The Metamorphosis – A Study: Nabokov on Kafka - Free — A dramatization of Vladimir Nabokov’s lectures on Kafka novella, The Metamorphosis. Stars Christopher Plummer. (1989) The Mirror — Free — Russian art film directed by Andrei Tarkovsky. “It is loosely autobiographical, unconventionally structured, and incorporates poems composed and read by the director’s father, Arseny Tarkovsky.” Put online by Mosfilm. (1975) The Night of Counting the Years — Free — Directed by Shadi Abdel Salam, this film is considered one of the finest Egyptian films ever made. (1969) The Orchid Gardener — Free — A young, mentally ill man, a visual artist in crisis Victor Marse (Lars von Trier) meets two nurses (Eliza and her girlfriend) during his stay in a sanatorium. Bizarre things happen next in an experimental film with a mysterious and symbolic plot . (1977) The Painted Desert -Free — Notable for being Clark Gable’s first appearance in a talkie film. (1931) The Phantom Fiend - Free — The first sound remake of the 1927 Alfred Hitchcock classic, The Lodger. Stars Ivor Novello and directed by Maurice Elvey. The Quest - Free — Saul Bass’s trippy, kitschy short film based on a Ray Bradbury short story. (1983) The Scarlet Letter — Free — Robert G. Vignola’s adaptation of Nathaniel Hawthorne’s classic. (1934) The Scarlet Pimpernel — Free — Adaptation of the classic adventure novel by Baroness Orczy. Stars Leslie Howard and Merle Oberon. (1934) The Short Films of Louis CK — Free — A collection of nine short films created by the comedian between 1993 and 1999. The Skin Game - Free — A 1931 Hitchcock film based on a play by John Galsworthy recounts the tragic tale of a family feud. (1931) The Snows of Kilimanjaro — Free — Based on Hemingway’s classic novel set in Africa. Stars Gregory Peck. (1952) The Stranger — Free — Directed by Orson Welles and starring Edward G. Robinson and Loretta Young. This was Orson Welles’ only major box office success. Alternative version on Archive.org. (1946) The Taming of the Shrew — Free — The first sound adaptation of a Shakespeare film ever. Stars Mary Pickford and her husband Douglas Fairbanks. (1929) The Testament of Dr. Mabuse - Free — Directed by Fritz Lang, this was the sequel to Lang’s nearly four-hour silent film Dr. Mabuse shot in 1922. (1933) The Wild Ride — Free — A cult classic that features Jack Nicholson playing a rebellious punk in one of his first roles. (1960) The Woman in Green — Free — Sherlock Holmes investigates when young women around London turn up murdered, each with a finger severed off. Scotland Yard suspects a madman, but Holmes believes the killings to be part of a diabolical plot. Stars Basil Rathbone as Holmes and Nigel Bruce as Dr. Watson. (1945) The World of Stainboy — Free — A series of flash animation shorts created by Tim Burton. The Stainboy character first appeared in two short poems in the book The Melancholy Death of Oyster Boy & Other Stories, also created and illustrated by Tim Burton. (2000) The Young Lovers — Free — Directed by Ida Lupino, this 1950 film tells the tale of a newly engaged woman who contracts polio. Film was also titled Never Fear. Alternate version here. Things to Come — Free — A British sci-fi film produced by Alexander Korda and directed by William Cameron Menzies. The screenplay was written by H. G. Wells, and predicted a grim future for the world. We have background on the film here. (1934) Tuileries — Free — A short twisted film by Joel and Ethan Coen. Stars Steve Buscemi and takes place in Paris. (2006) Two Men — Free — An award-winning short film adapts Franz Kafka’s short story, “Passers-by.” Set in aboriginal Australia. (2009) Uncle Vanya - Free — Adaptation of the Anton Chekhov play of the same title. Directed by Andrey Konchalovskiy. Click “CC” for subtitles. (1970) Utopia — Free — Laurel & Hardy’s last film. (1951) Vinyl — Free — Andy Warhol’s loose film adaptation of Anthony Burgess’ A Clockwork Orange. (1965) Virus — Free — Post-apocalyptic sci-fi movie directed by Kinji Fukasaku and based on a novel written by Sakyo Komatsu. (1980) Voyage to the Planet of Prehistoric Women — Free — An early film by “New Hollywood” director Peter Bogdanovich (1968). Waiting for Godot - Free — Performances of Waiting for Godot directed by none other than Samuel Beckett himself. (1985) War & Peace — Free — Sergei Bondarchuk’s splendid film adaptation of Leo Tolstoy’s grand novel, made available online by Mosfilm. (1969) We Are Jazzmen — Free — Directed by Mr. Karen Shakhnazarov, the film chronicles the emergence of jazz during the 1920s in Soviet Russia. It’s made available by the Russian film studio, Mosfilm. Click “cc” to get subtitles. (1983) White Tiger — Free — A Russian action war film directed by Karen Shakhnazarov, and based on a novel by Ilya Boyashov. The film was put online by the Russian film studio, Mosfilm. Click “cc” to get subtitles. (2012) Why Try to Escape from Which You Know You Can’t Escape from? Because You Are a Coward — Free — An early film by Lars von Trier. (1970) Zéro de Conduite (Zero for Conduct) — Free — Originally banned in France, the film was later honored by Truffaut in The 400 Blows. (1933) Find a complete collection of Film Noir movies here and Alfred Hitchcock movies here. Free Kung Fu & Martial Arts Films Black Fist — Free — To make money, a Los Angeles street-fighter goes to work for gangsters. (1975) Blood on the Sun — Free — Starring James Cagney and Sylvia Sidney, the film is based on a fictional history behind the Tanaka Memorial document. Won the Academy Award for Best Art Direction for a Black & White film. (1945) Bruce Lee Fights Back From The Grave — Free — Bruceploitation movie starring Bruce Lee impersonator and tae kwon do instructor Jun Chong (using the name Bruce K.L. Lea). (1976) Bruce Lee the Invincible — Free — Bruce Li with his master goes to Singapore to stop a kung-fu master named Cheng. (1977) Four Robbers — Free — Cheap Hong Kong action film which rides the late 80s heroic bloodshed wave and, says kungfumovieguide.com “rips off (mainly) films like A Better Tomorrow and City on Fire, only without any of the same quality.” (1987) Guy With Secret Kung Fu — Free — Two brothers put their kung fu skills to the test and do battle with dishonest judges, powerful warlords, and giant zombies, all in the name of ending the oppression of the Ching Dynasty. (1980) Heroes of Shaolin — Free — Directed by William Chang. Like many kung fu movies from the late 1970s, the main theme of the film focuses on revenge. La Dialectique Peut-Elle Casser Des Briques? (Can Dialectics Break Bricks?) - Free — A French Situationist film produced by René Viénet which explores the development of class conflict through revolutionary agitation against a backdrop of graphic kung-fu fighting. (1973) Lady Whirlwind — Free — Sometimes called Deep Thrust. Here’s the plot: Tien arrives in town looking to exact revenge on Ling for abandoning her pregnant sister and thus driving the sister to commit suicide. Although Tien agrees to help Ling take down the leader of a local gambling syndicate, she nonetheless still plans to avenge her sister’s death which she holds Ling responsible for. (1973) Legend of the Eight Samurai — Free — A Japanese historical martial arts fantasy film starring Sonny Chiba and directed by Kinji Fukasaku. The script is adapted from a 1982 novel Shin Satomi Hakkenden by Toshio Kamata, a loose reworking of the epic serial Nansō Satomi Hakkenden by Kyokutei Bakin. (1983) Master of the Flying Guillotine — Free — A Taiwanese wuxia film starring Jimmy Wang Yu, who also wrote and directed the film. It is a sequel to Wang’s 1971 film One Armed Boxer, and thus the film is also known as One-Armed Boxer 2. (1976) Ninja Death Trilogy — Free — The entire Ninja Death Trilogy. Four hours of non stop action. (1987) Return of Kung Fu Dragon — Free — Sonny Chiba stars again as the deadly martial arts mercenary Takuma Tsurugi in a movie where he must battle against the Yakuza because of a deal gone bad. (1976) Return of the Street Fighter — Free — Takuma “Terry” Tsurugi returns. In this sequel to The Street Fighter, he sets out to bust up a phony charity put together by the Yukuza. (1974) Shaolin Temple — Free — Otherwise called Death Chambers, it is one of the Shaolin Temple-themed martial arts films and concerns their rebellion against the Qings. Stars David Chiang, Ti Lung, and Fu Sheng. (1976) Sister Streetfighter — Free — Classic grindhouse karate film starring Sue Shihomi. (1974) Spirits of Bruce Lee — Free — Richard Lee rescues a young Thai boxer on his way to Wansen which is a small town with strange customs. The Big Fight — Free — The Japanese oppress the Chinese during WW‑2, until resistance breaks out. Stars Tien Peng, Yee Yuen, Cheung Ching Ching, and Blacky Ko. (1972) The Image of Bruce Lee — Free — 70s action film about Bruce Li as a special agent who teams with a Hong Kong police officer to crack a smuggling ring. Apart from the title, the only thing this film has to do with Bruce Lee is when someone tells the Bruce Li character that he resembles Lee. (1978) The Real Bruce Lee — Free — This martial arts documentary begins with a brief biography of Bruce Lee, and shows scenes from four of his childhood films, Bad Boy, Orphan Sam, Kid Cheung, and The Carnival, each sepia-toned and dubbed to English. (1979) The Street Fighter — Free — One of Quentin Tarantino’s favorite karate films, and 13# on his list of 20 great Grindhouse films. Starring Sonny Chiba, the film was the first to get an X rating for violence. (1974) The Street Fighter’s Last Revenge — Free — A martial arts film and the third in a series starting with The Street Fighter starring Sonny Chiba. (1974) TNT Jackson — Free — A young karate expert searches for her brother’s killer in Hong Kong. (1975) Free Westerns Angel and the Badman - Free — A black and white Western starring John Wayne and Gail Russell. Considered a radical departure from the Western genre at the time. Find Internet Archive version here. (1947) Billy the Kid Wanted — Free — Billy the Kid (Buster Crabbe) and his pal Jeff (Dave O’Brien) help their friend Fuzzy Jones (Al St. John) escape from jail, and the trio heads for Paradise Valley, where they find the Paradise Land Development Company, ran by Matt Brawley (Glenn Strange) and Jack Saunders (Charles King), (1941) Blue Steel — Free — Western film with John Wayne playing a U.S. Marshal trying to capture the Polka Dot Bandit. Some consider it the best of the Wayne Lone Star films. (1934) Born to the West — Free — Can Dare Rudd prove he is responsible enough to win the heart of Judy and also outwit the crooked saloon owner? Stars John Wayne, Marsha Hunt and John Mack Brown. (1937) Death Rides a Horse — Free — Giulio Petroni’s top spaghetti western. (1967) Frontier Horizon — Free — The Three Mesqueteers attempt to prevent wholesale slaughter in this fine Republic Western starring John Wayne, Ray “Crash” Corrigan, and Raymond Hatton. (1939) Gone with the West — Free — James Caan, Stefanie Powers and Sammy Davis Jr. in 1975 western. Helltown — Free — Originally called Born to the West, this John Wayne western was based on a novel by Zane Grey. (1937) High Lonesome — Free — A drifter (John Drew Barrymore) is suspected of murder, when the real murderers are two men who everybody thinks are dead. This movie was filmed back to back with “The Sundowners” on the same set. (1950) Joshua — Free — A black soldier returns from fighting in the Civil War only to find out that his mother has been murdered by a gang of white thugs. He becomes a bounty hunter, determined to exact revenge. Directed by Larry G. Spangler, stars Larry Williamson. (1976) Law of the Rio Grande — Free — Directed by Forrest Sheldon, the film is about Jim and Cookie. Escaping from the Sheriff, they decide to go straight. But when they meet their old cohort, The Blanco Kid, he tells their new boss they are outlaws and they are in big trouble again. (1931) McLintock! — Free — Comedy Western starring John Wayne & Maureen O’Hara. Loosely based on Shakespeare’s The Taming of the Shrew. (1963) ‘Neath the Arizona Skies — Free — John Wayne plays a cowboy protecting an American Indian oil-land heiress. (1934) One Eyed Jacks — Free — The only film directed by Marlon Brando. He also plays its lead character, Rio. (1961) Paradise Canyon — Free — Western starring John Wayne. Features Wayne as government agent John Wyatt searching for a counterfeit ring operating on the Mexican/Arizona border. (1935) Rainbow Valley — Free — John Martin (John Wayne) is a government agent working under cover. Leading citizen Morgan calls in gunman Butch Galt (Buffalo Bill Jr.) who blows Martin’s cover. (1935) Randy Rides Alone — Free — Jailed for murders he didn’t commit, Randy Bowers (John Wayne) escapes only to stumble into the den of the real murderers. Entertaining early Wayne film. (1934) Rawhide — Free — A short western implausibly starring the Yankee legend, Lou Gehrig. (1938) Riders of Destiny — Free — John Wayne portrays Singin’ Sandy Saunders and has a reputation as the most notorious gunman since Billy the Kid. Features Wayne in singing role. (1933) Sagebrush Trail — Free — John Wayne plays John Brant who escapes from jail after being wrongly accused of murder. Features great stagecoach chase. (1933) Santa Fe Trail — Free — Western film directed by Michael Curtiz (also directed Casablanca) and starring Errol Flynn, Olivia de Havilland and Ronald Reagan. (1940). Seven Alone — Free — A frontier family with seven children heads West on the Oregon Trail. When both of their parents die, they decide to push on alone. Stars Dewey Martin and Aldo Ray. (1974) Song of Arizona — Free — Stars Roy Rogers. Directed by Frank McDonald. “Gabby’s ranch for wayward boys is in financial trouble. One of his boys, Chip is hiding stolen money sent by his father the outlaw leader King Blaine. After Blaine is killed, Chip decides to pay off Gabby’s debt with this money, but trouble arises when the remaining gang members arrive looking for the loot.” (1946) Texas Terror — Free — A young John Wayne in a romantic western. (1935) The American West of John Ford — Free - A documentary encapsulating the career and Western films of director John Ford, featuring interviews with John Wayne, James Stewart and Henry Fonda. (1971) The Dawn Rider — Free — John Wayne plays John Mason, a man avenging his father’s murder. A western directed by Robert Bradbury. (1935) The Desert Trail — Free — Early Western with John Wayne. According toWesternClippings, not Wayne’s finest hour. (1935) The Great Train Robbery — Free — Early western film by Edwin S. Porter. A landmark in narrative filmmaking (1903) The Lawless Frontier — Free — B Western starring John Wayne and directed by Robert Bradbury. (1934) The Lucky Texan — Free — Jerry Mason (played by John Wayne) and Jake Benson become partners and strike it rich with a gold mine. (1934) They then find their lives complicated by bad guys and a woman. (1934) The Man From Utah — Free — The Marshal sends John Weston (John Wayne) to a rodeo to see if he can find out who is killing the rodeo riders who are about to win prize money. (1934) The Outlaw - Free — The American Western story of Billy the Kid, Doc Holliday, and Pat Garrett, directed by Howard Hughes, and debuting Jane Russell in her first movie role. (1943) The Range Feud — Free — Clint Turner is arrested for the murder of his girlfriend Judy’s father, a rival rancher who was an enemy of his own father. Stars John Wayne and Buck Jones. (1931) The San Antonio Kid — Free — Directed by Howard Bretherton, the film is about a geologist who has found oil on the neighboring ranches and teams up with Ace who has his gang create a reign of terror to get the ranchers to sell out. The Star Packer — Free — A gang working for “The Shadow” is terrorizing the town. John Travers (John Wayne) decides to take on the job of sheriff and do something about it. (1934) The Trail Beyond — Free — Western starring John Wayne, Noah Beery, Sr., and Noah Beery, Jr. (1934) The Young Land - Free — Dennis Hopper stars in a Western shot in 1959. Two Fisted Law - Free — After Rob Russell steals Tim Clark’s ranch, Clark starts prospecting for silver. Stars John Wayne and Tim McCoy. (1932) Vengeance Valley — Free — American Western film starring Burt Lancaster, based on the novel by Luke Short. (1951) War of the Wildcats — Free — John Wayne stars in western otherwise called In Old Oklahoma. One of Wayne’s better post-Stagecoach performances. (1943) West of the Divide — Free — A young John Wayne in B western. (1934) Winds of the Wasteland — Free — The arrival of the telegraph put Pony Express riders like John Blair (John Wayne) and his pal Smoky (Lane Chandler) out of work they try to start a stagecoach route through a ghost town. A rival stagecoach company tries to stop them. (1936) Find a complete collection of John Wayne films here.
6420	dbpedia	0	68	https://www.paperrater.com/page/lists-of-adjectives	en	List of adjectives	https://www.paperrater.c…png?v=8je82gk5ee	https://www.paperrater.c…png?v=8je82gk5ee	[ "https://assets.paperrater.com/images/paper-rater-logo.png", "https://www.paperrater.com/images/user.svg", "https://www.facebook.com/tr?id=1574043115990108&ev=PageView&noscript=1", "https://paperrater.com/images/2018/lists-of-adjectives.png", "https://paperrater.com/images/btn-usenowfree2.png", "https://www.paperrater.com/images/icons/social/facebook_small.png", "https://www.paperrater.com/images/icons/social/twitter_small.png", "https://www.paperrater.com/images/icons/social/youtube_small.png", "https://googleads.g.doubleclick.net/pagead/viewthroughconversion/1072566429/?guid=ON&script=0" ]	[]	[]	[ "automated essay scoring" ]	null	[]	null	Automated proofreading, spelling, and grammar check \| Automated Essay Scoring system		/apple-touch-icon.png?v=8je82gk5ee		null	What is an adjective? An adjective is a word used to modify or describe a noun or pronoun. They are always near the noun or pronoun they are describing. Adjectives are often overused and add little to a sentence. To avoid this problem, try using verbs and nouns creatively. Choose your adjectives carefully and use them when they have the greatest impact! Adjectives are often used to describe the degree of modification. The adjective forms are positive, comparative, and superlative. This boy is tall. (positive) That girl is taller. (comparative) The last boy in the row is the tallest. (superlative) Have you tried the FREE PaperRater automated proofreader yet? What are you waiting for? Appearance adjectives list attractive bald beautiful chubby clean dazzling drab elegant fancy fit flabby glamorous gorgeous handsome long magnificent muscular plain plump quaint scruffy shapely short skinny stocky ugly unkempt unsightly Use of appearance adjectives The waterfall at Skakavac is one of the most attractive sites in the vicinity of Sarajevo. Hottie is a slang term for a physically attractive person. A new study has revealed that bald men may actually be happier than men with hair. Ethan is haunted by dreams of a beautiful girl he has never met. A new study breaks down the foods most strongly associated with chubby children. We must preserve Wisconsin's clean water, clean air, and natural heritage. It was a dazzling diamond, and it impressed her enormously. We saw sudden splashes of color in the drab landscape. She had an elegant figure and she walked well. The government welfare checks were used to buy fancy motorcycles and iphones. There are two principal causes of flabby arms. Glamorous shoes are perfect for finishing off evening ensembles in style. She wore a gorgeous Victorian gown. We're so proud of our splendid, handsome boy. In this valley were magnificent gardens planted by Hassen ben Sabah. We don't see many muscular women in popular culture. White rabbits have large, broad, and muscular bodies. The boss prefers his female employees to wear plain clothing to work. When shopping, choose plump blueberries with no old, crushed berries. The males had the most unusual colors and unsightly patterns. Color adjectives list ashy black blue gray green icy lemon mango orange purple red salmon white yellow Use of color adjectives Ashy skin is usually whitish or grayish in color. She had black hair and eager blue eyes. John noticed a green ribbon on a branch. The girl had icy blue lips, similar to that of a corpse. Lemon colored bridesmaid dresses brighten-up any wedding. Her toenails shine with freshly applied, mango polish. The wings and tail are brown with purple edgings. The forewings are whitish with distinct red markings. There are orange and yellow bands on the abdomen. Condition adjectives list alive better careful clever dead easy famous gifted hallowed helpful important inexpensive mealy mushy odd poor powerful rich shy tender unimportant uninterested vast wrong Use of Condition adjectives When his wife gave birth to a son, he was the proudest man alive . We're hoping for better results tomorrow. She was a very careful worker. Gulliver was a clever young man, who loved to travel. Perhaps this is a clever forgery to put us on the wrong scent. It remains Winterhalter's most famous work. He was a gifted pilot, a good fellow, and had both wit and humor in him. As a gifted young woman, she excelled academically and exhibited leadership. Of the three, she is perhaps the most gifted painter. Standing on the hallowed precincts of the quarter-deck, they were careful not to speak. Her work has made her an important role model. Everyone was searching for an easy, inexpensive solution to the problem. He abhors mushy bananas and mealy peaches. Rambutan is an odd fruit that looks like a furry strawberry. The poor peasants were forced to sell the young girls to the powerful communist party leaders. The shy girls from the village had very little experience with men. The village girls had tender skin which was very sensitive to the touch. I saw the tender regard which he cast upon her. Shahar claims to be uninterested in the theory of feminism. Positive Personality adjectives list aggressive agreeable ambitious brave calm delightful eager faithful gentle happy jolly kind lively nice obedient polite proud silly thankful victorious witty wonderful zealous Use of positive personality adjectives John has an agreeable character. She has an affectionate boyfriend. He has a charismatic personality. “Don't cry,'' said the gentle Mr. Lorry. They were a proud family, heir to a long and distinguished lineage. I enjoyed the classes given by Gangya, a jolly dance teacher. We must not expect a lively young man to be always so guarded and circumspect. Negative Personality adjectives list angry bewildered clumsy defeated embarrassed fierce grumpy helpless itchy jealous lazy mysterious nervous obnoxious panicky pitiful repulsive scary thoughtless uptight worried Use of negative personality adjectives Ron was an clumsy character. He was an angry young man. The jealous girl always caused problems at school. The mysterious illness arrived on a boat from the far east. The thoughtless boy made an imprudent request. Crammed with blood and violence, it was the most repulsive movie I've ever seen. Shape adjectives list broad chubby crooked curved deep flat high hollow low narrow refined round shallow skinny square steep straight wide Use of shape adjectives A small, dim, crooked shop, kept in a tortuous thoroughfare, by a crooked man. The dense, untouched forest overhung both banks of the narrow little crack. “What a lovely, refined staircase,'” said Chateau Renaud with a smile. Sediment may be deposited to any thickness and extent over a shallow bottom. Iggy was a six feet tall and skinny young boy. Size adjectives list big colossal fat gigantic great huge immense large little mammoth massive microscopic miniature petite puny scrawny short small tall teeny tiny Use of size adjectives Christie Pitts has a mammoth plaster sculpture in his front yard. The building had a huge entry, and was altogether of colossal dimensions. There was a feeling of being lifted out of one's puny self to something bigger. The deer passed across the narrow lane, and disappeared into the forest. A virus is one type of microscopic parasite that infects cells in biological organisms. Sound adjectives list crashing deafening echoing faint harsh hissing howling loud melodic noisy purring quiet rapping raspy rhythmic screeching shrilling squeaking thundering tinkling wailing whining whispering Use of sound adjectives He has a slurred and screeching speech, and is clumsy and flailing in his movement. She was renowned for her quick wit, raspynarrow voice, and ever-present cigarettes. After hearing the faint sound, he had an expression of perplexity as though he were trying to reconcile some doubts in his mind. He added a melodic passage for an acoustic guitar in the third verse of the song. He was a happy boy before that dark day which arrived with a deafening thud upon humanity's collective cranium. Time adjectives list ancient brief early fast future late long modern old old-fashioned prehistoric quick rapid short slow swift young Use of time adjectives The flight had a long delay. There was a short delay on the road because of an accident. Taste adjectives list acidic bitter cool creamy delicious disgusting fresh greasy juicy hot moldy nutritious nutty putrid rancid ripe rotten salty savory sour spicy spoiled stale sweet tangy tart tasteless tasty yummy Use of taste adjectives I had a taste of a deliciously creamy coffee. The cheese souffle had a savory crust. She selected a ripe apple from the shelf. He ate the nutritious fresh lettuce. Touch adjectives list breezy bumpy chilly cold cool cuddly damaged damp dirty dry flaky fluffy freezing greasy hot icy loose melted prickly rough shaggy sharp slimy sticky strong tight uneven warm weak wet wooden Use of touch adjectives This is a black spider with a velvety texture. There had been rain all day, and there was a damp feeling in the air. The insect has a strong preference for trees with fine flaky bark. The dense, small prickly plant is usually less than a metre high. Many succulent plants cannot endure a damp climate. I tripped on the uneven floor almost breaking my arm. Quantity adjectives list abundant billions enough few full hundreds incalculable limited little many most millions numerous scarce some sparse substantial thousands Use of quantity adjectives Evidently, there is abundant fascination with this “sport”. There were numerous complaints before the institution of those regulations. I had allowed him such a limited time; I thought he might have a fit. It also occurs where water seems unlimited but where nutrients are scarce. He was the most-gifted student. She has few friends. I received the most awards in the school. I have little interest in the topic. Trends in the use of adjectives This graph shows the trends in the use of ‘glamorous’ by country. You can compare with this graph which indicates the trends in the use of ‘attractive’ by country. Use of adjectives in American English This Ngram indicates the use of ‘beautiful’ and ‘gorgeous’ in American books, journals, and magazines. Use of adjectives in British English This Ngram indicates the use of ‘attractive’ and ‘muscular’ in British books, journals, and magazines. More example sentences using adjectives It hushed the eloquent, struck down the powerful, abolished the beautiful and good. I was sure you could not be so beautiful for nothing! Great pictures have been made of beautiful people in beautiful clothes and of squalid people in ugly clothes, of beautiful architectural buildings and the ugly hovels of the poor. He has worked on numerous films with Steven Spielberg. After the war, he traveled and went on numerous safaris. The soundtrack included numerous songs, including: The surnames which derive from a nickname are numerous and varied. When the days of autumn are bright and cool, and the nights are chilly but not freezing, the brightest colorations usually develop. Dordrecht has a subtropical highland climate ("Cwb", according to the Köppen climate classification), with warm summers and chilly, dry winters, with occasional snowfalls. But, when the place was left behind, and especially when Steerforth and I were happily seated over our dinner by a blazing fire, it was delicious to think of having been there. That when Miss Murdstone took her into custody and led her away, she smiled and gave me her delicious hand. As I stood there in the gathering dark I thought that in this simple explanation I had mastered the problem of the world--mastered the whole secret of these delicious people. Her childish way was the most delicious way in the world to me, but it was necessary to be explicit, and I solemnly repeated: 'Dora, my own life, I am your ruined David!' So, the close of every week was a delicious time for me; and I got through the rest of the week by looking forward to it. To an unfortunate bachelor of a fellow who has lived alone all his life, you know, it's positively delicious. Additional example sentences using adjectives The beautiful form and color of the cloud seem to be unobserved. The variations in a beautiful drawing are so subtle as often to defy detection. The most beautiful profiles are usually those in which variety is subordinated to the unity of the contor. They are very numerous and very loud, though, are they not? But these within the ice are not so numerous nor obvious as those beneath. The hunters were formerly a numerous and merry crew here. I sat down to my brown loaf, my egg, and my rasher of bacon, with a basin of milk besides, and made a most delicious meal. I was in the middle state between sleeping and waking, either then or immediately afterwards; for, as he resumed--it was a real fact that he had stopped playing--I saw and heard the same old woman ask Mrs. Fibbitson if it wasn't delicious (meaning the flute), to which Mrs. Fibbitson replied, 'Ay, ay! I am lost in the recollection of this delicious interview, and the waltz, when she comes to me again, with a plain elderly gentleman who has been playing whist all night, upon her arm, and says: 'Oh! So in dreams, have I seen majestic Satan thrusting forth his tormented colossal claw from the flame Baltic of Hell. But not a bit daunted, Queequeg steered us manfully; now sheering off from this monster directly across our route in advance; now edging away from that, whose colossal flukes were suspended overhead, while all the time, Starbuck stood up in the bows, lance in hand, pricking out of our way whatever whales he could reach by short darts, for there was no time to make long ones. Rather carried down alive to wondrous depths, where strange shapes of the unwarped primal world glided to and fro before his passive eyes; and the miser-merman, Wisdom, revealed his hoarded heaps; and among the joyous, heartless, ever-juvenile eternities, Pip saw the multitudinous, God-omnipresent, coral insects, that out of the firmament of waters heaved the colossal orbs. But as the colossal skull embraces so very large a proportion of the entire extent of the skeleton; as it is by far the most complicated part; and as nothing is to be repeated concerning it in this chapter, you must not fail to carry it in your mind, or under your arm, as we proceed, otherwise you will not gain a complete notion of the general structure we are about to view. Typical ichthyosaurs had very large eyes, protected within a bony ring, suggesting that they may have hunted at night or at great depths (the only extant animals with similarly large eyes are the giant and colossal squids). Titanisaur is a colossal dinosaur/dragon monster that serves Captain Mutiny. But still the 1895 edition of was not the colossal triumph that has been accepted as fact in modern times. They are typically life-sized, though early colossal examples are up to 3 meters tall. How to use adjectives in a sentence However, some beautiful things have been done with it. Many wonderful and beautiful things have been done with this simple means. Both have been reprinted numerous times. There are numerous upgrade criteria to choose from. Cavalieri has received numerous literary awards. But one thing thou wilt not deny, Sancho; when thou camest close to her didst thou not perceive a Sabaean odour, an aromatic fragrance, a, I know not what, delicious, that I cannot find a name for; I mean a redolence, an exhalation, as if thou wert in the shop of some dainty glover?" After tea, when the door was shut and all was made snug (the nights being cold and misty now), it seemed to me the most delicious retreat that the imagination of man could conceive. The building had a huge entry, and was altogether of colossal dimensions. Well, one very hot morning--my fourth, I think--as I was seeking shelter from the heat and glare in a colossal ruin near the great house where I slept and fed, there happened this strange thing: Clambering among these heaps of masonry, I found a narrow gallery, whose end and side windows were blocked by fallen masses of stone. Then we came to a gallery of simply colossal proportions, but singularly ill-lit, the floor of it running downward at a slight angle from the end at which I entered. It was a sight to see Queequeg seated over against Tashtego, opposing his filed teeth to the Indian's: crosswise to them, Daggoo seated on the floor, for a bench would have brought his hearse-plumed head to the low carlines; at every motion of his colossal limbs, making the low cabin framework to shake, as when an African elephant goes passenger in a ship. The use of adjectives in a sentence The cart before the horse is neither beautiful nor useful. A lake is the landscape's most beautiful and expressive feature. Both athletes are given numerous, violent punches. He was the author of numerous articles and several books. It is also a common name in numerous other countries. All were agreed upon one point, however: if Congress would make a sufficient appropriation, a colossal benefit would result. This was a colossal combination of robbers, horse thieves, negro stealers, and counterfeiters, engaged in business along the river some fifty or sixty years ago. To such a man a funeral is a colossal financial disaster. It was perfect, it was rounded, symmetrical, complete, colossal! Franz had so managed his route, that during the ride to the Colosseum they passed not a single ancient ruin, so that no preliminary impression interfered to mitigate the colossal proportions of the gigantic building they came to admire. He thought several times of the project the count had of visiting Paris; and he had no doubt but that, with his eccentric character, his characteristic face, and his colossal fortune, he would produce a great effect there. A colossal figure, carved apparently in some white stone, loomed indistinctly beyond the rhododendrons through the hazy downpour. Tied by the head to the stern, and by the tail to the bows, the whale now lies with its black hull close to the vessel's and seen through the darkness of the night, which obscured the spars and rigging aloft, the two--ship and whale, seemed yoked together like colossal bullocks, whereof one reclines while the other remains standing. Practice the use of English adjectives How much more beautiful than our lives, how much more transparent than our characters, are they! Somebody else muttered`Oh, it was done beautiful BEAUTIFUL!' The fine new homes are noble and beautiful and modern. Numerous different series have been issued since then. Today, the Schenkenberg is surrounded by numerous vineyards. Polaco wrestled for numerous independent promotions. It has also been the site of numerous car accidents. Deltaville is also home to numerous retirees. More types of adjectives The walls would have had numerous stone lined openings. The park hosts numerous theater and other events. In the cool season it can get decidedly chilly: it is one of the few places in Thailand that ever gets down to zero degrees Celsius. Seasons are fairly well defined, and in most of Uruguay spring is usually damp, cool, and windy; summers are warm; autumns are mild; and winters are chilly and uncomfortably damp. A winter warm spell can be abruptly broken by a strong pampero, a chilly and occasionally violent wind blowing north from the Argentine pampas. It would be such a delicious scheme; and I dare say would hardly cost anything at all. Solitude This is a delicious evening, when the whole body is one sense, and imbibes delight through every pore. We had dinner on a ground veranda over the water the chief dish the renowned fish called the pompano, delicious as the less criminal forms of sin. At length the boat touched the shore, but without effort, without shock, as lips touch lips; and he entered the grotto amidst continued strains of most delicious melody. Every delicious fruit that the four quarters of the globe could provide was heaped in vases from China and jars from Japan. Haidee is almost as civilized as a Parisian; the smell of an Havana is disagreeable to her, but the tobacco of the East is a most delicious perfume, you know. In a month you will find on the table, at which we shall be then sitting, good pistols and a delicious draught; but, on the other hand, you must promise me not to attempt your life before that time. A delicious zephyr played along the coasts of the Mediterranean, and wafted from shore to shore the sweet perfume of plants, mingled with the fresh smell of the sea. Morrel, overpowered, turned around in the arm chair; a delicious torpor permeated every vein. Never have I read anything more refined, anything more after the ancient type, anything more delicious, anything more Latin. They are the lightest and smallest category of air compressors available in market with no air storage tank and runs of direct supply of compressed air. Other articles you may find helpful Which is correct, 'cancelled' or 'canceled'? When should I use a participial phrase?
6420	dbpedia	1	73	http://www.asecentre.org/completed_projects/academy_editions_aus_lit/titles/RUA_Blurb.html	en	Academy Editions of Australian Literature			[ "http://www.asecentre.org/images/logos/UNSW_Canberra_Logo.jpg", "http://www.asecentre.org/images/content/Robbery-Under-Arms.jpg" ]	[]	[]	[ "" ]	null	[]	null		en	http://www.unsw.adfa.edu.au/images/favicon.ico		null	The Academy Editions of Australian Literature Robbery Under Arms by Rolf Boldrewood Edited by Paul Eggert and Elizabeth Webby General Editor Paul Eggert Robbery Under Arms is the quintessential bushranging adventure tale. Recognised as an Australian classic only a few years after it first appeared in book form in 1888, it has remained in print ever since and has frequently been adapted for stage, radio, film and television. Many cultural meanings have been claimed in its name. While praised by its first readers for its excitement, romance and the historical authenticity of its pictures of the 1850s in Australia, Robbery Under Arms was, by the 1950s, being heralded for its pioneering use of the Australian vernacular. Earlier writers had produced some journalistic sketches in this style, but Rolf Boldrewood appears to have been the first to attempt a long narrative in the voice of an uneducated Australian bushman. By the 1980s and 1990s this response had become overshadowed by exposure of the stress fractures of masculinist and colonial discourse that the novel gingerly bridges. During all of this time the novel’s text was not stable. It lost some material accidentally in its early typesettings, and these omissions were never repaired. It was later abridged by its author at the publisher’s request, but the publisher botched his instructions. And, as with any much reprinted work, thousands of small changes gradually crept into the text. This Academy Edition, published in 2006, is the first full-scale critical edition of the novel. It presents the text as it originally appeared in instalments in the pages of the Sydney Mail in 1882–83. It allows readers to experience the first-person narration that Henry Lawson was inspired by, to appreciate how the special qualities of voice were partially flattened` over time and to know exactly what material was omitted. The introduction gives a fresh account of the writing, publishing and reception of the novel, informed by a great many new discoveries. Explanatory notes, a comprehensive glossary, and appendixes covering the novel’s historical background and places, its adaptations and later Canadian serialisations richly contextualise the novel for readers of today. Front Matter Introduction Chapters 1-5 Adaptations of Robbery under Arms Robbery under Arms in Montreal Places in Robbery Under Arms About the Author 'Rolf Boldrewood' was the pen-name of Thomas Alexander Browne (1826–1915), failed squatter in colonial Victoria and New South Wales, then police magistrate, goldfields commissioner and part-time writer of serialised novels. Ultimately the author of sixteen novels, two collections of short stories and two small books on farm management, Robbery Under Arms was the work that earned him an enduring international reputation. About the Editors Paul Eggert FAHA is Professor of English at the University of New South Wales at ADFA, Canberra, where he has directed the Australian Scholarly Editions Centre since 1993 and served as general editor of the Academy Editions of Australian Literature. He edited two critical editions for the Cambridge Works of D. H. Lawrence, and is co-editing Under Western Eyes for the Cambridge Works of Joseph Conrad. He is president of the Bibliographical Society of Australia and New Zealand and writes in the areas of Australian print culture, editorial theories of the text, and the restoration of historic buildings and paintings. Elizabeth Webby AM FAHA is Professor of Australian Literature and Director of Australian Studies at the University of Sydney. Since 1962 she has been researching the literary and cultural history of Australia, with a particular emphasis on the nineteenth century. Her publications include Early Australian Poetry (1982), Colonial Voices (1989), Modern Australian Plays (1990), The Cambridge Companion to Australian Literature (2000) and, as joint editor, Happy Endings (1987), Goodbye to Romance (1989), The Penguin Book of Australian Ballads (1993) and Walter & Mary: The Letters of Walter & Mary Richardson (2000).
6420	dbpedia	0	29	https://victoriancollections.net.au/items/62d66c79340bc84dcd3d8b10	en	Book, Rolf Boldrewood [pseud.], Robbery under arms : a story of life and adventure in the bush and in the goldfields of Australia, 1947	https://victoriancollect…ctions-large.jpg	https://victoriancollect…ctions-large.jpg	[ "https://victoriancollections.net.au/assets/images/logos/logo-vc-web-header.png", "https://victoriancollections.net.au/media/collectors/60ebece6200ed0291c364310/items/62d66c79340bc84dcd3d8b10/item-media/62d66d57340bc84dcd3d8c9a/item-350High.jpg", "https://victoriancollections.net.au/media/collectors/60ebece6200ed0291c364310/items/635b7de12a65fab0a828fdf1/item-media/635b7e4f2a65fab0a8290c56/item-fit-380x285.jpg", "https://victoriancollections.net.au/media/collectors/60ebece6200ed0291c364310/items/635b7c812a65fab0a828b87a/item-media/635b7d212a65fab0a828d0b9/item-fit-380x285.jpg", 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Robbery Under Arms was acclaimed as an Australian classic almost immediately after it appeared in book form in the late 1880s. It was praised for its excitement, romance and authentic picture of 1850s colonial life. As the first writer to attempt a long narrative in the voice of an uneducated Australian bushman, Rolf Boldrewood had created a story with enduring cultural resonance. Its continuing appeal and popularity have seen the tale frequently adapted for stage, radio, film and television.	en	/assets/images/favicons/apple-touch-icon.png?v=pgez4Jw3py	Victorian Collections	https://victoriancollections.net.au/items/62d66c79340bc84dcd3d8b10	Reuse this media Can you reuse this media without permission? No (with exceptions, see below) Conditions of use All rights reserved
6420	dbpedia	3	9	https://www.nyc.gov/office-of-the-mayor/news/646-23/transcript-mayor-adams-hosts-community-conversation	en	Transcript: Mayor Adams Hosts Community Conversation	http://www.nyc.gov	http://www.nyc.gov	[ "https://www.nyc.gov/assets/home/images/global/nyc.png", "https://www.nyc.gov/assets/home/images/global/print.png", "https://www.nyc.gov/assets/home/images/global/print.png", "https://www.nyc.gov/assets/home/images/global/nyc_white@x2.png" ]	[ "https://www.youtube.com/embed/rG7H2x36td0?si=1mgAKMODt1FDHN68" ]	[]	[ "" ]	null	[]	2023-09-06T00:00:00	Transcript: Mayor Adams Hosts Community Conversation			The official website of the City of New York	http://www.nyc.gov/office-of-the-mayor/news/646-23/transcript-mayor-adams-hosts-community-conversation	Watch the video here at https://www.youtube.com/watch?v=rG7H2x36td0 Commissioner Fred Kreizman, Community Affairs Unit: Good evening. Thank you very much. My name is Fred Kreizman, commissioner of the mayor's Community Affairs Unit. It's a pleasure to welcome you to the Upper West Side, the Community Conversation with Eric. This series, we're going around to all of the different boroughs to ensure the mayor hears directly from the people. The first part, six to seven, we had roundtable conversations with members of the mayor's office taking diligent notes to ensure that all of your concerns are heard. And they're transcribed and then relayed so this way anyone coming here, their issue is relayed to the proper people. Q&A cards are on every table, so in case your question isn't asked, within two weeks you get a call back dealing with your issue and we ensure accountability. And before we get started, I just wanted to acknowledge who's first on the dais. Today we have, obviously, the mayor of the City of New York. We have First Deputy Mayor Sheena Wright, Deputy Mayor Meera Joshi, NYPD Deputy Commissioner Mark Stewart, Sanitation Commissioner Jessica Tisch, DOE Chancellor David Banks, ACS Commissioner Jess Danhauser. We have New York City Emergency Management Chief of Staff Yokarina Duarte. DEP Commissioner Rohit Aggarwala, DSS Commissioner Molly Park, DOB Commissioner Jimmy Oddo, City Planning Commissioner Dan Garodnick, Probation Commissioner Juanita Holmes. NYCHA, we have Senior Vice President Brian Honan, HPD Chief of Staff George Sarkissian. Office of Prevention of Hate Crimes in the Mayor's Office Executive Director Hassan Naveed, Fire Department Chief John [inaudible], Rodent Mitigation Director Kathleen Corradi. EDC Vice President Gigi Lee, and Mayor's Office of People with Disabilities Commissioner, Christina Curry. On this side, of course, we have our Manhattan Borough President, Mark Levine, Councilmember Gale Brewer, SBS Commissioner Kevin Kim, Parks Commissioner Sue Donaghue. Mayor's Office of Immigrant Affairs Commissioner Manuel Castro. Department of Finance Commissioner Preston Niblack. DOT Commissioner Ydanis Rodriguez, Department of Consumer and Worker Protection Commissioner Vilda Vera Mayaga. Health + Hospital President Dr. Mitchell Katz, Department of Health and Mental Hygiene Acting Deputy Commissioner Gretchen Van Wye. Mayor's Office of Community Mental Health Deputy Executive Director Laquisha Grant. Human Rights Commissioner Annabel Palma, Mayor's Office of Criminal Justice Director Deanna Logan, CEC Executive Director Sarah Sayeed, Department of Aging Executive Deputy Commissioner Ryan Murray. DYCD Deputy Commissioner Susan Haskell, and Gender Based Violence Deputy Commissioner Anne Patterson, and Tiffany Raspberry, senior advisor and Intergovernmental Affairs and External Affairs Director. Thank you. And at this time... Mayor Eric Adams: I see my senator. Senator, will you come up. You can have my seat and the assemblywoman… Assemblywoman, would you come up. Come up, they've got a seat for you as well, please come on up. BP. Manhattan Borough President Mark Levine: Once a BP always a BP, mayor. Mayor Adams: Just slide down a little so we can fit these two electeds… Borough President Levine: We have several BPs in the room right now. We have the great Ruth Messinger. Where is Ruth? Idol and role model to me and many others. And we have the great Gale Brewer, who you have to wish happy birthday to, although she probably doesn't want us to. Thank you, Gale, for everything you do. Mr. Mayor, thank you for holding this event on the West Side. Thank you for doing it specifically here on the West Side, we're close to the wonderful Amsterdam Houses, we're in the middle of this vibrant new neighborhood which has really taken shape over the past decade, and there are challenges here, we will talk about them. Thank you for doing this meeting at PS 191, an amazing school. Shout out to Principal Stephen Hernon, who is doing a great job, and I think this school might have the most migrant children in Manhattan, at least it's one of the most, 180 or something like that. And the school has really worked hard to accommodate the young people. Thank you. Thank you for that. Thank you to the school community here. You have some great police leadership uptown. But Chief Stephenson, where is the chief? This guy is a rising star in the department. I think you're going to hear about the migrants a lot tonight. And I want to say, unequivocally, that I agree with Mayor Adams that the federal government must do more to support us. This is a humanitarian crisis. It is a national crisis. We need the migrants to be able to work. We need them to get work permits. We need federal financial assistance and much, much more. I want us to keep that in mind tonight. Can you applaud for that. This is very important. We need New York City to be united in that issue. I just want to mention one hyperlocal issue, then I'll pass the mic. I've been very engaged in the fight against the epidemic of scaffolding in this community, and the West Side. It's all over. And the mayor, I don't know if Commissioner Oddo is here. Yes, he is. Jimmy Oddo, the amazing commissioner of the Buildings Department, are very committed to this fight. If you are a co-op owner, you know about Local Law 11, and I personally think we need to have a little more flexibility in Local Law 11. Shouldn't be one size fits all. Obviously safety is the priority. But there are times when people are doing inspections, putting up scaffolding where there's not really an obvious safety compelling reason. So that we need to fix. I'm going to stop there. Thank you to this great crowd. Thank you Mr. Mayor and to this entire array of New York City leadership. Thank you so much. Mayor Adams: Thank you. We want to hear, how are you doing Gale? City Councilmember Gale Brewer: I'm doing fine. Mayor Adams: Happy birthday. Councilmember Brewer: Thank you very much for doing this. Mayor Adams: Don't lose sight that your birthday is today. Councilmember Brewer: I'm very well aware of it. 1,000 frickin emails. Mayor Adams: My birthday is September 1st we're both Virgos. Councilmember Brewer: I heard. Thank you, you like it better than I do appreciate being here tonight. I want to also thank Zuber and Lazarus, the 24 and 20, and Superintendent Samuels and everybody from the school district. I appreciate it very much. I'll go quickly through some issues and I want to say your agency heads are excellent, and so is the staff. Doesn't mean that the problems go away but they are responsive. Migrants, here we have about four or five hotels. The Stratford Arms on 70th Street today is switching from adults to children starting on Monday. And so it's been challenging. With the adults. The issue is, very specifically, I have tried to work with them and with the community. When people move into a building, they need services. They immediately need OSHA. They immediately need English as a second language. They immediately need support. And if you wait like a few weeks, even, without any community room, they go out on the street. So, I would love to have, when the families move in, immediate services in addition to DOE. That's happened at Stratford Arms on 81st Street. People are concerned about e-bikes and those mopeds, et cetera. It's a big issue on the Upper West Side. Hold on, because I don't want to take too much time. So, we're meeting on Friday at Community Board 7, thank you all members of Board 7. We have people, stakeholders in the issue. I know when we met with you, Mr. Mayor, as elected officials, we talked about it, and agencies I've met with since. I'd like all the agencies to participate with us in this meeting to come up with solutions. It's not an easy problem. I think the rules of the road need to be followed and people need their food and baristas need to be paid and have the ability to do their work. That's what my goal is there. On the homeless in general, on the Upper West Side, as the president knows, we don't have a lot of vacant land but we have some single room occupancies that should be purchased by nonprofits to house people on a permanent basis. That could be the way to handle that on the Upper West Side. We want permanent housing. We are very, very supportive of very low income, permanent housing. Also to your credit, you're putting in a safe haven on 83rd Street. I'm supportive. There's going to be a meeting with the community to talk about it. There was a lot of hoopla, but I think it is going in a good direction. Breaking ground is an excellent nonprofit. On the homeless, there are encampments they're hard. There's one on 82nd and Broadway, hard to get rid of. I think social workers need to be more involved, in addition to the police response. That happens with Be Heard, but I'd love to see city wide more social workers working with the Police Department. Outdoor dining, I think we're going in the right direction. Thank you for the bill. Thank you to my colleagues. Those who are concerned, I will say that down the line there will be fewer of them. They will be smaller. But you'll still be able to eat outside and the restaurants will be able to do well. So I support that. Sirens. People hate the loud ambulance sirens. And so the question would be, what can we do together to do rumbler or do something so that the cars move but you don't hear that piercing sound between Roosevelt and Saint Luke's Hospital, something to work on. I'll finish quickly. I'm done. West Presbyterian Church, we want to save, 59th Street shelter being purchased for women, I'd love for it to be permanent housing not be for transitional because I think when you have a new building you definitely need to have those that are permanently housed. Thank you very much. State Assembly Member Linda Rosenthal: Thank you, Mr. Mayor. Assemblymember Linda Rosenthal, welcome to 191, which as you recall, some of you, this was part of the former president's area, the one just preceding this one. Anyway, it's a beautiful school, and I know how hard they work, especially with the new asylum seekers here, but all the schools that have asylum seekers have done a wonderful job. Not just helping people learn but helping to clothes them, helping to feed them. Helping their families have opportunity here. And that's what New York and the U.S. is all about, opportunity. So, I know you also are pushing for opportunity for all. Doesn't matter how wealthy you are or how indigent you are, New York City will take care of you, and New York state as well. So, I hear all the issues. I hear them all the time. I'm working to solve a lot of them. Some of them, the mayor has to lead on and that's why he's here to hear all of our concerns. But this is a beautiful neighborhood. And I appreciate that we can all live here together. Thank you. State Senator Brad Hoylman-Sigal: Thank you, Mr. Mayor, thank you to my colleagues. Thank you to all the commissioners, this is one stop shopping and I really appreciate this effort. State senator from Christopher Street all the way up to West 103, thank you very much. Mr. Mayor, what I want to hear tonight is how Albany can help you and your city elected officials can do their job. I know that includes a billion dollars that the governor has pledged to assist the city in its struggle to house and to make the lives better for asylum seekers. I know it's legislation that we need to pass in Albany that assemblymember Rosenthal and I carry to curb the dangers of e bikes. And I know, Mr. Mayor, you know, having served just a couple seats down from me on that senate floor that we need to be an allyship here in Albany with City Hall. I look forward to hearing everyone's comments and making sure that the West Side is even better after tonight. Thank you. Mayor Adams: Thank you. And we want to open the floor up. We want to allow you to have an opportunity to speak and get your thoughts out. There's only one rule we operate under. We could disagree but we're not going to be disagreeable. These folks you see up here, they work nonstop, nonstop. Oftentimes I call them three, four, two a.m. in the morning… They have sacrificed their lives to help this city, and I am never going to allow anyone to disrespect this team because of their commitment. You have an opinion, do it. Follow the course. We're going to respect each other and we're going to communicate. When you talk, I'm going to shut my mouth and listen. When I talk, I'm going to ask you to do the same. Look at this diverse group we have up here. This city has never witnessed a diverse group of New Yorkers that are reflective of the diversity of this city in its history. And what this administration has done in the midst of everything we've gone through, January 1st, 2022, what did we have in this city? You were unsure if your children were going to school or not. And we were clear, our babies will be back in school. We pushed back on all the naysayers. Our companies remained open. We returned 99 percent of the jobs we lost. We were trending in the wrong direction in crime. We turned around public safety in this city. 11,000 guns removed off our streets. You saw people were afraid to get on our subway system. We're capping out at four million riders now. There were encampments everywhere in this city. Drive around this city. Go Google San Francisco. Los Angeles. Chicago. Go Google those other cities and see what's happening in those cities and what is happening here in this city. And then we made the tough choices economically. We had to do several rounds of PEGS, Programs to Eliminate the Gaps. The bond raters looked at how we're managing the city. Rather than leaving us at an AA-, gave us a bump to AA because they stated we're managing, navigating the city. Tourism is back, 56 million last year. 65 million predicted this year. You look at the legislation that we pushed through Albany, putting money back in the pockets of working class people. Earned income tax credit. 20 years first time we were able to hire, to increase this. NYCHA, everyone tried to get NYCHA residents the relief they deserve. We were able to get the NYCHA Land Trust. A major project in Chelsea that I think is going to change the game of NYCHA. Look at fair futures, foster care children. We're paying their college tuition giving them a stipend so they won't live in a level of despair. Dyslexia screening. 30 percent of the people in Rikers Island, 30 to 40 percent are dyslexic. We're doing dyslexia screening so they end up incarcerated. Cause if you don't educate you incarcerate. Look online and look at our Ws, look at I ran on and look at what we did. Go item for item on what Eric Adams ran on as a candidate and look at what we've accomplished in 20 months. We turned this city around in 20 months. And then what happened? Started with a madman down in Texas, decided he wanted to bus people up to New York City. 110,000 migrants. We have to feed, cloth, house, educate the children, wash their laundry sheets, give them everything they need, healthcare. And this team here, we stated let's do everything possible before we have to push it out into neighborhoods and communities. Month after month I stood up and I said this is going to come to a neighborhood near you. We're here. We're here. We're getting no support on this national crisis and we're receiving no support. And let me tell you something, New Yorkers, never in my life have I had a problem that I did not see an ending to. I don't see an ending to this. I don't see an ending to this. This issue will destroy New York City. Destroy New York City. We're getting 10,000 migrants a month. One time we were just getting Venezuela. Now we're getting Ecuador. Now we're getting Russian-speaking coming through Mexico. We've got Western Africa. Now we're getting people from all over the globe have made their minds up that they're going to come through the southern part of the border and come into New York City. And everyone is saying it's New York City's problem. Every community in this city is going to be impacted. We have a $12 billion deficit that we're going to have to cut. Every service in this city is going to be impacted. All of us. And so I say to you, as I turn it over to you, this is some of the most educated, some of the most knowledgeable, probably more of my commissioners and deputy commissioners and chiefs live in this community. So, as you ask me a question about migrants, tell me what role you played. How many of you organized to stop what they're doing to us? How many of you were part of the movement to say, we're seeing what this mayor is trying to do and [the crisis is] destroying New York City? It's going to come to your neighborhoods. All of us are going to be impacted by this. I said it last year when we had 15,000. And I'm telling you now, with 110,000. The city we knew we're about to lose, and we're all in this together. All of us. Staten Island is saying send them out to Manhattan. Manhattan is saying send them out to Queens. Queens is saying send them out to Brooklyn. No, that's not the game we can play. Open the floor up. Question: Can you hear me? Mayor Adams and team thank you for making the time to talk to us, your constituents on a Wednesday evening. My name is Michael [inaudible]. I've lived in the neighborhood for the last 12 years. I thank everyone who has made this neighborhood this special place it is. I have a two part question. It's focused on something we've already touched on in the initial remarks. Mayor Adams, given your administration's demonstrated and articulated support for permanent affordable housing, what steps are you taking to make such housing available to deserving New Yorkers? Because of the demonstrated success in these programs and that truly is what makes New York great. As a more local question, we have $500 million shelter building built up here on 59th Street that was signed off in the dying days of the prior administration. There is heavy local support for this project to be converted to permanent housing, given the demonstrated success as I mention of these programs. What scope is there for that project to be converted to permanent housing? Mayor Adams: Is Dan here? Who is here from… Dan, tell them the plan we rolled out. People often ask the question what are we doing around housing. Housing is a city and a state problem. There's not one elected official that's not going to say the number one concern they hear from their constituency is housing. Housing. Senior, affordable, low income, middle income because everyone is hurting. That's the number one issue. Then you tell me why nothing was done in Albany this year on housing. Nothing. We presented a plan, raise FAR. We raised a plan of converting office space into housing. We presented several different plans. The governor and I put together an ambitious program of building more housing. There's no reason we left Albany last year with not one initiative on housing. Dan, can you go into what we're doing? Dan Garodnick, Director, Department of City Planning: First of all, I think that point is important. We need to continue to work with our partners in Albany to make sure we have support for growth in New York City of housing. In this neighborhood, in particular, we have a full 20 percent of the residents of Community Board 7 considered severely rent burden. Not just rent burdened, severely rent burdened. Means you pay more than 50 percent of income on rent in Community Board 7. In the last decade, this was one of the main areas of Manhattan where housing gains like the ones that we are in right now were significantly offset by housing losses in the same community board. Through combination of units, the Upper West Side was one of the neighborhoods which actually lost units as a result of combining smaller units into bigger ones. Also true in the Upper East Side, Greenwich Village and SoHo. The mayor asked me to talk a little bit about what we're doing in New York City. We're not obviously just sitting on our hands and waiting. We have a real understanding that we cannot solve our housing crisis. The question of affordability without every neighborhood in the city being a part of growth and supply. Our housing in New York has not kept up with the demand. The vacancy rates for apartments under $1,500 a month is less than 1 percent today. The result are what the questioner is asking about. Rents in Manhattan, which are exorbitantly high. They're exorbitantly high everywhere. Pressures of displacement and gentrification and homelessness, imbalance of power between landlords on one hand, tenants on the other, if you don't have vacancies, tenants have very few rights, and we need to alleviate that situation. So, later this fall we are going to be presenting the Mayor's Housing Opportunity Initiative, which is a zoning proposal, which is how we are trying to address this issue locally. It's a zoning text amendment, which means we're going to be making changes in every neighborhood from high density areas like this one to low density areas throughout the city and everywhere in between, adding a little bit of new housing in every neighborhood we believe will make a significant impact here. We'll be looking at office conversions, off-street parking regulations and a whole lot more. And the mayor has charged us with some very big goals on delivering housing for this city, and we expect to be able to deliver on that and we look forward to talking about that more publicly soon. Mayor Adams: So our crisis is an inventory problem. We have more people looking for housing than what we are building. We used to have the 421a, we lost that. We see the substantial impact. That was a tax incentive to incentivise building. We lost that. We wanted to do office conversions. 138 million square feet of office. People are now working from home. We wanted to convert those into housing. We did not get that done in Albany. We wanted to raise the FAR. We did not get that done in Albany. And then the local compensation. I can't tell you how many times we have come to communities to say let's build here. People will rally on Monday about affordable housing and then on Tuesday they say you can't build it on my block. Listen, we have to be honest about this conversation. I need help in Albany. We're going to do our part. We need help on the City Council. We have an inventory problem. We want to build as much as possible to place people in housing. HPD, can we talk about that shelter we were just talking about? Commissioner Molly Wasow Park, Department of Social Services: Thank you for the question. Building off of the point that was made about rent burden. In New York City, there's more than half a million households that earn less than $30,000 a year and pay more than 50 percent of their income in rent. That is half a million households that are one emergency away from needing shelter. The analogy that I've heard used that I think is really compelling is think of shelter as an emergency room, right? Absolutely we need the permanent housing, but we need that emergency solution as well. This is a project that I think is going to be a really good one. It is ground up new construction so we can really design it to meet the needs of the women. It will serve women experiencing homelessness trying to get back on their feet. There is going to be federally qualified health clinics that will serve both the clients in the shelter and the community. It's a well-respected provider with a long history of serving clients. So, yes, absolutely housing is critically important so is having safe, decent emergency shelter that can help people stabilize their lives. I think this is going to be a really good opportunity for women, and we are committed to working with the community so that we can make sure it's a strong experience for the community as well. Mayor Adams: HPD, I’m sorry about that. Next. Question: Mr. Mayor. I'm Ben [inaudible], I've been on the Upper West Side for four and a half years. And the question our table has is already touched upon, but we're concerned about pedestrian and biker safety due to reckless bikers and we're wondering what the city can do to enforce biking traffic laws. Mayor Adams: That's a great question. We were at a Park Slope senior center the other day… You can applaud for him. We were at a Park Slope senior center the other day with a group of seniors who raised that same question. We were up in Washington Heights. Same question. Something happened in the city over the last few years. Our use of streets have changed drastically. We did not adjust to those changes, and we have to do so. And part of it is making sure the app delivery companies are doing their job. We have to have the proper enforcement. That's not heavy handed, but we have to send the right message, riding on the sidewalks, going down one way streets. Just a total disregard for traffic safety. Bicyclists, scooters, everything else, is supposed to follow the same traffic safety regimen. Now, 11,000 illegal mopeds, motorcycles, three wheelers, dirt bikes we removed off the streets. Confiscated them off the streets. Many of them were being used for crimes. Many of them were being used, they were stolen, unregistered. We zeroed in on these illegal bikes that are on the streets. I think the Council must sit down and we must do some real legislation that's a full scope of things, everything from registering the e-bikes. You get hit by an illegal moped or what have you, you're stuck with the bill. Holding these app companies responsible. These are your employees. You see some of the vans that drive around. It says if I'm driving reckless, call this number. So, we have to think outside the box of how do we deal with this new reality of all of these different vehicles being used. Now, it's also not lost on me, you guys are probably out more than any place on the globe. So, these folks that you're complaining about, many of them are on their way to your homes to deliver the food that you order out at. You order out a lot. You order out a lot. So part of that, need to find out who is this company and speak to the person you are ordering from, say, listen, we expect more. There's some corporate responsibility. We have to police ourselves, and I think the council must partner with us and find out a real way to start looking at this new reality of the streets we're on now. These are different streets we're on. These are not the streets I grew up on. They're different from bike lanes, to scooters, to mopeds, to just a cultural difference that we have to zero in on. I hear it all over the city. It's a legitimate concern and we want to zero in on it. Question: Good evening, Mr. Mayor. Mayor Adams: How are you? Question: I'm doing well, thank you. Thank you to everybody who sits on the board. I appreciate your efforts incredibly every day. My name is Rachel [inaudible], I live across the street. Forgive me as I read my question, we love your dedication to housing, agree that national trends show greatest success with affordable housing compared to shelters, including remarkable statistics coming out of Houston as they tackle similar problems successfully. Our question is addressing the same city contract for a half a billion dollar 200 bed women's bed shelter during the final hours of de Blasio administration. A familiar story from what I'm told. Mr. Mayor, I appreciate your comments regarding Albany's need to help but this money is coming from New York City taxpayers. Immediately next to the playground which Councilwoman Gale Brewer helped build. Thank you for that, councilwoman. Given the need for the need of housing inventory problem the pricing shelter seems even more out of place than before especially when there is a new 100 plus bed shelter which opened in 2019 only a few blocks south serving the exact same population of women and there are still open beds at that shelter. Here, the people of the City of New York are paying for a new shelter when there's an appeal over all five boroughs for affordable units as you have correctly stated time and time again. Why is the site not constructing what every New Yorker is asking for. Can you intervene before building begins. It's a unique opportunity. It's an empty lot at this point. Can you reroute the decision made by de Blasio to make this affordable housing instead? The opportunity seems unique since it's a lot. The organization, which is Project Renewal, which was awarded this project, is willing to adjust the plans with your blessing, and it is preparing for construction, and it's perfect to address your inventory problem. Mayor Adams: Thank you. And that’s not going to address our inventory problem. We have a real inventory problem. Who do I have from HPD. Give our numbers of people we've placed… I need you to stand up because they can't hear. That was the note that DJ gave me. Give the numbers of the people we've placed through FHEPS, put aside housing as we move forward. Deputy Commissioner George Sarkissian, Department of Housing Preservation and Development: That might be another DHS question… Mayor Adams: That's number one. And I don't think many of you heard what Molly stated. You can't subscribe to the theory of, listen, we need hospital beds so move out the emergency room. That's theoretical. That is not real life. We need a required amount of shelter spaces. Prior to the crisis, we had thousands of people in our shelters we're trying to constantly trying to cycle out. Yes, idealism collides with realism when you have to deal with all the populations. We have to have a place, domestic violence, women in shelters, people dealing with mental health issues. We need to have the emergency housing. That is what we need to have, and it's a combination of the two. How many folks have we cycled out? You can explain it. Commissioner Wasow Park: Yes, we place about 200 households a week into subsidized housing out of the DHS shelters. Permanent housing is absolutely the goal for everybody. We really appreciate our collaboration with HPD, with City Planning, with NYCHA and other housing agencies. But at the end of the day we have to be able to meet people's emergency needs. It's really critical. We cannot set up a dichotomy between shelter or housing; it's really shelter and housing because we have to be able to meet people where they are. When somebody is facing an emergency, when a woman comes in and in many cases the mayor alluded it's domestic violence situation, or even something as simple as the financial emergency that can affect somebody who is living paycheck to paycheck in what is let's face it an expensive city. We have to be able to meet their need right then at the time. We can't say come back in a week when we have space. So, it is really a question of how do we make sure that we are providing good quality shelter across the city. One of the things this administration has been really committed is making sure that core Manhattan has as many shelters as the South Bronx. It's really important. It's correcting a 40 year change in shelter policy. But making sure we have sites across the city where we can meet emergencies because there are people who need shelter who come from every community. Mayor Adams: And post Covid, and I'm sure my state lawmakers would tell you, post Covid, the number of people who are behind in their rents, the number of people who are going through eviction court right now, this is not only us being benevolent, which we are going to be, we're required by law. Every day New Yorkers, if they lose their housing, we have to place them in housing in a certain period of time. We're required by law. So, yes, we would love not to have a shelter and build permanent housing. I'm sure a hospital would rather have a preventive care and not the emergency room. There's an emergency room for a reason. Stuff happens. And we have to respond to that stuff when it happens, particularly children and families. First Deputy Mayor Sheena Wright: Mayor, I think we should also, you wanted George to stand up because we've also been doing some record-breaking housing development. Deputy Commissioner Sarkissian: Happy to talk about it, deputy mayor. This past year, we produced 24,000 units of housing. So that is up 8,000 units from the previous year where we produced 16,000 units of housing. So, we've been doing a lot of work at HPD to build the permanent affordable housing you're talking about. If there are sites in your neighborhood that you would like us to take a look at, we're happy to take a look at and think about a path forward for permanent affordable housing, in addition to the shelter that's important to DHS. Mayor Adams: We have the FHEPS numbers, anybody have that? We had a couple of records. Like I said, this was my Aaron Judge year. We need to talk about it. The post, not... Commissioner Wasow Park: CityFHEPS is the city-funded rental program. As far as I know we're the only city in the country that puts its own tax dollars to work to fund permanent housing. When I got started in this business we used to talk about how many new Section 8 vouchers we were going to get. The feds haven't funded new Section 8 in decades. The city stepped up. We have a city funded rental subsidy program. Last year, there's a total of about 30,000 households currently receiving CityFHEPS. Many of them exited shelter. Many of them received it in order to prevent eviction. Last year we did about 9,000 vouchers. It's the most we have ever done, and we have increased placements out of shelter into permanent housing both with CityFHEPS and other subsidies by more than 20 percent. Mayor Adams: Thank you. Where are we? How are you? Question: Good, Mr. Mayor, how are you? Mayor Adams: Good. We go to the same barber shop. Question: There we go. In about 12 hours, we have over 1 million kids going back to school. We’ve got a bussing challenge, we’ve got 150,000 kids approximately who take the bus. We heard from Chancellor Banks’ team there's a possible bike strike next week. The city purchased NYCSBUS and created a nonprofit which is controlled by you with mayoral control, and by Chancellor Banks [inaudible] leading NYCSBUS. We've heard the problem is it's the contracts, but since we the citizens own one of those bus companies, what are you and your team going to do to ensure that NYCSBUS gets the contract signed and gets our legally-mandated students to school on time all year? Mayor Adams: Thank you for that. Listen, nothing is more important than making sure our children are educated. And when you do an analysis of how the contracts are done...and Chancellor Banks can respond to that… There's a negotiation that takes place with ATU, the bus companies. And we're not the direct vendor of that contract. It's negotiated with the bus companies and the third party for lack of a better phrase. Question: [Inaudible.] Mayor Adams: Okay. Remember what the deal was. You talk, I listen. I talk you listen. Your apology is accepted. The goal is to have the negotiation of all of them. We don't want a bus strike. We want our children to be able to get to the schools accordingly. It's not lost on me that 80 percent of the union contracts, 81 percent, actually, of the union contracts were settled by me. One of them was out for 13 years. I settled my teachers, my DC37. My police officers. My firefighters. I'm a blue collar mayor and we're going to make sure we continue to settle 100 percent. Our goal is to do so. But in any relationship, the settlement must come on both sides. Both of us must sit down, negotiate and come to a conclusion. I have to manage a fiscal crisis in this city. And I have to be the keeper of taxpayers' dollars. I did it with every other union. Many of them had 97, 95, 96 percent ratification rate based on how we made sure we took care of our public servants. We're going to do it here. We're going to close the deal. I don't want a strike. I want us to avoid a strike. Chancellor, you want to add anything to that? Chancellor Banks: Not a lot more to add, Mr. Mayor. I think you pretty much said it all. If we were to have a strike, it could affect close to 90,000 students, including 25,000 students with special needs. The students that we carry on the roster for NYC bus small percentage of that. Our focus has been how do we resolve this altogether. The mayor just clearly led out. We're not direct parties here. It's the union, together with these vendors. So, but we're there, we're working with them. We feel like some progress is being made. There won't be a strike for the first couple of days, an opportunity to get everybody in. In the event there's a strike we've laid out a contingency plan, emergency metro cards and ride shares and reimbursement for folks who have to take tax sis and the like. There's a number of things we're doing. But strikes are always messy. Last strike we had was about 10 years ago. We don't want another strike. The mayor has been able to come to agreement on a wide range of contracts. We're certainly hopeful we'll be able to get this one done here. We'll hear more about it in the next couple of days. Mayor Adams: Thank you. Question: How is it going, Mr. Mayor? Mayor Adams: Quite well, how are you? Question: Good. Back in 2012...a little strong...back in 2012, the budget for DHS was $508 million under Mayor Bloomberg, and our homeless population was 43,000 people. 10 years later, the budget is 3.5 billion and our native homeless population is a little bit over 50,000. Spending on homelessness is a runaway train and no one seems concerned, especially our comptroller, Brad Lander, whose wife runs New York City's largest lobbying firm for homeless shelters. Mayor Adams: I'm sorry, could you say that again? Question: Okay. Let's do it. So, clearly Brad Lander does not care about the rising cost of our DHS shelter system, which has ballooned since Bloomberg to $3.5 billion, estimated of 4.1 billion dollars next year but was once $508 million under Bloomberg. So anyway, the Upper West Side currently ranks ninth in the amount of shelters amongst the 51 districts of New York City. So I feel like there's a really contentious thing that's happening here about the Upper West Side not doing its share, and they're already ninth, and that's before the new shelter that's supposed to go up. In this neighborhood, the one on 83rd Street the HERRC centers, they're really doing their part. Just wanted to put that out there. Going back to my question, which is supposed to relate to quality of life, right, let's simplify things. I'll give you a clear question. We'll get a clear answer. It is common practice for homeless shelters to ask their clients to leave in the morning and return back at check in time. Many suffer from addiction and mental illness. A recent study from UCLA said that 75 percent of homeless people suffer from addiction and 78 percent suffer from mental illness, the study is less than six months old. There are drug dealers who prey specifically on this population. They wait at the local McDonald's or local bodegas for the homeless customers to get released or asked to leave the shelter system. Keeping them trapped in addiction and stuck in the shelter system. And we would like to see the NYPD address this directly. Mayor Adams: And listen, I'm sorry, what's your name? Jason. Listen, I agree with you. I've been spending a lot of time trying to figure out how do we get out of this professional shelter cycle. A lot of time trying to figure it out. I've been really pushing the envelope. I've been sitting down with focus groups, ex shelter providers, people who are in this business. I spent a lot of time really focused on it because I'm frustrated and I'm angry about how much money we spend on shelters. It's a losing system. And I don't want people to get comfortable and believe that they're permanently supposed to be in the shelter, because it's a downstream mindset. If you're a child and you grow up in a shelter, you're less likely to graduate from high school. You know what I say, if you don't educate you're going to incarcerate. We're feeding on ourselves and we have to break this cycle. Haven't figured it out yet, but I'm 100 percent with you. We should not be spending this amount of money on a shelter system. Dealing with those drug issues that you're talking about, previous administration stopped doing the street enforcement of drugs. I said, listen, are you out of your mind? Listen, this city was an anything goes city. You guys can't imagine what I inherited [inaudible]. It was an any and everything goes city, where people basically, you had good workers, we had terrible policies and whoever yelled at you, you moved away from them. What we're doing around mental health, particularly severe mental health, those who can't take care of themselves and a danger to themselves and others on the subway system, on our streets. Dr. Vasan, department of mental health and hygiene, wrap around services being more proactive in what we're doing. We're not walking by this stuff anymore. We're not saying this is just life in the big city. That's not what we do. I spend hours on the subway system dealing with how are we engaging people who are dealing with severe mental health illnesses. And so I'm with you. I'm also with you about something you said. You are doing your share. That would never come out of my mouth that this community is not doing its share. This community has some of the most folks who are employed in nonprofits. They do a lot of volunteerism. You're all doing your share. I'm not part of the game that says hey Upper West Side is not doing your share. You're doing your share. It's calling all of us to do even more than our share now. That's how this thing is. I'm with you. I'd love for you to be part of the round tables we're having of how do we fix this sick shelter system that has perpetuated and grown into a monster. We need to rein it back under control. My team will connect with you. I'd love for you to be part of that conversation. Commissioner Wasow Park: Mr. Mayor, can I add on. Holly. I just want to add on about the policy around leaving shelter during the day. That was the case...that was ended about 15 years ago, give or take. At this point, individuals, families in shelter, they may have to leave their dorm, the individuals would have to leave their dorm so we can clean it, but there is space in shelters where people may stay. We absolutely agree that it is not a good idea to have people roaming the street. The idea is that people are inside; that they're getting connected with services, whether it's healthcare services, employment, housing. Nobody is forced to leave the shelter full stop. Mayor Adams: But with that said, Molly is not saying that even when they're not forced to, my home, in Brooklyn, was around Bedford and Atlantic. And all day every day people, they were outside. I was up in Harlem the other day. People were just outside. Now, that's on steroids when you tell 60,000 people that you can't work. You can't do anything. You can't even volunteer. We wanted to get migrants to help volunteer clean the street that they wanted to do. We can't even get them to do that. We can't get them a stipend. We can't allow them to do anything. They have to sit around all day doing nothing. Now, imagine you're 18 to 24 years old, all day you're doing nothing. Remember what we were doing at 18? Question: Hi my name is Mary Evancho and I have lived on the Upper West Side for 44 years. New York City is home. Nice to meet you, Mayor Adams. Mayor Adams: Thank you very much. Question: Our table would like to know how do we better enforce our existing laws? For example, bike laws that already exist where commercial riders are required to wear vests with ID numbers for better accountability so they obey the traffic laws, and in particular dining shed guidelines where there has been zero enforcement for three years and counting. And then our littlest member of the table would like to say something. Mayor Adams: What's up, Jason, how are you? Question: Good. Mayor Adams: Do you want to read your question? Question: I just wanted to say I want...I just want to have a cleaner, safer city now. Mayor Adams: Thank you. He said he wanted...he wants a cleaner, safer city now. Now, what was the VEST, I don't know that law. Question: There's an existing law. I don't have the number. Mayor Adams: Anybody from the police department that know about it? Let the deputy mayor, because I don't know... Deputy Mayor Meera Joshi, Operations: Good evening, I'm Meera Joshi, Deputy Mayor for operations. You're correct in 2017 there was a council law that was passed that required... Question: Whose law was that? Mayor Adams: Probably yours. Deputy Mayor Meera Joshi, Operations: Required helmet vest and ID. It was passed at a time when those delivery drivers were linked to brick and mortar restaurants so enforcement could go straight back to the restaurant. What we need to do...I know the council is working with us on this...how do we incorporate more regulation with the delivery apps, including safe equipment, but more accountability because there's no world any more where there's brick and mortar restaurants that are accountable for the comings and goings of the delivery apps but the foundation is there. You also mentioned open restaurants. We do have an Open Restaurants Task Force. We'll make sure that we get your information because we've taken down hundreds of abandoned and noncompliant sheds throughout this city and we're happy to do the same in the Upper West Side. We just need the locations and we'll be on the spot. Mayor Adams: But I like your idea. We need to look...maybe we can get Gale...we need to look because that's a good idea if you are a delivery person having a vest with an identifiable number that's attached to you, we connect it back to...right now we have no way of knowing who is the person breaking the rule. Question: So, Mayor Adams, it's not a good idea. It's a law… It's the current law, and starting with vest and ID. Mayor Adams: Does that vest have the number that you were saying? Is that the way the law is? Question: On the back of the vest should be an identifying number. If you recall a few years ago you would see them pretty frequently and then it came into sort of disuse in terms of enforcement. It should be the name of the establishment, which would give advertisement to the restaurant or whichever that is. I'm not sure how the delivery apps would work. That's a whole different ball game. But the ID is accountability. If you get hit, it can be photographed. I want to know why that can't happen next week. Mayor Adams: Okay. First of all... First of all, done. I'm going to meet with the commissioner, and we're going to meet with DOT. We're going to bring the team together and say, if this law is on the books, we're going to follow the law and we're going to make sure...now it's difficult with the restaurants because now we have app deliveries. They all sign up to apps. But we're going to institute and make sure we start putting in place a law that's already on the books. Question: Okay. Mayor Adams: You're taking a lot of time, sister. I answered your question. I've got to answer the little man's question. Question: You're not afraid of my question are you? Mayor Adams: You said let's get it done. I said I'm going to meet with the commissioner and meet with the team and we're going to start enforcing that law. Question: Okay. Great. Mayor Adams: Now to my guy. Tisch, my guy said that he wants a cleaner, safer city. This is going to be the safest big city, cleanest...we're the safest big city in America. First of all, that's a fact. But we're going to be the cleanest big city in America. We're already my rats are...you may not know it already, but I hate rats. We have a decrease in rat complaints. But what Commissioner Tisch is doing around trash, just give some highlights on what we're doing around trash, how we're changing the game of trash in this city. Commissioner Jessica Tisch, Department of Sanitation: Sure. To answer your question, Jason, for the way we're going to make this the cleanest city in the world is we have renewed our focus specifically at the department of sanitation on cleaning up New York City. We're doing that a few ways. The first thing we're doing is we're putting all of the trash in this city in containers starting now. We started with restaurants. We've moved to chain stores, and there is a whole lot to come. I am not going to be satisfied until all 44 million pounds of trash bags that sit on our streets every single day are placed in containers rather than on our streets. And the other things that we're doing around cleanliness, Jason, that's going to make a really big difference is we are focusing on the basic rules around cleanliness that have not been enforced in this city for a decade. So cleaning up in front of your property. Littering, giving leave dog poop on the street. All of those things are things that this department is laser focused on. I hope really soon you'll see good results. Mayor Adams: Tell them what you're doing around schools and tell them what we did with the leaves and stuff. Commissioner Tisch: Two more things, Jason. There are schools in every single neighborhood every single community in New York City, and schools are a great place. They also happen to produce a huge amount of trash. And so oftentimes, the dirtiest part in every neighborhood is the street that the school is on. And so one of the things we're focusing on is getting all of that trash in all of the schools off of the street and into containers. We are piloting this right now in Hamilton Heights, and this is something that we expect to roll out city wide soon. The other thing we're doing is we are taking all of the food waste out of the black bags. Human food is rat food. And by taking the food out of the black bags and composting it, we, first, not only fight rats but we also do really good for the environment, which is so important for you and your generation, in particular. And we are leading that effort in all of the schools where we're composting in every school in New York City, but that's not it. We are rolling out universal curbside composting service to all 3.5 million residents every New Yorker over the next year. Mayor Adams: That's right. You're not going to see garbage bags lining our streets feeding rodents, and they said to me when I got elected, they said Eric it's going to take four years to do it. I said no, this is a GSD administration. Get stuff done. Within two years we're going to see garbage off our streets in containers like every other civilized city that we were way behind. What are our numbers in rats. Don't we have a decrease in rats, in our rat mitigation zones? Kathleen Corradi, Director of Rodent Mitigation : Yes. From May, June and July, from this year compared to last, we saw a 20 percent decrease across the city, and then our four rodent mitigation zones, almost 40 percent decrease, which tells us the work we're doing across the city, the work commissioner Tish in sanitation and health are doing, New Yorkers are feeling that impact seeing let's rats, complaining less about rats and we're dropping those populations and New Yorkers are noticing. Mayor Adams: Came out of Gracie Mansion today and a woman stopped. She said, you don't have to tell the whole city but what did you with those rats. The city is going to be covered. The city is managed. We've been duped that you can't manage a city. The city is manageable. Yes, ma'am. Question: Good evening, thank you so much for this opportunity, I'm [Elizabeth Espirt], proud member of the IS91 community. I'm thrilled to say we have gotten it right in terms of how to treat the newcomers. While we have many questions from our table, we all agreed that because the children come first that we should focus on the newcomers. One thing that I've experienced as an educator, this is my 35th year, is that there's a need to streamline how we welcome and how we service the newcomers. I've gone at one point last year I welcomed...we welcomed the family at 191. I escorted them to schools. I walked them to the enrollment center, and to a large extent, it wasn't that the people did not want to help, but they were not really aware of all the regs and how to best help. Our question is, how can the mayor office streamline the services to newcomers so that they receive the proper service; it's less stressful for the families, especially because they may not have the language skills; and also how do we support the schools because, for example, we have teachers at 191 learning Spanish to better serve the students. We have a pantry in the school to make sure that the families get all that they need in one stop shopping. We would like to see more of that throughout the city, and we know people would like to do it but they're not quite sure of how to do it. Mayor Adams: Chancellor, do you want to touch on? One of the most touching moments for me was back, chancellor, we had that Zoom call with the principals from schools that had migrants, and this was back last year. Those principals got on, and it was a real touching moment for me how they were just like these are children. They weren't caught up in all the politics. They were saying these are children, and they did stuff like you were talking about food pantries, getting clothing for them. It was a real touching moment for me. But what are we doing in the preparation? I know you're doing some stuff around Spanish speaking, to help those, what are we doing? Chancellor David Banks, Department of Education: Let me say to all the educators, all the educators here, thank you. Welcome back. Hope you all had a great summer. But be very clear, the summer is over. We're back to school tomorrow. And I want to thank...if you would just stand up again...I want to thank you, the woman who just asked the question, our educator, thank you. Thank you for 35 years of dedicated service to the kids of New York City. We greatly appreciate it. And I appreciate your question and the spirit in which you asked your question. I'd love to talk to you when we're done as well. One of the things the mayor is making reference to is the fact that we had during the last semester a Zoom meeting with a whole range of principals around the city. Many of whom broke out into tears just talking about how much they care about this issue, how much they are trying to do. And I think if you want to see New York City and our public schools at its finest, it has been how we have welcomed these newcomers with open arms. We really have. We know that it's a stress and a strain on our city and on our school system. So, it has costs that we need help and support with. But when you see kids who step up to say, I'm going to help my new classmate learn Spanish; I'm going to interpret for them myself. When you see the parents who are coming to the schools and opening up those food pantries and doing the food drives and the clothing drives, when you see the teachers who are wrapping arms around these kids, it is the best that New York City really has to offer. We're making a...we're having a press conference tomorrow morning, the mayor and I will be together in the Bronx with the head of the UFT, Michael Mulgrew. And we'll be making an announcement. I don't want to make it today. But we'll be making an announcement tomorrow that we think will also help us increase the number of educators who actually speak the language who can actually help in these classrooms because we know that's been a challenge, but we're feeling really good about that, that we have the amount of educators that we need and a couple of other things we're going to talk about with respect to that tomorrow. But I appreciate your question. We're meeting and talking to parent Koreaeders all around the city. You're right, we need to streamline this in a way we can communicate best practice all across the city and we're going to do that. I appreciate you even raising that. Mayor Adams: Thank you. History always touches me every time I hear about it. Here's a dreamer, came from Mexico with his family. His mom as a little boy, and now just to show the beauty of the American dream now he runs the agency mayor office of immigrant affairs where he's helping other dreamers fulfill their dream, Commissioner Castro. Commissioner Manuel Castro, Mayor’s Office of Immigrant Affairs: Thank you so much, mayor. And thank you so much for the person that asked the question. My wife is actually an educator herself. And since last year has been working with many of the families who have arrived and entered our system. And I know how critical schools have been in helping our nearly arrived immigrants. I also wanted to mention we set up an arrival center, which is really one of its kind in the country where children and families receive immediate attention upon arriving in our city. And often this is when they first get enrolled in schools or into the system and get their vaccinations, which has been so, so important. But what I am the most proudest about and what I am most proud of the mayor's leadership of the chancellor's leadership, is that you have not seen children sleeping in the streets like we've seen in other countries. And other countries, other states. And that is something that New York should feel very proud about because everyone up here is working extremely hard to make sure that our families feel supported the moment they arrive. And before I end, I want to shout out, Ruth messenger, who was one of the first volunteers at port authority when the asylum seekers began to arrive. Thank you. Mayor Adams: Thank you so much. And what we are doing no other municipality in the country is doing. What we're doing, no one else is doing. I was at El Paso border. I've been in other cities. No one is doing what we are doing. But it's not sustainable. Question: Hi, Mr. Mayor. Mayor Adams: How are you? Question: I'm fine, my name is [Pam Menasi.] Over a year ago I was hit by a moped. I think the most compelling person to talk about e safety would be myself, and that's what our group EVSA is doing. That's E-Vehicle Safety Alliance. I'm not here just for the group but I'm here because this has been a passion of Janet Schroeder who sought me out after reading my article in the REG. This crash kept me somewhat paralyzed, unable to keep take care of myself and my children. I lost my livelihood. I was a cellist. And so we have a couple of specific points, and I'll just go to one of them because I know we're almost at the end. It's illegal, we know, to have a gas powered moped riding illegally on the street. And we would like to know if you would support legislation to sign on to this that would require licensing and registration before these dangerous mopeds even ever leave the store because they're being sold to people who don't have licenses and don't have any intention of getting them. So that's a specific question. Mayor Adams: First of all, I am deeply, deeply sorry what happened to you. And when we get so much pushback from people about our crack down on these illegal mopeds, I'm going to tell your story. This is a real issue. Yes, I would love to look at that legislation. I'd love to meet with your group and hear some of your other ideas that you have. We have to address this problem. It's a real issue. I hear it all the time. My team is...Malcolm is sitting next to you. He's going to get your contact information. I want to get a date, come sit down with your group and hear your advocacy. I need you to help raise your voice because when I start doing a lot of these crackdowns everybody called me the mean mean cop. All I want to do is do crackdowns. But no, I know the quality of life of a city that's out of control. You can't have a city where people disregard the common decency of their neighbors. You just can't. And so they color me as I'm just trying to be mean in spirit, but, no, we have to set a standard. I don't want to work on my house and see you injecting yourself with heroin in front of my house. I don't want to see you where my children are playing relieving yourself. I just don't want that. That's not the city I want to live in. And that is the standards we can raise it to. We're in a multicultural, multiethnic, multi, multi, multi, if you don't have clear rules and standards of behaviors, your city will go to pots. And we can't have that. Question: Thank you, Mr. Mayor, Councilmember Brewer, Assemblymember Rosenthal and Hoylman and many who get here you get emails from me all the time I'm elan. Thanks for taking the time to respond and meet with me. The table here is a group of mostly homeowners. We're concerned about a lot of the safety issues you raised and a lot of the cleanliness issues you've raised. I don't want to touch on them since we touched on them already. But one is affordability. I know there's a housing crisis for renters and across all classes but you're a homeowner, Councilmember Brewer is a homeowner, other homeowners on stage there. And almost every initiative we talk about has an opposite side of the coin. We talked about tickets for sanitation issues. Owners have to pay the tickets at the end of the day when it could be just a passerby that dropped a can by their building or didn't pick up after their dog. But aside of that one of the issues on people's minds was Local Law 18, just the challenge it creates for folks that are trying to create affordability for themselves and ownership by renting out one or two bedrooms of their homes to others. We understand there's a need for permanent housing for everybody. Nobody should take that away from anybody. We should build, build, build I understand that's the mantra. I'm with you. Give me a hammer, I'll be there wherever you like. But it's so hard to get approved. There's something like 4,000 applications. I know they're not just sitting. I know [inaudible] and that team is working hard. But since March there’s been 800 applications reviewed, 237 approved of the tens of thousands of units that are previously listed on Airbnb and other sites. What can we do to accelerate, make it a closer partnership between those agencies and those of us that want to do the right thing, want to do the legal thing, want to protect our buildings from people that may be a problem but also pay for our buildings because the property taxes exist. The fines in the city exist. The maintenance costs exist, and Local Law 18 is making it very hard for us to keep affording our homes. Mayor Adams: Thank you for that. We often ignore homeowners and the struggle and the foundation of home ownership. That's really the precursor to sleep that allows us to experience the American dream. My home helped me pay the tuition of my son. It really gave me the foundation that I needed. We met with a group of homeowners last week. Dean Logan and I, to talk about some of the parts of the local law. Now, what part is slowing in the pipeline? What part... Question: I talked to homeowners every day that are trying to do the right thing, trying to get legal. Try to go the application process. They're telling me that their applications are sitting in a queue for four plus months. Mayor Adams: Deanna, do you know anything about that? Deanna Logan, Director, Mayor’s Office of Criminal Justice: Good evening. Question: To be clear my application is also sitting in a queue for some time, but not as long as others. Logan: Good evening. Thank you, mayor. [Christian] who you referenced is director of the Office of Special Enforcement. They're in the process of onboarding, we have a backlog, we're onboarding people to remove the backlog. We saw a huge spike of people looking to register in May and June, even though this law was on the books as of last year and folks kind of waited. So we now have a bottleneck of applications that we're in the process of moving. Most individuals have at least heard from the office of special enforcement. There are pieces of documentation that are missing, and we're getting them in as quickly as possible and moving those registrations out as quickly as possible. Mayor Adams: Tell me something. The registration process means that there are things they have to do to register to be placed in the system; is that... Logan: To be given the number, that they will then give to whichever the platform is that they work with, to say that they have a legal occupancy for short term rental. Mayor Adams: If a person sends in an application, we go through it to see if they could be registered? Logan: Correct. Mayor Adams: And so there are things that we would come back and say, okay, you can't be registered? Logan: Either you can't be registered...you could be registered if you give us this lease that shows that you're allowed to do this in your apartment. Mayor Adams: Let me do this. Let me to this, let me build the process, build out the flowchart to understand the process and let me see if I have the power as mayor to to do the presumption that you register and you can get the number that you need. Let me see if I can do that. If it's a law, I can't. I follow the law, but I make policy. Question: Understood. And I think the ask would be, if there are things that can be done to accelerate it or to reduce the burden on the office there. The registration process started in March. We're now, what, September 6. That's not a small amount of months. I know there was a large influx until recently. But that's, what, ten applications a week, maybe 15, for an office with 13 people in it. There's got to be something that's, some red tape in the way that we could do to help them do their job better. If I can come down there and volunteer and help go through applications, I will do it. Mayor Adams: I gotcha. Question: Right now we can't get them to answer the phone. I've probably left 200 messages.They don’t answer. Mayor Adams: Send me a flowchart. I'm a former computer programmer. Everything I look through flowchart. Question: Same. Mayor Adams: Give me a flowchart. We'll see where the bottleneck we've been amazing particularly with first Deputy Mayor Wright we've been amazed at seeing the process and why are we doing this, why do we need this step in the process. The backlogs, the deputy mayor cleaned up with nonprofits. How much was it? First Deputy Mayor Sheena Wright: $6 billion. Mayor Adams: $6 billion nonprofits were not being paid. She went in and just expedited the system. So, let me look at what is the problem. And there may be steps in the process that there's no reason we're doing it. So, I'm going to use the full leverage I'm able to use to see how we resolve this to register. You're trying to do the right thing. Give me a couple days. Question: I appreciate that. One follow up. Mayor Adams: Come on brother. Question: If we could just get guidance on what we're supposed to do if we haven't heard back enforcement was supposed to start yesterday, according to the law, if I rent out a room I could be fined even though I'm in the queue nobody told me I should stop? Can you? What do I do? Mayor Adams: Great question. I've got to look at the full scope what I'm allowed to do. If we have a backlog, we should not be going out trying to hit you with a fine. So, if I have the authority to say hold up, let's clean up this backlog, if we don't have our act together we cannot be running to your house to give you a fine for something. Let me see what the scope of my authority, what it is, and then...get his number. I'll cycle back to you tomorrow. So, can we find out what leverage I have here, what could I do that's not in violation of the law so that I can figure out, if we've got to suspend going out doing enforcement until we clean up the backlog, if I have the authority to do that, I'm willing to do that. Okay. Question: Thank you Mr. Mayor. I'm Allison Gardy. Upper West Side. Three kids in school one in your alma mater. Thank you for bringing us together. We need to feel that community to give us strength. I want to appreciate everyone who has taken time out of your busy evening and maybe your kids are making dinner by themselves and everyone of your team who has come out today because more than ever we really need to feel that community to kind of give us that strength. And my question is how can we zero in on the illegal activity, activities in our neighborhood? You know, yes, states who are not valuing their humanity are sending humanity our way and asking us to care and show that we're New York, and yes people are in many ways more dysregulated than ever through our mental health crisis, through these breaks that we've identified all evening and why there are disconnects between law and enforcement. And without saying what that enforcement looks like, the people at our table don't feel a presence that allows us law abiding citizens to feel that we can do our part to be good neighbors. We see older people being harassed for calling out bad behavior. We see really dysregulated behavior. And I think everyone in the room has pretty much pointed out that when you see cannabis stores operating illegally, still, and cannabis trucks that look like they're selling candy and vape shops everywhere you look. It's in your face. It's right near our schools. There's this sense of despair that creeps in, because why are they getting to break the rules again and again and again and why do we feel powerless to say, basic, you know, what...basic decency, like what should be done. And there's no question everyone here has talked about it. Our colleague from 191, I see so many other people in the room. We're good neighbors to each other. We are. That's why we're here. But we need to feel that we're part of something, and maybe this is a beginning. But you know, the electric bikes also at my table here, really terrified, your story, Pamela, breaks my heart. All of us, we're overwhelmed. Like, I watched police officers unable to chase down a marauding group of e bikes. You know, there's two problems, right? There's the signage that delivery employees should be wearing and then there's just kind of marauding. And the police couldn't do it, and they explained we can't chase them, it's a greater public hazard if we engage in a street chase. So, the result is like our public schools are hemorrhaging families. That's the reality. We are losing families who are losing faith in us. And we have, at our largest middle school on the Upper West Side we have one security officer. And bless him, he comes to work when he's injured. He won't let us down for a moment. He is a human being. And we know other schools have had situations where they have also lacked that safety. At the last moment before school started, a school was starting, we're hearing a family, sorry, we're not coming. We're bailing out of the system. And we believe in public school a hundred percent. And hust to add to what we talked about at our table, like I think what's so hard to understand is we have lonely older people, we have children who can't read. We have something like the CUNY Reading Corner, which is going out to some schools. But why can't we...why can't we just take all this neighborliness and all this goodwill and really channel and do something big on a big scale. Mayor Adams: First of all, you know, first of all, I love your energy, and I thought everyone would give you a lot of love for, you know, bringing all of that energy together. I thank you so much for that, particularly in a day where, you know, I believe, you know, I don't want to be political but I think Trump has divided this country beyond our imagination. And I don't know about him, I worry about us. You know, how do we come back again? And so you gave us a list of items. All I can say to you, don't be consumed about the enormity of the problems that we're facing. I do not wake up one day, one day with all that is going on, and my team would tell you, from the days of Covid to the days of trend in crime, there's not one day that I don't wake up saying we got this. We got this. This city is the most resilient city you could imagine. You know, this is a city of immigrants, it's a city of struggling. This is a city of people who saw their center of trade collapse right before their eyes. And although we celebrate in a few days, 9/11, the day I remember the most is 9/12. We got up. Teachers taught, builders built, retailers sold goods. We never run. New Yorkers are the heart and soul of America. The American dream starts in New York City. That's what I believe with all my heart. And so as long as we keep doing this. As long as we keep coming together talking, having the ability to sit down and negotiate out. We can resolve all of these issues. And my team is ready. My team is ready, from what the chanceller is doing this year in school. We're going to have for the first time in history breathing exercises for our children, mindfulness and yoga. We're going to give them healthy food to eat. We're going at the core of problems. And it's a challenge when you go at the core of problems. But that's where we are. We're looking to use systemic changes and would love for you to be a part of the team New York. But I thank you for your presentation. Where am I? Question: Right here. Mayor Adams: How are you, ma'am? Question: Thank you, Mr. Mayor, for visiting our neighborhood. My name is [Kathleen Matisich], I live right across the street. And compared to the monstrous problems you folks have all talked about, ours seems very petty. But I want you to know you're in an invisible neighborhood. We don't exist. Waterline Square does not exist on city maps. So, if you think it's funny, it's not. Try to get a cab to find this place. When I moved here, it took one month to get my furniture here because three times two companies delivered to the East 61st Street. We don't exist. Your map does not show us. Now that's a bit of a problem for other agencies. We...according to what we have found out at the community board meeting, until the Department of Transportation comes and, you're going to love this, measures the sidewalks and the gutters to make sure they made all the difference between federal, state and city rules, we don't exist. This is a private community. So, as a private community, we kind of fell off the map. I will say we have– and you're going to love this one, too– we have seven schools from West of Freedom Place to 11th Avenue. In this neighborhood there's a lot of kids, and this...the schools do not put out waste. We have, and anyone who lives around here will tell you, our schools around here do not put waste out on the streets. They are fantastic. The problem is after school all these kids eat somewhere. We have one miserable garbage can for four blocks. That's a lot of garbage. And we're all unhappy about rats. We don't want them. You don't like them. We sure don't like them. We're going to start naming them, they're so frequent. But is there any way we can get sanitation to please give us more garbage cans? We've tolerated the loss of our mailboxes for whatever bizarre reason that occurred. Kid you not, we don't have mailboxes. But we would like garbage cans, we really would like garbage cans. Mayor Adams: [Inaudible], can you respond? Question: And could you get us on the map, please? Mayor Adams: And Dan, who's that, is it...I used to draw the street maps when we were borough president. What's going on, man? I think It's the BPs that do... Borough President Levine: It is the DOT, I'm passing the buck to my buddy... ...Commissioner Rodriguez. Do you want to help us out here, Commish? Mayor Adams: Commissioner, what do we need to do here? Commissioner Ydanis Rodriguez, Department of Transportation: So, let me go back to my team and let's figure out what...and we'll follow with you. Mayor Adams: Okay. Okay, so and grab the commissioner. We need to get that done, okay? All right, commissioner? Whatever we need to do to get it done we'll get it done. Question: Mr. Mayor, I just want you to know the DOT has been out because the streets are mapped private and we need them to be mapped DOT. And the wonderful Margaret Forgione and Ed Pincar, your wonderful colleagues, have been out. And they're working to get these streets to be city streets and not private streets. That would make a big difference. Mayor Adams: So, let's come up with a plan. Come up with a plan what needs to be done. Commissioner Rodriguez: And [soon] that happened is also developers when they built, you know, they tried try to find a way how, you know, to build without, you know, and not be responsible for such an area. So, I cannot talk about the details, but we will follow with you tomorrow. Mayor Adams: Some of this stuff just doesn't make sense, man. Question: [Inaudible] Mayor Adams: Okay. All right. Grab the commissioner. Thank you. Thank you for that. Commissioner Tisch: Mayor, could I just address the litter baskets? Mayor Adams: Yes. Commissioner Tisch: I was noticing the same thing when I was walking over here, and I want you to note not only is this neighborhood going to get additional litter baskets, you're going to get the first of the new rat resistant litter baskets, which just came in. So, I thought you might enjoy that. Mayor Adams: What's your name? Question: [Kathleen Matisich]. Mayor Adams: Put a little sign on one of the baskets… [Laughter] ...with her name. You know, donated on behalf of her, you know. Question: Mr. Mayor, I would love to start by saying that any New Yorker who denies another New Yorker shelter has obviously not been shelter less. My parents came here from Cuba and had they not had an emergency shelter my outcome as an educated Afro Latino man would not be the same. So, be conscious about when you deny another New Yorker shelter. Mr. Mayor, I'd also like to say that it's nice to see a man who looks like me, I'm also losing my hair, so they almost confused me. Mayor Adams: I'm not losing mine. Question: Oh! I am. I am. I am. But it's nice to see a man who looks like me on the [wheel], Mr. Mayor. I still I don't always agree with policy, but I celebrate you every day. Mayor Adams: Thank you. Question: Mr. Mayor, we have a table, of course, of Upper West Side residents. Most of composed of parents and educators. We have been experiencing a concern about the diminishing or the lack of youth educational development programs here in New York City. And likewise, we're also seeing an extreme disconnect among the youth and young adults with some of the policies for the better or the worse that are happening here in New York City. You have, why in your communication system, which I applaud and I do want to remind people the mayor responds to the people not to the press, so I applaud that, Mr. Mayor. However, the communication systems are not reaching younger adults and students who would then have the platform and power through civic engagement to actively participate in your policies. What can your administration do or is doing to increase youth and development opportunities but also civic engagement among youth and young adults. Mayor Adams: So important, a great question. And we did DYCD, who is… How many town halls we did with the youth? Deputy Commissioner Susan Haskell, Department of Youth and Community Development: My recollection, six, I think we did about six town halls with young people across the city. Mayor Adams: Yep. We went across the city and did town halls with young people. We came in, we sat down, we heard from them. What blew my mind, two things came up at every town hall, mental health issues and building a better relationship with the police. Each one of the town halls, our young people are so concerned about public safety, and we...DYCD has done a series of things from the successful Summer Rising Program that the chancellor and the first deputy mayor and our team put together to Summer of...what was the other, 100,000 first time in the history of this city, 100,000 summer youth jobs. Yesterday we stood up with young people who are helping us design the of PSAs for subway surfing. We lost five young people to subway surfing. We want to engage our young people in a real way, and so I would love if you have some input and feedback on what we could do better I want to hear it. There was something I heard the chancellor say one day that I think about all the time when he talked about a tribe in Africa, when they greet each other they don't say "how are you, they say "how are the children." And if we were honest with ourselves and asked that question, we're in real trouble. Social media has hijacked our children. They're teaching them how to steal cars, they're teaching them how to do dangerous challenges. They're teaching them how to subway surf. They are just really messing with their mental state. Cannabis, the woman who was talking about cannabis, the cannabis issue in our city, our young people. We know what cannabis does to a young mind in the developmental stages, yet our children are using them. Depression, suicidal rates are increasing. When you look at some of the hate crime we see in this city it’s carried out among young people. We have to regain our young people, and civil engagement and allowing them to do volunteerism, allowing them to have a sense of purpose and that we're hearing them can turn this around. And that's what we want to do. But if you have some ideas DYCD is here, we want to hear those ideas and get our young people engaged in a real way. And I meant to answer to your cannabis [question]. We will close down the illegal cannabis shops in three months if we just get the power from Albany. They're not giving us the enforcement power. My sheriffs in NYPD will close down these illegal shops in three months. Gale has been harassing the hell out of me about these illegal places, but we don't have the power to do so. We need Albany to say local jurisdiction, go and do the enforcement, and I promise you within three months we will have all of these illegal cannabis shops closed down. How are you doing? Question: Very well. Good evening, Mr. Mayor. Mayor Adams: Good to see you. Question: I've actually been on the West Side for most of 82 years, so I think I beat that record. Mayor Adams: That's a good thing. That's a good thing. Question: I want to thank you for doing this with all the commissioners, and I want to thank Sherman for organizing our table and Commissioners Castro and Rodriguez for stopping by, because we also have people concerned about bike safety, people riding bikes for bikes, for bike infrastructure and people worried about e bikes. But the biggest concern at this table, we represent the Interfaith Center of New York Open Hearts, the District 3 Coalition. We have people here with vast outreach working 24/7 with the immigrants, the refugees and the asylum seekers. The response from New Yorkers from everything from donated clothing to working and providing direct services to joining you and advocacy to the state and city is huge. I want to thank this brother from the last table, most of the people in this room think about it, everybody are second generation Americans. And we know what it meant to have a city that welcomed immigrants. We're doing that work, Mr. Mayor, mayor and we have drafted a covenant which we're sending to your staff talking to Deputy Mayor Williams Isom. But we have people willing to work in better partnership with every agency in the city starting with the Department of Education for the kids that are going to be...you're going to have a need for 20,000 kids with coats. I promise you on the West Side we have 10,000 of those coats. We need to get a way to really do a partnership and a covenant with the city that would allow us to directly help you with what you want. We have promised the city that we could put together volunteers in every single neighborhood of the city to help people with their asylum applications so they can complete their working paper applications. We just need a better and more open partnership, and we're hoping you'll provide it. Mayor Adams: Thank you. Thank you so much. And that's a powerful statement. I don't know, Deputy Mayor Williams Isom, who we call the saint of our deputy mayors, help me understand, let's meet with the group that you're talking about, help me... I live off of lists. I like lists. This way I can be judged by the items on the list and I fulfill the items on the list. So, I need for, who do we have, who's from the deputy...anybody from the Deputy Mayor Williams Isom team? Let's create, let's set up a time when we get DM WIlliams Isom in a room, come in with a list and say here's what we need from the administration. And we will go over that list one item at a time and make sure we fulfill it, because we need the partnership that you described. That's a real win. You know, so we're going to do that, okay? But let me tell you about Sherman while I'm here. Sherman is an amazing, amazing person. Sherman has been part of, he was with me in Borough Hall, he's been a part of many administrations. A good heart, committed, dedicated. And I was home one day, just finished drinking my green smoothie, and there was a Daily News article that he was having a problem because twists and turns in life, he fell on hard times and he was in a shelter. And I called him up and said that your mind is just too powerful for it to be wasted this way. He came in and volunteered with me at Borough Hall, he got hired, he moved from that shelter into a one bedroom apartment. He joined me at City Hall. He's been such an asset for me. I thought I was blessing him by giving him a job, you have blessed me by being my friend. Thank you so much. Love it. Love it. Love it. So, let's make sure DJ and Sheena, Deputy Mayor Williams Isom, we love this covenant. And that's a nice call in for the people of this city to be connected to the covenant. So, we're all in. We're all in. Question: Hi, Mr. Mayor. Mayor Adams: How are you? Question: Good. Thank you for your leadership. Mayor Adams: Thank you. Question: And I want to say it's refreshing to have an executive in office that actually prioritizes getting things done, so thank you for that. Mayor Adams: Thank you. Question: My question is about the sirens. I think they're too damn loud. I understand public safety, you know, if you're in the back of the ambulance you want it to get to hospitals as fast as possible. But it just doesn't need to be that loud. And we're in a dense city. Every time the driver chooses to turn on that siren, thousands or tens of thousands of people are hearing it. And it's disrupting their work, it's disrupting their lives. If you're next to it on the street, it's very piercing. It's very annoying. And there have been studies that show that it actually increases the risk of cardiovascular disease. The second issue is, from what I've been told, when the drivers go on a call they have to turn the siren on through the entire time that they're on that call, and sometimes I see them going down the street at 10 miles an hour with the siren blasting and there's cars whizzing passed them to, you know, it doesn't seem like they're in any kind of emergency or rush but they're required to keep it on and it's unnecessary. So, I know it's Gale Brewer's birthday, I don't want to speak for her but I think one of her birthday wishes would be for you to voice your support for her bill that she so graciously... Mayor Adams: So, you know, and it's interesting. You know, I was grinning and laughing, but I was out in Rockaway and someone did a presentation to me showing me the impact of noise. You know, the airplanes that fly over and how it impacts your overall health. So, what we should do, we should have...who's here from Department of Health and Mental Hygiene? Okay. So, can we look and see that...I know we have a decibel meter for a noise complaint, can we look and see that can we do this better, and there's some real data out there around health. And then we pulled in the commissioner and see if we can somehow modify, you know, how it's used. And actually, there may be other methods out there to determine when the police vehicle is coming that's a more, I don't know, kinder, gentler siren system. You know, so let us look into that. Let us look into that, because noise concerns is a real issue. It's a real issue. And I think that's one of our top 311 complaints, by the way, noise in the city. So, let's look at it. You know, and I thank you for bringing that out. You know, this is an interesting city. There are 3.3 million people, boy, you've got 35 million different ways of doing things, you know. So, let us look at that, okay, and we'll circle back. Exchange your information so we make sure we get back to you and let you know what we found. All right? Question: Hello. Mayor Adams: How are you? Question: Good, how are you? Mayor Adams: Quite well. Question: My name is Megan Martin. I am living on the Upper West Side for over 10 years. I have two beautiful little girls. Many people at our table are mothers, parents, people with small children, people with grown children and so most of our concerns were regarding public safety. So, this would be about a twofold question. So, I want to just echo what some of the concerns were at some of the other tables were really about consequences. And I think our representatives at Albany, I'm happy that they are here because I feel that this does reflect on our larger government in New York. What can we do to create consequences for criminal activity so that we don't live with this tolerance of sort of constant crimes being created as a base lifestyle, and just small examples that many of us could give just off the top of our heads: IV drug use, there's random assaults, people being punched in the face. Zabar’s is a really common sight of this happening. The illegal smoke shops, obviously; and then, marijuana cannabis being sold to our children, no consequences. So, that's really one. But the other issue that we discussed was this revolving door what we see of people, recidivism but mostly with those who are considered the EDP, Emotionally Disturbed Individuals, and those suffering from substance abuse. Many of us are told, call 911, use 311. These are your best tools in order to get people the help that they need. I'm a physician. I am proud to say that our health and hospital systems are top notch in New York and really around the world, I would think. But unfortunately what happens is if someone is picked up and an EDP call is made, they are taken to the hospital, they're right back on to the streets. Over the past two decades about 75 percent of our psychiatric beds especially in New York City have been decreasing, and that's a direct result of our policies made in Albany. We know that you and Governor Hochul did have a plan to increase the amount of psychiatric beds. Many psychiatric beds were taken offline because of Covid, they were repurposed. But now we need to have some sort of a solution in order to increase those beds. So, how can we assure that people with severe psychiatric issues, with substance abuse problems are getting to the right resources and then staying there and not being returned to the streets. Mayor Adams: Thank you. Thank you. Your team uptown, you have been doing some great advocacy around these important issues of, there's about, I think the number is 1,300, 1,360 extreme recidivists. They're just bad people. And they get arrested, they come home, they do it again. When you look at the robberies and burglaries, the records are unbelievable. We had a shooting in Brooklyn today, four people shot. The shooters were committing crimes already in August. Like, what are they doing out on the streets? We need to zero in on the extreme recidivists, a small population of people that are committing so many crimes. They have made up their mind they're going to prey on innocent people. That should be our focus. Somebody make a mistake in life, they go through the system, we should allow them to be back on a pathway so their entire lives are not destroyed. But when you have someone that's arrested for a robbery with a gun while out on trial, they do another robbery with a gun, something is wrong. They've made up their mind, they're not going to live in a society that where you won't prey on innocent people. That is what I believe our focus should be, to focus on those extreme recidivists. And then we have to have real quality of life enforcement. You send the wrong message, then people are going to believe as I say all the time that any and everything will go in your city. I take my hat off to our former Police Commissioner Sewell, current Police Commissioner Caban. We're really zeroing in on those quality of life issues. Like I said, thousands of illegal bikes, mopeds, scooters, motorcycles. Remember those days of all these motorcycles running up and down the block? And all of you slept on during the month of June and July 1st, 2nd and 3rd because you didn't hear all those darn fireworks. You remember what it was like in 2021? You couldn't sleep in this city. You thought you were in a war zone with so much fireworks. You did not hear it this year, because we were proactive. And that is why we need to continue to do so. But I need your voices, because I'm telling you, every time I say we need to take these quality of life issues, I'm painted as, there goes that darn popo Eric Adams again trying to be heavy handed. No. People should live in this city safe, clean and dignity and our children should live in the same way. And I'm not going to move off of that. I'm not going to move off of that. So, I'm with you, I hear you. Advocacy, your voice being heard is so important. And we're doing some major stuff with Dr. Vasan who came from Fountain House. We believe in wraparound services with those who are dealing with severe mental health illnesses. And Dr. Katz and his team, we're no longer doing what we saw before when people were just coming in and we're just sending them back out. Dr. Katz and his team, Department of Health and Mental Hygiene, they're giving that wraparound services that we that we need. Now, we need more, but a lot of this calls for funding. We've been really severely hurt with the funding crisis that we're facing, but this team is doing good work, Dr. Vasan is doing some amazing stuff around mental health. He's a real plus to our administration and his team over at the Department of Health and Mental Hygiene. But thank you for that. Commissioner Kreizman: Three more questions. Mayor Adams: Uno, dos, tres. What's up, brother? Question: What's up, my brother? How you doin'? Mayor Adams: I'm good, man. Grinding all the time, man. Question: Hey, that's all you can do. Wake up and grind. My name is Charles Davis. I'm born and raised in Amsterdam houses right across the street. I've been in the community for over 53 years, now I'm a resident at 100 Freedom Place South. I worked in the community. I've seen the community grow. I've seen it grow in a positive direction. Our table, we came together as New Yorkers and we just said, you know, it's kind of hard to follow up all the tables, all the questions have been asked. But we wanted to go with the safety with the homeless, mental ill, who's responsible, because in this area as it has grown and as shelters have opened up and the 80 20 buildings, you have put in a lot of mentally ill people that live in these buildings not just the middle class working people, affordable housing people., My building, which is 100 Freedom Place South, we have...it's a real diverse building. We have a lot of people from shelters, we have a lot of mentally ill people, and they roam around the streets. So, I have kids. I have three young children, 11, I have a four year old I have a one year old that lives with me also. And they are exposed to a lot that goes on in this community. And we're looking for police presence. I know years ago you had community police officers who patrolled, and actually the neighbors, they knew who the cops were. Now, you don't even see the police like you used to. And I'm not blaming the police, I know there's a lot of things going on, it's a big city and you're handling a lot of things that are going on. But this is what our table wanted to know more about safety, we're about safety and about the quality of life in New York City. Mayor Adams: No, good point. And but it's a big city, but we're a big Police Department. And you know, [cats] have to park their cars and walk and interact with people. And so you should see that omnipresent, that visible presence. And you know, we should see exactly, we have our community affairs officers who are here in blue shirts. You know, the feeling of seeing police interacting with the community is a real win. And that is what we want to have a hallmark in doing so. And if you're not seeing that...what precinct... Question: The 20th precinct. Mayor Adams: Two oh? Okay. So, we should...you should come out to the precinct council meetings, which is very important, you know, and raise your concerns about the presence of police. And then invite police in. Hold meetings right in your building. Question: We tried to. We called in and we actually spoke to one of the representatives. I know that Rodriguez was one of the community affairs officers that used to work with the community within Amsterdam Houses. For me myself, I actually, I'm a community activist. I work along with the community activists from Amsterdam Houses. Gale Brewer has always been supportive of the community, so I worked along with her. I'm also, I was a business owner, I owned a business on 94th and 95th, a restaurant. I own a business within this community now, a vegan business, as you're a vegan also, too [laughter]. That's a shameless plug. Mayor Adams: That's okay. You've got to give me the location so I can come... Question: I'll give you the location. I actually came to one of your events that you had when you were the Brooklyn Borough president. You had a vegan event. You showed the film, I think it was Forks over Knives and Knives over Forks? Mayor Adams: Forks over Knives, okay. Question: Yes, I took a picture with you and everything. I just want to say one other thing. I want to say thank you to you, thank you to the panel, thank you to everybody that was here. I learned a lot about the community I grew up in, and it is good to see that is such a diverse audience that's here now. And everybody's concerned with the community. I'm concerned with both sides as far as the businesses, all the empty storefronts, what we do with that. When you say you're bringing New York back, New York's...it looks like a ghost town at certain times, that you have all the vacant storefronts. There's no businesses open. So, I wanted to touch on that. But our table, we wanted to touch more on the secu
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6420	dbpedia	2	67	https://www.alamy.com/british-actor-ronald-lewis-in-the-movie-robbery-under-arms-usa-1957-image553738773.html	en	British actor Ronald Lewis in the movie Robbery Under Arms, USA 1957 Stock Photo	https://c7.alamy.com/com…1957-2R4TYCN.jpg	https://c7.alamy.com/com…1957-2R4TYCN.jpg	[ "https://s.alamy.com/logos/1.68.0/alamy.svg", "https://s.alamy.com/logos/1.68.0/alamy.svg", "https://s.alamy.com/assets/latest/footer/mastercard.svg", "https://s.alamy.com/assets/latest/footer/visa.svg", "https://s.alamy.com/assets/latest/footer/amex.svg", "https://s.alamy.com/assets/latest/footer/paypal.svg", "https://s.alamy.com/assets/latest/footer/apple-pay.svg", "https://s.alamy.com/assets/latest/footer/google-pay.svg" ]	[]	[]	[ "1957", "actor", "arms", "british", "cinema", "cowboy", "film", "movie", "robbery", "ronald lewis" ]	null	[ "Alamy Limited" ]	null	Download this stock image: British actor Ronald Lewis in the movie Robbery Under Arms, USA 1957 - 2R4TYCN from Alamy's library of millions of high resolution stock photos, illustrations and vectors.	en	https://s.alamy.com/logo…avicon-16x16.png		https://www.alamy.com/british-actor-ronald-lewis-in-the-movie-robbery-under-arms-usa-1957-image553738773.html	British actor Ronald Lewis in the movie Robbery Under Arms, USA 1957 Captions are provided by our contributors. RFID:Image ID :2R4TYCN Image details Contributor : colaimages / Alamy Stock Photo Image ID : 2R4TYCN File size : 36.4 MB (1.5 MB Compressed download) Open your image file to the full size using image processing software. Releases : Model - no \| Property - noDo I need a release? Dimensions : 4000 x 3180 px \| 33.9 x 26.9 cm \| 13.3 x 10.6 inches \| 300dpi Date taken : 29 April 2023 Photographer : Colaimages More information : This image could have imperfections as it’s either historical or reportage. Taxes may apply to prices shown.
6420	dbpedia	0	2	https://en.wikipedia.org/wiki/Robbery_Under_Arms_(1985_film)	en	Robbery Under Arms (1985 film)	https://upload.wikimedia…_Album_cover.jpg	https://upload.wikimedia…_Album_cover.jpg	[ "https://en.wikipedia.org/static/images/icons/wikipedia.png", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-tagline-en.svg", "https://upload.wikimedia.org/wikipedia/en/e/e2/Robbery_Under_Arms_Soundtrack_Album_cover.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/f/fa/Wikiquote-logo.svg/34px-Wikiquote-logo.svg.png", "https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1", "https://en.wikipedia.org/static/images/footer/wikimedia-button.svg", "https://en.wikipedia.org/static/images/footer/poweredby_mediawiki.svg" ]	[]	[]	[ "" ]	null	[ "Contributors to Wikimedia projects" ]	2010-05-30T15:53:51+00:00		en	/static/apple-touch/wikipedia.png		https://en.wikipedia.org/wiki/Robbery_Under_Arms_(1985_film)	1985 Australian film Robbery Under ArmsDirected byDonald Crombie Ken HannamWritten byMichael JenkinsBased onnovel by Rolf BoldrewoodProduced byMace Neufeld Jock BlairStarringSam Neill Steven Vidler Christopher Cummins Liz Newman Jane Menelaus Andy Anderson Deborah Coulls Susie Lindeman Elaine Cusick Ed Devereaux Tommy Lewis Robert GrubbCinematographyErnie ClarkMusic byGarry McDonald Laurie Stone Production company Distributed byShock ITC Entertainment[1] Release date Running time 140 minutesCountryAustraliaLanguageEnglishBudgetAU$7.3 million[2][3][4]Box officeAU$226,648 (Australia) Robbery Under Arms is a 1985 Australian action adventure film starring Sam Neill as bushranger Captain Starlight. There were two versions shot simultaneously – a feature film and a TV mini series.[2] They were based on the 1888 novel of the same name by Rolf Boldrewood. Plot [edit] Joined by bush larrikin, Ben Marston (Ed Devereaux), and Ben's two adventure-hungry sons (Steven Vidler and Christopher Cummins), Starlight leads his gang of wild colonial boys in search of riches, romance – and other men's cattle. Cast [edit] Sam Neill as Captain Starlight Steven Vidler as Dick Marston Christopher Cummins as Jim Marston Liz Newman as Gracey Jane Menelaus as Aileen Andy Anderson as George Deborah Coulls as Kate Susie Lindeman as Jeannie Elaine Cusick as Mum Ed Devereaux as Ben Tommy Lewis as Warrigal Robert Grubb as Sir Frederick Morringer David Bradshaw as Goring John Dick as Trooper Fall Michael Duffield as Mr. Falkland Keith Smith as Trooper Spring David Jobling as Rourke Bounty Hunter Peter Cummins Production [edit] Jock Blair first had the idea to remake the story in 1981 when he was working at the South Australian Film Corporation. It was originally envisioned that it would be a mini series but it was budgeted at a million dollars an hour which was felt to be too expensive. So it was decided to make a film as well at the same time, based on separate scripts.[5] There were two writers and two directors. Writing the script took two years.[5] The film was shot partly on location in the Flinders Rangers and at the SAFC studios in Adelaide.[2] The two directors collaborated well together, and Ken Hannam was relieved to work with the SAFC again after the difficulties on Sunday Too Far Away.[5] Production took 20 weeks.[6] Box office [edit] Robbery Under Arms grossed $226,648 at the box office in Australia.[7] Home media [edit] Robbery Under Arms has been released twice by Umbrella Entertainment: as a two-part dual-layer DVD in a 16:9 transfer (DAVID 0477), also as a three-part two-disc DVD pack in the original 4:3 aspect ratio (DAVID2852) released September 2017. Extras [edit] Included is a 45-minute "special feature" On Location with Robbery Under Arms, filmed separately by SA Telecasters (Channel 10, which later became Channel 7). It shows much of the art, techniques and social atmosphere involved in the making of the film at Wilpena Pound and Hahndorf, as well as commentary by the major participants. Producer/Director: Lou Sedivy Technical producer: Greg Cameron Technical directors: Mike McAuliffe and David Bates Executive producer: Trevor Lanyon See also [edit] Cinema of Australia References [edit]
6420	dbpedia	1	49	https://nz.pinterest.com/amp/pin/247557310752559997/	en		https://s.pinimg.com/web…x48-7470a30d.png	https://s.pinimg.com/web…x48-7470a30d.png	[]	[]	[]	[ "" ]	null	[]	2018-05-11T16:20:23+00:00	Original Movie posters, Buy and Sell movie posters, Australian Daybills and Lobby Cards, Vintage movie memorabilia, Travel posters, collectibles, Brisbane, Melbourne, Sydney, Queensland	en	https://s.pinimg.com/web…144-3da7a67b.png	Pinterest	https://www.pinterest.co.uk/pin/captain-starlight--153685406005092477/
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]	null	[ "Nate Jackson", "Nate Jackson Deputy Entertainment", "Arts Editor", "www.latimes.com", "nate-jackson" ]	2023-05-23T00:00:00	The movie, opening Thursday, is the culmination of five years of perfecting and four years of pitching the story of how he robbed his classmates on a train in Russia with help from the Russian mob.	en	/apple-touch-icon.png	Los Angeles Times	https://www.latimes.com/entertainment-arts/movies/story/2023-05-23/the-story-behind-bert-kreischer-the-machine	Machines — just like good comedians — aren’t born, they’re built. Bert Kreischer happens to be both, but it took some time. Long after his days as a legendary hard-partying super senior at Florida State University, Kreischer’s experience finding his voice in stand-up didn’t really start until he learned to become a great storyteller, unveiling the truth like he strips himself of his shirt on stage — in a hysterical, honest way — with a few embellishments, of course. It’s fitting that the bit that finally helped him click things into place was a story he started telling from his college frat boy days about robbing his classmates on a train in Russia during a class trip — with help from the Russian mafia. Kreischer fans came to know the comic as “The Machine” after the premiere of his 2016 Showtime special of the same name. And the viral clips of him retelling the tale became his calling card, but that’s not even half the story when it comes to explaining how the classic bit snowballed into Kreischer’s first feature film, “The Machine,” opening Friday. The comedy-action flick is his debut in the film world done the only way Kreischer knows how — big. Using his real-life misadventures as a springboard to tell an amped-up version of the story, the comedian’s past comes back to haunt him 23 years later as he and his estranged father (played by “Star Wars” legend Mark Hamill) are kidnapped back to Russia by the mafia as payback for something they say he did. Together, Kresicher and Hamill are forced to retrace the steps of the comedian’s younger self (played by Jimmy Tatro) while doing battle with the mob and improving their bond as father and son. On a recent afternoon, hanging out on the couch of the studio compound/business offices in Sherman Oaks where he records his main podcasts, including “Bertcast” and wife LeeAnn’s podcast, “Wife of the Party,” Kreischer recounts the story behind building “The Machine” into a bit that turned him into an arena-headlining comedian and now the star of his own movie. When did storytelling and drawing from real life experiences develop in your stand-up? I was so obsessed with comics who had their own voice and their own story. And they say something you could tell that it wasn’t a scripted thing, or something from the collective unconscious of stand-up. It was something so authentic. I remember being jealous of it and then realizing I have those stories too, I just have to be brave enough to say them. That’s really tough, to follow your own voice and your own instinct. That’s the struggle, really. Your new movie is a clear example of authentic storytelling based on your viral bit “The Machine,” loosely based a true story about robbing a train in Russia as a college student with the Russian mob. At what point after actually living that did you feel like “OK, this is gonna be something one day?” Never — not once. But this is the caveat: I have changed a lot with who I am as a person, meaning that when I was in college and Rolling Stone wrote the article about me when I spent 6½ years in college [the story went on to inspire the movie “Van Wilder”], I was not someone who told my own stories. People told stories about me. I was the life of the party. The life of the party is never the one telling you he’s like the party. He’s just the life of the party. And then someone’s like, ‘Dude, did you hear what Bert did at the party last night?’ And then I’d be in the room going, ‘Oh, yeah, that was crazy.’ And I can tell you the story, embellish it a little bit and make it even funnier. But I was the guy that people told the story about, and I wasn’t the one telling the story about me. When I got into stand-up, it didn’t feel natural to tell your own story about you. So for the first probably 10 years of my career, I just want to learn how to tell a joke with a setup and a punchline joke. I thought that was the craft. When was the first time you told “The Machine” story? The first time I told “The Machine” it was on Dr. Drew’s “Loveline.” Someone — an old college classmate of mine — called up and said, “Hey, why don’t you tell the story about the time you robbed your friends on a train in Russia?” And I was like, “Oh, yeah!” and that was, like, the most organic version of that story ever because it was like I was in college again. I told it and Drew was blown away. He literally said, “That’s your story. That’s your movie.” That has to have been at least 16 years ago. I think [LeeAnn and I] just had [our daughter Ila]. And then he had me come back the next night and I told it again. … I think I made it a little better. This time I trimmed it up and tightened it. Then I told it on a couple morning radio shows and it was getting better every time. And I was like, oh, it’s a good radio story. And then when I did [“The Joe Rogan Experience” podcast], that was the game changer. I went on the show the first time and I was like, “Next time I come back, remind me to tell you the story about a time I got involved with the Russian mafia and robbed a train” and Rogan was like, “What?!” I came back the next week and he was like, “You gotta tell that story.” So I told it and he also said, “This is your story. This is your movie.” That weekend, I went to Columbus, Ohio, and Rogan had said on the podcast, “If anyone comes to his show in Columbus, Ohio ... you have to yell ‘The Machine’ at Bert and make him tell the story.” And he goes, “From this point forward he will only be referred to as the Machine.” I went that Thursday night, these guys in the front row were all chanting for me to do “The Machine” story and I was like, “Guys, it’s not a stage story.” And they were like, “Bert, it’s your story. We know it’s not going to be good, but you’ve got to tell it for it to be good. We’re gonna fake laugh, right guys? We’ll fake laugh!” And they fake laughed through the whole story. It was 20 minutes, [the bit] was horrible. And then they sat in the bar and they’re like, “Tell it tomorrow, we’ll be back tomorrow!” These guys, they were called Death Squad Ohio; they were like part of our fan base out there. They showed up every night and laughed throughout the whole story. Then I got obsessed with telling it and it just got better and better. That process of making long bits like that tighter and tighter in your comedy act is also a great practice for scriptwriting. It is the greatest craft I ever learned. I didn’t know I was learning it. But it was the greatest craft because it changed how I did everything. It changed my stand-up. That one story changed my DNA as a stand-up, like I’m not even remotely recognizable to who I was 10 years ago. ... With that one story I learned the most valuable lesson about storytelling: Once the story has an end, you’re good. At first I didn’t have an end to “The Machine” story. I thought if I made the story funny in the middle, that’s all I needed to do, and I couldn’t figure out why it wasn’t working. I thought the end was the tag line, “Tonight you party with us!” How did you figure out the ending? One night in Columbus, Ohio, I came up with this middle chunk when [the Russian mobster] spits vodka in a Russian policeman’s face. I was trying to punch it up and make it funny and edgy. … One of the things people said a lot in Russia was they would remind you, “This is Russia. You’re in Russia.” They would say that all the time. “This isn’t America, you’re in Russia.” I came up with the tag line after I ask the officer if I’ll get in trouble with my teacher, he says to me, “F— that bitch, this is Russia!” This lightbulb went off, like finally I had [an end to the story]. How long did it take from the time you perfected the story to the time the wheels started turning on making it into a movie? I worked on this story for five years before I filmed it [for his Showtime comedy special “The Machine” in 2016]. It took, like, four years before it was good. The story went viral in 2017. I started doing movie pitches for it 2018-19. I pitched “The Machine” movie idea so much that I got tired of pitching it. Then in 2019 I went in to Legendary [studios] and I pitched three things that weren’t “The Machine.” Cale Boyter, who was a producer on the movie, he’s the most authentic Hollywood character you’ll ever meet — he’s against the grain and plays by his own rules; I’m shocked he’s still in Hollywood — he just goes, “OK, all right, I’ll make it.” I was like, “Which one?” He said, “I don’t care, I just want to make a movie with you, I think it would be fun. Which one do you want to make?” I said if you’re telling me I can make whatever movie I want it’s not gonna be the three I just pitched you.” So he said, “What are you gonna make?” I said, “The Machine.” He goes, “I was wondering why you didn’t pitch me that.” I told him it was because I was so bored of pitching it. I said, “Best-case scenario, it’s a hit movie and I get kidnapped by the Russian mafia.” [Boyter] looks at me and goes, “Sold! That’s our movie. It’ll be like ‘Godfather’ meets ‘The Hangover.’” Fast-forward a few years and you’re starring in a movie next to Mark Hamill, who plays your dad. You guys had a lot of personal and funny moments throughout the movie — how much of that comes from a place of real-life chemistry? Our first week of working together was on Zoom still, during the pandemic, when we started talking about the movie. The first thing he said was, “Why do you perform with your shirt off? Couldn’t you wear a nice collared shirt or a blazer?” My dad says that to this day: “Do you have to do comedy without a shirt? It’s just so aggressive.” And Mark was my dad through that whole movie, even off-camera. I remember one time asking Mark for parenting advice and he gave me advice and then that night I was on the phone with my dad and he gave me the exact same advice Mark gave me. Him and my dad have so many similarities that I now pick up on. “The Machine” is also a big-time action movie. What was the preparation like incorporating so much grueling stunt work into your day? This is gonna sound horrible, but I don’t read the action in scripts, I just read the dialogue. So I didn’t really know how much of an action movie it was until I got there. And they’re like, “You’ve got stunt training for the first three weeks,” and I go, “For what?” They said, “For the fight scenes” and I’m like, “There’s fight scenes?” And then I’m like, oh, like everything is starting to make sense. … I thought I would be a lot better on the first day than I was. I thought I’d be really good at throwing a punch — I’m not good at throwing a punch. I don’t even still know if I look natural. I know for a fact it wasn’t natural because they had to edit out me going “goosh!” — like making the fake sound of punching noises while we were filming. I was better at putting my body at harm than I thought it would be. Any time they were like, “We’re gonna need you to do, like, a flying double kick, or we can have a stuntman do it.” I was like, “No, I think I can do it.” I was really good at that. I think it was because I grew up in Florida and we all practiced professional wrestling growing up. I did way more of the putting my body in harm stuff than I thought I would do. And then the stuff I thought I’d excel at, like the fight scenes, that took a lot of work in just memorizing it right because it’s a fight sequence. Just memorizing the choreography. Its hard because if you don’t do it correctly you can punch people’s faces, which I did a lot. In all the fight scenes I punched someone at least once. So in the process of filming a movie called “The Machine,” you became the Machine again by going through that ordeal. I paid the piper when I got home. I went to get an MRI and they’re like, “You ruptured all the tendons; you need surgery.” So I did the surgery and then I sold out a show at Red Rocks [in Colorado]. What are you gonna do? You’re now in a long line of comedians who’ve gotten the shot to make their first film. How does that feel to be in the company of so many legends in comedy who’ve had that chance? It feels really vulnerable. I’ve never felt this way before. You’re really putting yourself out there. When I was a kid in high school or college, I remember not understanding why a guy like Johnny Depp wouldn’t wanna do press for a movie he was in — like you just did a badass movie, tell us about the badass movie you were in, I’m gonna go see it. And then when you’re in that situation, you totally get it. You totally get what it feels like to think, “I’m embarrassed that I’m going to be this, being a P.T. Barnum, self-promoting guy.” But here’s the thing that [the director] Peter Atencio said to me: “You’re not just promoting it for you, you’re promoting it for everyone that worked on the movie.” That’s what’s giving me the motivation to do it. Now that you’ve done your first movie, is it an experience you’d ever go through again? I told Legendary all I want to do are “The Machine” movies. Buy “The Machine” Part 2 and 3 ... buy all the sequels now, I’ll sign them for a very low price point. I don’t need a ton of money. Yeah, I’ll just do them for the rest of my life. It’ll be my “Rambo.” The next one, we can do it with the Mexican mafia. Then I gotta call the Russian mafia and they gotta come down to Mexico. And then for the next one we get the yakuza. I could do this movie for the rest of my life, easily.
6420	dbpedia	0	44	https://esat.sun.ac.za/index.php/The_Great_Kimberley_Diamond_Robbery	en	The Great Kimberley Diamond Robbery			[ "https://esat.sun.ac.za/resources/assets/licenses/public-domain.png", "https://esat.sun.ac.za/resources/assets/poweredby_mediawiki_88x31.png" ]	[]	[]	[ "" ]	null	[]	null		en	/favicon.ico		null	Screening Details Length: 2 reels (Black and White) / Copyright Date: unknown / Release Date: 11 December 1911 (premiere) / Language: Silent (English intertitles) / Genre: Adventure / Alternative Title: The Star of the South Synopsis A Khoi worker finds a diamond on the banks of the Vaal River and sells it to two local diggers for four shillings. They, in turn, sell it to Dick Grangeway, who decides to take it to Cape Town and then perhaps to London. However, two desperadoes hear of the plan and set off in pursuit when Dick, his wife Kate and other prospectors set off for the coast by ox-wagon. They have obtained the co-operation of a group of marauding tribesmen in return for a third of the loot and the party is overwhelmed. The warriors fail to find the diamond, but when the two white villains are about to torture Kate in order to establish its whereabouts, their chief intervenes. Kate escapes to seek help and the colonial mounted police arrive in time to apprehend the would-be robbers. (Summary based on advertised accounts and a review in The Star of 12 December 1911.) Context It is usually argued that this was the first fiction film produced in South Africa. Certainly it is the only one of which there are reliable accounts. The film was probably made at the instigation of Australian-born entrepreneur and showman Rufe Naylor and was first shown on 11th December 1911 at his new 1,500-seater Orpheum Theatre (evening) in Johannesburg, as well as at the local Tivoli (afternoon). In Cape Town it was screened at Wolfram's Bioscope. The film was primarily shot on Sunday 22nd October in Fountains Valley south of Pretoria. The man responsible was R.C.E. Nissen, a war correspondent and photographer then in the employ of Naylor. The production company credited was the Springbok Film Co., a small outfit set up by Naylor. The only identified actor in it was Emma Krogh, the daughter of a Deputy State Secretary in the administration of Paul Kruger’s Zuid-Afrikaansche Republiek and the mother of Afrikaans author Stella Blakemore. It is generally supposed that its inspiration was Edwin S. Porter's The Great Train Robbery (1903), though as an Australian Naylor would probably have been familiar with Charles Tait's film The Story of the Kelly Gang (1906) and Charles MacMahon's Robbery Under Arms (1907), which he could have seen before he came out to South Africa in 1908. (Note: No prints are known to have survived) Cast Emma Krogh (Kate Grangeway) Crew Production Company: Springbok Film Co. / Producer: Rufe Naylor / Director, Script & Photographer: R.C.E. Nissen. Sources The Star, 12 December 1911 Sunday Times, 21 June 1914 Gutsche, Thelma - The history and social significance of motion pictures in South Africa 1895-1940 Le Roux, André I. & Fourie, Lilla – Filmverlede: geskiedenis van die Suid-Afrikaanse speelfilm Return to Return to South_African_Films Return to The ESAT Entries
6420	dbpedia	3	11	https://villains.fandom.com/wiki/Judge_Holden	en	Judge Holden	https://static.wikia.nocookie.net/villains/images/d/d9/Holden_John_D_Salvador.png/revision/latest?cb=20240502141646	https://static.wikia.nocookie.net/villains/images/d/d9/Holden_John_D_Salvador.png/revision/latest?cb=20240502141646	[ "https://static.wikia.nocookie.net/villains/images/e/e6/Site-logo.png/revision/latest?cb=20230402004147", "https://static.wikia.nocookie.net/villains/images/e/e6/Site-logo.png/revision/latest?cb=20230402004147", "https://static.wikia.nocookie.net/villains/images/1/14/JokerCoringaPalhaco.jpg/revision/latest/scale-to-width-down/30?cb=20131016224426", "https://static.wikia.nocookie.net/villains/images/f/f7/KeyLocker.png/revision/latest/scale-to-width-down/25?cb=20190617223304", "https://static.wikia.nocookie.net/villains/images/c/c2/Warning.gif/revision/latest/scale-to-width-down/95?cb=20190420195710", "https://static.wikia.nocookie.net/villains/images/1/19/Scarfaceinthefall.jpg/revision/latest/scale-to-width-down/95?cb=20190729162946", "https://static.wikia.nocookie.net/villains/images/d/d9/Holden_John_D_Salvador.png/revision/latest/scale-to-width-down/350?cb=20240502141646", "https://static.wikia.nocookie.net/8941553e-df6a-4310-a080-b9da56fdcbdd", "https://static.wikia.nocookie.net/36002e46-06fe-4633-9d99-27d96cf5bcdc", "https://static.wikia.nocookie.net/36002e46-06fe-4633-9d99-27d96cf5bcdc", "https://static.wikia.nocookie.net/36002e46-06fe-4633-9d99-27d96cf5bcdc", "https://static.wikia.nocookie.net/36002e46-06fe-4633-9d99-27d96cf5bcdc", "https://static.wikia.nocookie.net/36002e46-06fe-4633-9d99-27d96cf5bcdc", "https://static.wikia.nocookie.net/villains/images/1/12/EvilRedCrownHeadlined.png/revision/latest/scale-to-width-down/20?cb=20181229175837", "https://static.wikia.nocookie.net/villains/images/f/f2/TheHead.png/revision/latest/scale-to-width-down/200?cb=20190302131946", "https://static.wikia.nocookie.net/villains/images/1/12/EvilRedCrownHeadlined.png/revision/latest/scale-to-width-down/20?cb=20181229175837", "https://static.wikia.nocookie.net/villains/images/5/5f/2009.png/revision/latest/scale-to-width-down/48?cb=20190302132502", "https://static.wikia.nocookie.net/villains/images/d/d7/2010.png/revision/latest/scale-to-width-down/47?cb=20190302132710", "https://static.wikia.nocookie.net/villains/images/b/b4/2011.png/revision/latest/scale-to-width-down/45?cb=20190302132813", "https://static.wikia.nocookie.net/villains/images/4/48/2012.png/revision/latest/scale-to-width-down/47?cb=20190302133020", "https://static.wikia.nocookie.net/villains/images/3/33/2013.png/revision/latest/scale-to-width-down/47?cb=20190302133521", "https://static.wikia.nocookie.net/villains/images/9/9d/2014.png/revision/latest/scale-to-width-down/47?cb=20190302133304", "https://static.wikia.nocookie.net/villains/images/3/3f/2015.png/revision/latest/scale-to-width-down/47?cb=20190302133714", "https://static.wikia.nocookie.net/villains/images/1/1c/2016.png/revision/latest/scale-to-width-down/47?cb=20190302133842", "https://static.wikia.nocookie.net/villains/images/e/ef/2017.png/revision/latest/scale-to-width-down/47?cb=20190302133932", "https://static.wikia.nocookie.net/villains/images/1/15/2018.png/revision/latest/scale-to-width-down/47?cb=20190302134103", "https://static.wikia.nocookie.net/villains/images/8/8c/The2019.png/revision/latest/scale-to-width-down/47?cb=20190302134205", "https://static.wikia.nocookie.net/villains/images/b/b9/2020.png/revision/latest/scale-to-width-down/55?cb=20190803211328", "https://static.wikia.nocookie.net/villains/images/d/db/2021K.png/revision/latest/scale-to-width-down/55?cb=20201201103256", "https://static.wikia.nocookie.net/villains/images/a/a5/2022Year.png/revision/latest/scale-to-width-down/55?cb=20211201070302", "https://static.wikia.nocookie.net/villains/images/7/7a/2023.png/revision/latest/scale-to-width-down/55?cb=20221201123258", "https://static.wikia.nocookie.net/villains/images/f/f5/2024.png/revision/latest/scale-to-width-down/55?cb=20240105165352", "https://static.wikia.nocookie.net/ff185fe4-8356-4b6b-ad48-621b95a82a1d", "https://static.wikia.nocookie.net/f3fc9271-3d5e-4c73-9afc-e6a9f6154ff1", "https://static.wikia.nocookie.net/464fc70a-5090-490b-b47e-0759e89c263f", "https://static.wikia.nocookie.net/f7bb9d33-4f9a-4faa-88fe-2a0bd8138668" ]	[]	[]	[ "" ]	null	[ "Contributors to Villains Wiki" ]	2024-08-14T13:00:00+00:00	Judge Holden expressing his desire to know and control all things in existence, also his most iconic and famous quote. Whatever in creation exists without my knowledge exists without my consent. Men are born for games. Nothing else. Every child knows that play is nobler than work. He knows too...	en	https://static.wikia.nocookie.net/villains/images/4/4a/Site-favicon.ico/revision/latest?cb=20210613002213	Villains Wiki	https://villains.fandom.com/wiki/Judge_Holden	This article's content is marked as Mature The page contains mature content that may include coarse language, sexual references, and/or graphic violent images which may be disturbing to some. Mature pages are recommended for those who are 18 years of age and older. If you are 18 years or older or are comfortable with graphic material, you are free to view this page. Otherwise, you should close this page and view another page. Villain Overview “ Whatever in creation exists without my knowledge exists without my consent. „ ~ Judge Holden expressing his desire to know and control all things in existence, also his most iconic and famous quote. “ Men are born for games. Nothing else. Every child knows that play is nobler than work. He knows too that the worth or merit of a game is not inherent in the game itself but rather in the value of that which is put at hazard. Games of chance require a wager to have meaning at all. Games of sport involve the skill and strength of the opponents and the humiliation of defeat and the pride of victory are in themselves sufficient stake because they inhere in the worth of the principals and define them. But the trial of chance or trial of worth all games aspire to the condition of war for here that which is wagered swallows up game, player, all. [...] This is the nature of war, whose stake is at once the game and the authority and the justification. Seen so, war is the truest form of divination. It is the testing of one's will and the will of another within that larger will which because it binds them is therefore forced to select. War is the ultimate game because war is at last a forcing of the unity of existence. War is god. „ ~ Judge Holden philosophizing his views on war. Judge Holden, commonly known as The Judge is the main antagonist of the late Cormac McCarthy's 1985 horror/thriller crime and anti-Western epic novel Blood Meridian. He is an enigmatic polymath who joins a cowboy gang in order to 'help them', only for it to be revealed he is a deranged serial killer and child molester, who enjoys causing as much suffering as he can. Holden holds both a sinister side and a curious side. He enjoys harming and raping people but also has a fondness for geography, mathematics, reading, shooting, horses, and (his personal favorite) technical drawing. Holden is theorized to be a demon by most of fans, due to his almost monstrous appearance and hatred of religion, which is shown when he manages to convince a peaceful town to brutalize their local preacher for no reason. Holden also holds some form of enigmatic power over the people around him, as everybody wishes to shoot him but somehow find themselves compelled to not do so. In the end, Holden's goals are truly unknown, but his survival in the novel's ending indicates he plans to continue killing for the rest of eternity. Quick Answers What is the role of Judge Holden in Cormac McCarthy's 'Blood Meridian'? Judge Holden, often referred to as 'The Judge', is the main antagonist in Cormac McCarthy's anti-Western epic novel 'Blood Meridian'. He is a mercenary with a genius-level intellect and extraordinary knowledge in a multitude of areas. The Judge is known for his super strength and marksmanship, making him a formidable foe. He is also depicted as an enigmatic figure who never sleeps and claims he will never die. His role in the novel is marked by his atrocities and his philosophical musings on war and existence, making him a complex and chilling character. Provided by: Fandom What real-life figure inspired the character of Judge Holden in 'Blood Meridian'? The character of Judge Holden in 'Blood Meridian' is inspired by a real-life figure who allegedly committed heinous acts similar to those portrayed in the novel. This individual, like Holden, was known for his atrocities and distinctive hat. The novel, however, leaves the origins and details of Judge Holden's character intentionally vague, adding to his mystique and the overall horror and anti-Western themes of the story. Provided by: Fandom What is known about the origins of Judge Holden in 'Blood Meridian'? Judge Holden, often referred to as 'The Judge' or 'The Devil', is a fascinating character from Cormac McCarthy's 1985 horror/thriller, crime and anti-Western epic novel, 'Blood Meridian'. The novel keeps the origins of the Judge quite mysterious, adding to his enigmatic persona. He is depicted as a mercenary with exceptional skills in marksmanship, super strength, and genius-level intelligence. He is also extraordinarily knowledgeable in a wide range of subjects. The character of Judge Holden is said to be inspired by a real-life individual who committed similar atrocities and was known for his hat. A unique aspect of the Judge is his claim of immortality, stating that he will never die, which adds another layer of intrigue to his character. Provided by: Fandom Where is Judge Holden active in the novel 'Blood Meridian'? Judge Holden, the main antagonist in Cormac McCarthy's epic novel 'Blood Meridian', is active throughout the anti-Western landscape. Known for his extraordinary knowledge and genius-level intelligence, he is a mercenary who commits horrific acts. He's an enigmatic figure who seems to be everywhere, from the fireside telling stories to the Glanton gang, to the final chapter where he declares his immortality while dancing. His activities are not confined to a specific location, making his presence a constant and menacing force in the novel. Provided by: Fandom Is Judge Holden portrayed as the devil in 'Blood Meridian'? Yes, in Cormac McCarthy's 'Blood Meridian', Judge Holden is often interpreted as a representation of the devil. His character is shrouded in mystery and he possesses extraordinary knowledge and skills, which give him an almost supernatural aura. He is also depicted as being evil, committing numerous atrocities throughout the novel. Furthermore, his claim that he will never die and his constant dancing, even in the face of death, lend to the interpretation of him as a devilish figure. However, the novel leaves much to interpretation, so while many readers see him as a devil figure, others may have different interpretations. Provided by: Fandom Personality[] Judge Holden is an extremely ruthless, callous, depraved, and remorseless psychopath, but also a very intelligent and knowledgeable individual. He often teaches lessons about the world to his fellow mercenaries and philosophizes with them. He tends to avoid personal confrontation but is perfectly willing to murder or rape people in the most brutal ways imaginable if they are his enemies. The Judge is perennially calm and rarely loses his cool throughout the novel. He is an immensely cruel and vile being, demonstrating his penchant for sadism on multiple occasions, such as buying two puppies just so he could toss them off a bridge to drown in a river (before the two puppies were shot and killed by the Vandiemenlander). The Judge is also known to be an abusive pervert given his additional status as a murderous child molester who habitually lures children into his clutches with sweets. A child goes missing in nearly every town that he visits, and he is, on several occasions, seen with a naked child in his room. Appearance[] The Judge is a man of strange appearance. He has an enormous frame, being both immensely muscular and close to 7 feet in height. His skin is extremely pale, to the point of being described as fluorescent and purely white in coloration; his lack of pigmentation is possibly the result of albinism, as exposure to direct sunlight is painful to him, as evidenced by how desperate he was to purchase a hat from Toadvine to protect himself from the harsh sunlight of the desert. According to Tobin, he weighs 150kg. He lacks any hair, including his head, facial hair, and body hair, raising the possibility that he suffers from an autoimmune disorder such as alopecia universalis. In contrast to his apparent age and strong features, the Judge has a strangely childlike element to his appearance, having hands and feet that are small in proportion to the rest of his body and possessing a childish aspect to his face. The Judge is often partially or entirely nude, but (when clothed) will tend to wear clothing typical of his era, such as long coats, linen shirts, boots, and wide-brimmed hats. Often, the Judge can be seen smoking a cigarillo. In Samuel Chamberlain's autobiography, My Confession: Recollections of a Rogue, Holden's appearance is described almost identically to that of his fictional counterpart, though he has a head of hair. He stood six foot six in his moccasins, had a large, fleshy frame, a dull, tallow-colored face destitute of hair, and all expression, always cool and collected. Biography[] Past[] The novel is vague about the origins of the Judge to the point where there is almost nothing known about him. The narrator states that Judge is something "wholly other than their sum, nor was there system by which to divide him back into his origins for he would not go" and that he has no beginning or end. Blood Meridian[] It is known that the Judge was active around the Mexico-United States border in the 19th century and seems to be a possibly middle-aged man. He is first seen entering a revival to falsely accuse a priest of being an imposter, as well as an illiterate, zoophilic criminal wanted for pedophilia, agitating the people in attendance of his service to the point where they try to kill the priest on the spot. The Judge later met a group of nomadic mercenary scalp hunters who were out of gunpowder and at risk of being overtaken by a group of Apaches. They encountered Holden sitting on an enormous boulder in the middle of the desert as if he had been waiting for them, even though there was no way he could have known that they were coming. The Judge climbed a mountain with them, extracting potassium nitrate (referred to as nitre in the novel) from bat guano and manufacturing charcoal while he was there, amongst other scientific pursuits. The Judge later led them to a small area of volcanic activity, while Apaches were following them closely. When they arrived, he collected native sulfur and mixed it with the charcoal, potassium nitrate and urine, producing a crude gunpowder. The Judge then staged a false surrender against the Apaches. However, when the natives approached the mercenaries, Holden and his fellow men brutally gunned all of them down. Shortly after, the Judge formed a partnership with the captain of the gang, a small, dark-haired man named John Joel Glanton. The Judge was involved in several more conflicts with natives, including a raid that resulted in the slaughtering of multiple babies and defenseless non-combatants. After a year, Glanton and most of his gang were slaughtered in a conflict with Yumas Native Americans. Holden was one of the few that managed to survive. The other four remaining members of the Glanton Gang (the Kid, Benjamin Tobin, David Brown, and Louis Toadvine) encounter the Judge and the Idiot after the Glanton Massacre. After Davy Brown and Toadvine leave, Holden suddenly attacks Tobin and the Kid, stalking them across a field before the duo is forced into hiding to escape him. The duo manages to get into San Francisco, but Tobin goes missing. His ultimate fate remains unknown. The Kid encounters Holden decades later in a saloon, although the Judge has not aged at all. Holden describes the Kid as a disappointment, stating that he held in his heart "clemency for the heathen." He then follows the Kid into an outhouse, dragging him into a stall with a little girl who was also present in the saloon. After this event, two men approach the outhouse, and another man walking back to the saloons tells them that they should not go near the place. They open the door and are confused and horrified by what they see. What happens to the Kid is unknown. One theory is that Holden rapes and kills the Kid. Another is that the Kid is tempted by Holden to rape the girl. The latter is supported by the fact that an unknown man was walking away from the outhouse and told the other men not to approach. This may have been the Kid walking away from his actions. The Judge has attempted to corrupt the Kid throughout their acquaintance and make him commit acts of evil. However, the Kid already committed many sins and killed a 15-year-old boy in the previous chapter (albeit in self-defense), so the Judge may have simply come to end his life. The Judge is last seen dancing in the dance hall attached to the saloon. He is completely naked and has enchanted the crowd. He says that he never sleeps, and he claims that he will never die. Powers & Abilities[] The Judge is extraordinarily strong and durable. He can hold a heavy howitzer under one arm, break an arm with ease, and crush a man's head between his hands with such force that he bleed from his ears. Holden also has incredible stamina, being capable of walking vast stretches of desert without ill effect. His large size betrays his capacity for stealth, and he often appears and disappears like a phantom without anyone noticing. It is these traits that suggest the judge is not, in fact, human but a demon of some sort. The Judge is an appointed judge of law and enjoys all the privileges that come with such a position, including the ability to negotiate for the pardoning of criminals. While his jurisdiction is not known, he can cite the words of the law from several jurisdictions from memory. He is a genius polymath with an exceptional level of intelligence and has extensive knowledge of many branches of science, including geology, botany, history, chemistry, and archaeology, and also can draw lifelike portraits of objects. He is skilled at hiding his atrocities and never leaves behind any evidence. He can speak several secondary languages, including Spanish and Dutch. He possesses great strategic and tactical prowess, so much so that it causes Tobin to believe he cannot be overcome in battle. Quotes[] [] Judge Holden on the Pure Evil Wiki Judge Holden on the Wikipedia Judge Holden on the VS Battles Wiki
6420	dbpedia	0	13	https://www.amazon.com/Robbery-Under-Websters-English-Thesaurus/dp/B001CV237O	en	Amazon.com			[ "https://images-na.ssl-images-amazon.com/captcha/wxvwzfzh/Captcha_aqxtsjodwl.jpg", "https://fls-na.amazon.com/1/oc-csi/1/OP/requestId=V3KMY6GSC21NP2YWP5WF&js=0" ]	[]	[]	[ "" ]	null	[]	null		en			null	Enter the characters you see below Sorry, we just need to make sure you're not a robot. For best results, please make sure your browser is accepting cookies.
6420	dbpedia	2	0	https://en.wikipedia.org/wiki/Robbery_Under_Arms_(1957_film)	en	Robbery Under Arms (1957 film)	https://upload.wikimedia…1957_film%29.jpg	https://upload.wikimedia…1957_film%29.jpg	[ "https://en.wikipedia.org/static/images/icons/wikipedia.png", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-tagline-en.svg", "https://upload.wikimedia.org/wikipedia/en/thumb/2/2a/Robbery_Under_Arms_%281957_film%29.jpg/220px-Robbery_Under_Arms_%281957_film%29.jpg", "https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1", "https://en.wikipedia.org/static/images/footer/wikimedia-button.svg", "https://en.wikipedia.org/static/images/footer/poweredby_mediawiki.svg" ]	[]	[]	[ "" ]	null	[ "Contributors to Wikimedia projects" ]	2010-06-10T16:55:31+00:00		en	/static/apple-touch/wikipedia.png		https://en.wikipedia.org/wiki/Robbery_Under_Arms_(1957_film)	1957 British film by Jack Lee Robbery Under ArmsDirected byJack LeeWritten byAlexander Baron W. P. LipscombBased onnovel by Rolf BoldrewoodProduced byJoseph JanniStarringPeter Finch Ronald LewisCinematographyHarry WaxmanEdited byManuel del CampoMusic byMátyás Seiber Production company The Rank Organisation Distributed byRank Film Distributors of America Release date Running time 83 minutes (USA) 99 minutes (UK)CountryUnited KingdomLanguageEnglish Robbery Under Arms is a 1957 British crime film directed by Jack Lee and starring Peter Finch and Ronald Lewis.[1] It is based on the 1888 Australian novel Robbery Under Arms by Thomas Alexander Browne who wrote under the pseudonym Rolf Boldrewood.[2] Plot [edit] In 1865 Australia, the two Marston brothers, bold Dick and sensitive Jim, are drawn into a life of crime by their ex-convict father Ben and his friend, the famous cattle thief Captain Starlight. They help take some cattle their father and Starlight have stolen across the country to Adelaide, where they are sold, with Starlight impersonating an English gentleman claiming to own the rustled herd. The two brothers take their share of the money and go to Melbourne. On board ship, they meet the Morrison sisters: greedy Kate and nice Jean, who are romanced by Dick and Jim respectively. They read that Starlight has been arrested, and return home, where they and their father narrowly escape arrest. The brothers are then reunited with Starlight, who has left prison, and join him and some other men in robbing a coach, in which a trooper is shot and killed. Dick and Jim go to the gold fields to make enough money to escape to America. There, they are reunited with Kate, who is married but is still interested in Dick, and Jean, who Jim marries. Just as the brothers are about to leave to start a new life, Captain Starlight and his gang (including Ben Marston) arrive to rob the local bank. During the robbery, several people are killed by Starlight's gang (although not by Starlight), including a mother protecting child. Jim Marston is captured by locals and is about to be lynched, but is rescued by a trooper who comes to arrest him. Dick rescues Jim from the trooper, but is killed in the attempt. Jim hides out with Starlight and his father, but misses his wife too much and goes back to see her. Starlight and Ben Marston are killed in a shoot out with police. Jim Marston is arrested. Cast [edit] Peter Finch – Captain Starlight Ronald Lewis – Dick Marston Laurence Naismith – Ben Marston Maureen Swanson – Kate Morrison Mullockson David McCallum – Jim Marston Vincent Ball – George Storefield Jill Ireland – Jean Morrison Dudy Nimmo – Eileen Marston Jean Anderson – Ma Marston Ursula Finlay – Grace Storefield John Cadell – Warrigal, black rustler[3] Larry Taylor – Burke, new rustler Russell Napier – Banker Green Max Wagner – Sergeant Goring Bartlett Mullins – Paddy Ewen Solon – Sergeant Arthur Production [edit] Development [edit] Ealing Studios had planned to make the film after The Overlanders (1946) and Eureka Stockade (1949), and they hired William Lipscomb to do the script.[4] Gregory Peck at one stage was announced as a possible star.[5] In June 1949 Ealing announced Ralph Smart would direct the film after Bitter Springs at an estimated budget of £250,000 with John McCallum as a possible star.[6] Ken G. Hall wanted to direct. However plans to make the film were hampered by the closing of Pagewood Studios.[7] Leslie Norman was keen to produce.[8] Then in the mid-1950s director Jack Lee and Joe Janni had a big hit with the Australian-themed A Town Like Alice (1956), starring Peter Finch and written by Lipscomb. Rank put Lee and Janni under contract for two years and had Finch under contract. The three were reunited for the movie.[9] Peter Finch had made The Shiralee (1957) in Australia immediately before. Jack Lee later said: I made a mistake choosing Robbery Under Arms, a complicated Victorian novel with masses of plots and subplots and too much moralising. However I went ahead and chose the part for Peter Finch, who complained that he was overshadowed by everyone else, and in a way he was right. Janni and I weren't happy with the script and would have liked to put it off for another year. But we were under pressure from Rank and we had to go ahead with an inadequate script. There are one or two nice scenes in it but it's too slow and talky.[9] Vincent Ball said Finch suggested to Lee that Ball and Finch play the Marsden boys but John Davis "insisted that contract artistes be used for the leads". Ball agreed to play a smaller role if he could go to Australia. He was away "ten or eleven weeks" on salary to say one line in Australia filming the rest of his scenes at Pinewood.[10] Shooting [edit] Shooting began in January 1957[11] on location in Australia at the Flinders Ranges, South Australia and near Bourke, New South Wales, with two days filming at Pagewood Studios. In April the unit moved to the UK where interiors and exteriors were shot at Pinewood studios in Buckinghamshire.[12][13] During the making of the film, on-screen couple David McCallum and Jill Ireland fell in love off screen as well, and married once they returned to England.[14] Reception [edit] The film was popular at the Australian box office, although reviews were poor.[13] Variety called it: A well-made, straightforward drama which should click okay in British houses. As is so often the case, its American impact will depend entirely on whether its stars are sufficient magnets to attract patrons outside the British domain. The picture is part of the Rank Organization’s current policy of spotlighting the Commonwealth. Its main problem is whether it does not follow a bit too soon after “The Shiralee,” which also starred Peter Finch and the wide, open Aussie spaces... The acting is less important than the situations. With fist- fights, gunfight and a near-lynching, there is plenty of* meat for good, solid thrills.[15] Filmink magazine said "there's no real theme or story uniting it all... There's no interesting mystery or enigma to Starlight... All the cool things he does in the book... are cut out except for the bit where he impersonates a gent from England. There's no real relationship between Starlight and the boys... A real dull mess."[16] See also [edit] Cinema of Australia References [edit]
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"https://images.static-bluray.com/transparent.gif" ]	[]	[]	[ "Robbery Under Arms" ]	null	[]	null			https://www.blu-ray.com/favicon.ico	Blu-ray.com	https://www.blu-ray.com/Robbery-Under-Arms/424407/	Movie finder Release calendar New releases Coming soon Reviews User reviews Search Directed by Jack Lee Robbery Under Arms 1957 83 MIN Overview Releases Reviews Cast crew Movie Codes Products News Forum Action Adventure Crime Country UK LanguageEnglish Runtime83 min Movie plot tags In 1865 Australia, the two Marston brothers, bold Dick and sensitive Jim, are drawn into a life of crime by their ex-convict father Ben and his friend, the famous cattle thief Captain Starlight . They help take some cattle their father and Starlight have stolen across the country to Adelaide, where they are sold with Starlight impersonating an English gentleman. In 1865 Australia, the two Marston brothers, bold Dick and sensitive Jim, are drawn into a life of crime by their ex-convict father Ben and his friend, the famous cattle thief Captain Starlight . They help take some cattle their father and Starlight have stolen across the country to Adelaide, where they are sold with Starlight impersonating an English gentleman. (less) Director: Jack Lee Writers: Alexander Baron, W.P. Lipscomb Starring: Peter Finch, Ronald Lewis, Laurence Naismith, Maureen Swanson, David McCallum, Vincent Ball Producers: Joseph Janni, Earl St. John » See full cast & crew 7 DVD collections
6420	dbpedia	0	64	https://ell.stackexchange.com/questions/51287/what-is-the-difference-between-getting-robbed-and-getting-mugged	en	What is the difference between "getting robbed" and "getting mugged"?	https://cdn.sstatic.net/…g?v=813097cf9d62	https://cdn.sstatic.net/…g?v=813097cf9d62	[ "https://cdn.sstatic.net/Sites/ell/Img/logo.svg?v=57963de29c2f", "https://i.sstatic.net/TSvlu.jpg?s=64", "https://www.gravatar.com/avatar/9be88c8a3cb48b8606b2c43d79bbe0e5?s=64&d=identicon&r=PG", "https://www.gravatar.com/avatar/a007be5a61f6aa8f3e85ae2fc18dd66e?s=64&d=identicon&r=PG", "https://i.sstatic.net/KBnkf.jpg?s=64", "https://i.sstatic.net/Gd5bN.jpg?s=64", "https://i.sstatic.net/0cDQG.png?s=64", "https://www.gravatar.com/avatar/04216f1d0c33ce49fed5870f2552c0fe?s=64&d=identicon&r=PG&f=y&so-version=2", "https://ell.stackexchange.com/posts/51287/ivc/ac99?prg=e5d60d10-51f9-4680-a18b-4a374a6a35df" ]	[]	[]	[ "" ]	null	[]	2015-02-21T06:34:51	I can't seem to find the difference on the internet between "getting robbed" and "getting mugged". I would appreciate it if you could explain it to me.	en	https://cdn.sstatic.net/Sites/ell/Img/favicon.ico?v=f6760b29bfca	English Language Learners Stack Exchange	https://ell.stackexchange.com/questions/51287/what-is-the-difference-between-getting-robbed-and-getting-mugged	Robbery vs. Mugging vs. Burglary Robbery Robbery is a pretty broad term that is used both legally and generally with slightly different meanings. Definition of robbery in legal terms: The taking of money or goods in the possession of another, from his or her person or immediate presence, by force or intimidation. The emphasis here is that the person is actually present. Definition of robbery in general terms: The crime of stealing money or property : the crime of robbing a person or place. This definition is much more general. There is no specific requirement that the person be present for this event or that there be any threat of (or actual) force. Some examples: Masked men with guns robbed the bank yesterday. They threatened to kill one of the employees if the manager didn't hand over the money in the vault. This fulfills both the legal and general definitions of robbery. When we came back from our vacation, we found out our home had been robbed. Fortunately, no one was there and all they took was our TV. This is a perfectly valid use of robbery but only in the general sense. It does not satisfy the legal definition of robbery and would, instead, be considered burglary (see section below). Notable idiomatic uses of robbery/robbed: He was robbed. or You were robbed. or I was robbed. In sports: A player was about to score (or did score) when the unexpected action of another player or a referee prevents the point from actually being scored. In finance: (believing that you/someone were/was) being overcharged for a good or service. The price of the soda and popcorn at the movie theater is highway robbery. While this used to be a literal thing (think Robin Hood), it has now come to mean something similar to the phrase above I was robbed: excessive profit or advantage derived from a business transaction So, this would mean that a person feels they are being overcharged in a large way for something that is not of very high value. Mugging Mug (as a verb) is defined as: to attack and rob (someone) in a public place. Let's take the sections of this definition in parts: Attack and rob The general connotation of a mugging is that the person getting mugged is harmed in some physical way or is at least threatened with injury. Often, people who are mugged get beaten up or injured with some sort of weapon. The combination of attacking and theft of personal property is important to the definition of mugging. Someone Someone is important because it's an action committed against a person, not a place. You can't mug a bank or a jewelry store. This someone being mugged is also generally only one or maybe two people at a time. This is partially implied if you follow the legal sense of rob. Public Place I actually chose this definition over others because I think that it is important to call out the in a public place part. You can't really be mugged in your home. One is mugged on the street, in an alleyway, in a park, etc. That doesn't mean that it's in the sight of other people, though. Takeaway So, from this together, we can see that mugging is a subset of robbery with the added specificity of actual injury occurring and it being in a generally public place. Example I was walking home from work and I got mugged. He gave me a black eye and took my wallet and watch. My husband and I were mugged last night. Our assailant had a gun and threatened to hurt us if we didn't hand over our valuables. Burglary Burglary is a little different but I thought worth mentioning here. Definition of burglary: The criminal offense of breaking and entering a building illegally for the purpose of committing a crime. So, what's notably different here is that no one (other than the perpetrator) is involved in this. What's also notable is that item or monetary theft is not inherently implied in the term... though, in general use, people tend to assume that the goal is to steal something. The definition does seem a bit specific as it calls out a building specifically, which would imply that a vehicle couldn't be the target of burglary. Fortunately, further down in the definition it also states: Under modern statutes, the offense can occur in any enclosed structure, regardless of whether it is used for habitation. Note that breaking does not actually require doing physical damage to the building. A thief finding a door unlocked and entering the building is still guilty of breaking into the building. Mugging is usually a violent attempt to steal thing(s) that a person is known (or expected) to wear or carry. For example, a wallet, a purse, jewelry, gold chains, or shoes. Sadly, the phrases "mugged and raped" and "killed by a mugger" are well-known. Mugging necessarily involves an in-person interaction between one or more criminals and one or more victims. The interaction includes either physical violence (such as punching, slapping, knocking down, knifing, or shooting), or a credible threat of such violence (such as the open display of fists or weapon(s)). Mugging usually involves pedestrians, or riders of buses or subway trains. Mugging is often prosecuted as "strong-arm robbery" or "armed robbery". Many Americans carry guns, mace, tasers, or pepper-spray to deter muggers. Hijacking and carjacking are similar to mugging, but are in the cramped confines of a car or a plane cockpit, with the goal of stealing the vehicle. Ship piracy is similar to mugging, but aboard a ship, with the goal(s) of stealing the ship and/or kidnapping the crew. Despite the similarities, hijacking, carjacking, and piracy are not usually considered to be mugging. Robbery is theft -- the taking of something with neither permission nor forgiveness. The victim does not need to be present to be robbed. There are several forms of robbery, including shop-lifting, pocket-picking, fraud, and theft during a burglary. Many American homes and stores rely on video-taping and alarm systems to deter theft. Permission can be granted ahead of time, or voluntarily at the time. Some people "borrow" things without permission, but the "lender" retroactively gives permission later -- this is effectively forgiveness. For example, when Paul Revere "borrowed" a horse for his midnight ride, he probably did not have permission. In the culture of Boston at the time, he was expected to either return the horse unharmed, or make good the owner's loss. For legal purposes, some jurisdictions treat "robbery" as a near synonym for "mugging" (as described above), not as a near synonym for "theft" (as described above). For example, the Revised Code of Washington defines "theft" and "robbery" as follows: RCW 9A.56.020 (1) "Theft" means: (a) To wrongfully obtain or exert unauthorized control over the property or services of another or the value thereof, with intent to deprive him or her of such property or services; or (b) By color or aid of deception to obtain control over the property or services of another or the value thereof, with intent to deprive him or her of such property or services; or (c) To appropriate lost or misdelivered property or services of another, or the value thereof, with intent to deprive him or her of such property or services. RCW 9A.56.190 A person commits robbery when he or she unlawfully takes personal property from the person of another or in his or her presence against his or her will by the use or threatened use of immediate force, violence, or fear of injury to that person or his or her property or the person or property of anyone. Such force or fear must be used to obtain or retain possession of the property, or to prevent or overcome resistance to the taking; in either of which cases the degree of force is immaterial. Such taking constitutes robbery whenever it appears that, although the taking was fully completed without the knowledge of the person from whom taken, such knowledge was prevented by the use of force or fear.
6420	dbpedia	2	92	https://www.abebooks.com/ROBBERY-UNDER-ARMS-Story-Life-Adventure/22626187117/bd	en	ROBBERY UNDER ARMS. A Story Of Life and Adventure in the Bush and in the Goldfields of Australia. Near Fine "Three-Decker" First Edition in Original Cloth. by Boldrewood (Rolf) p.s. (Browne, (T.A.) ;-	https://pictures.abebook…2626187117_2.jpg		[ "https://pictures.abebooks.com/inventory/md/md22626187117.jpg", "https://pictures.abebooks.com/inventory/md/md22626187117_2.jpg", "https://pictures.abebooks.com/inventory/md/md22626187117_3.jpg", "https://assets.prod.abebookscdn.com/cdn/shared/images/Shared/css/seller-rating/fourstar.svg", "https://assets.prod.abebookscdn.com/cdn/shared/images/common/groups/seller-associations/aba-icon.png", "https://assets.prod.abebookscdn.com/cdn/shared/images/common/groups/seller-associations/pbfa-icon.png", "https://assets.prod.abebookscdn.com/cdn/shared/images/common/groups/seller-associations/ilab-icon.png", "https://assets.prod.abebookscdn.com/cdn/shared/images/common/icons/cc-visa.png", "https://assets.prod.abebookscdn.com/cdn/shared/images/common/icons/cc-masterc.png", "https://assets.prod.abebookscdn.com/cdn/shared/images/common/icons/cc-amex.png", "https://assets.prod.abebookscdn.com/cdn/shared/images/common/icons/wallet_applepay.png", "https://assets.prod.abebookscdn.com/cdn/shared/images/common/icons/wallet_googlepay.png", "https://assets.prod.abebookscdn.com/cdn/shared/images/common/social/facebook.svg", "https://assets.prod.abebookscdn.com/cdn/shared/images/common/social/x-twitter.svg", "https://assets.prod.abebookscdn.com/cdn/shared/images/common/social/instagram.svg", "https://assets.prod.abebookscdn.com/cdn/shared/images/common/footer/abebooks-footer-logo.png" ]	[]	[]	[ "" ]	null	[ "(T.A.) ;" ]	1888-08-16T00:00:00	Hardcover - London ;- Remington & Co - 1888 - Condition: Near Fine - A SUPERB 3 volume set Crown 8vo. Original green cloth, decorated in black and lettered in gilt. Vol. 1 - 300pps. / Vol. 2 (inner endpaper gutters starting)- 300pps. / Vol. 3 - 291pps. Complete with Half Titles (each with inked inscription) Original green floral endpapers. Apart from some sporadic foxing this is an excellent set of this, Australia's foremost literary classic ! Truly Rare in this collectable condition. (Sadleir 261;- Wolff 586) It is considered a Classic of Australian Colonial Literature and has inspired numerous adaptations in film, television and theatre. English author Thomas Wood called the novel " a classic, which for life and dash and zip and colour - all of a period - has no match in all Australian letters." Furthermore " Robbery Under Arms" is cited as an important influence on Owen Wister's novel, "The Virginian", (1902), widely regarded as the first Western. - ROBBERY UNDER ARMS. A Story Of Life and Adventure in the Bush and in the Goldfields of Australia. Near Fine "Three-Decker" First Edition in Original Cloth.	en			https://www.abebooks.com/ROBBERY-UNDER-ARMS-Story-Life-Adventure/22626187117/bd	About this Item A SUPERB 3 volume set Crown 8vo. Original green cloth, decorated in black and lettered in gilt. Vol. 1 - 300pps. / Vol. 2 (inner endpaper gutters starting)- 300pps. / Vol. 3 - 291pps. Complete with Half Titles (each with inked inscription) Original green floral endpapers. Apart from some sporadic foxing this is an excellent set of this, Australia's foremost literary classic ! Truly Rare in this collectable condition. (Sadleir 261;- Wolff 586) It is considered a Classic of Australian Colonial Literature and has inspired numerous adaptations in film, television and theatre. English author Thomas Wood called the novel " a classic, which for life and dash and zip and colour - all of a period - has no match in all Australian letters." Furthermore " Robbery Under Arms" is cited as an important influence on Owen Wister's novel, "The Virginian", (1902), widely regarded as the first Western. Seller Inventory # 4243 Contact seller Report this item Established 1867. Family business. Very Large Shop in Preston Town Centre near the University (just off M6 Motorway). Open 6 days 11.30a.m. to 5p.m. (or by appointment.)Specialities ;- Travel, Topography, Atlases, Science, Natural History, Conan Doyle & Sherlock Holmes. Come along and see us! Visit Seller's Storefront Association Member Members of these associations are committed to maintaining the highest standards. They vouch for the authenticity of all items offered for sale. They provide expert and detailed descriptions, disclose all significant defects and/or restorations, provide clear and accurate pricing, and operate with fairness and honesty during the purchase experience. Seller's business information HALEWOOD AND SONS ABA ILAB Est. 1867. United Kingdom Terms of Sale: Payment in Sterling; International money order;- Bank transfer. All books remain the property of Halewood & Sons until paid for in full, except for Libraries, Institutions and Clients known to us who will be invoiced to suit requirements. Any item may be returned if found to be not as described within 7 days of receipt. Shipping Terms: Shipping costs are based on books weighing 2.2 LB, or 1 KG. If your book order is heavy or oversized, we may contact you to let you know extra shipping is required.
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/_next/image?url=https%3A%2F%2Fartworks.thetvdb.com%2Fbanners%2Fmovies%2F142%2Fposters%2F5ebb0ee946958_t.jpg&w=640&q=75 2x", "https://www.tvtime.com/_next/image?url=https%3A%2F%2Fartworks.thetvdb.com%2Fbanners%2Fmovies%2F153%2Fposters%2F153_t.jpg&w=384&q=75 1x, /_next/image?url=https%3A%2F%2Fartworks.thetvdb.com%2Fbanners%2Fmovies%2F153%2Fposters%2F153_t.jpg&w=640&q=75 2x", "https://www.tvtime.com/_next/image?url=https%3A%2F%2Fartworks.thetvdb.com%2Fbanners%2Fmovies%2F128%2Fposters%2F128_t.jpg&w=384&q=75 1x, /_next/image?url=https%3A%2F%2Fartworks.thetvdb.com%2Fbanners%2Fmovies%2F128%2Fposters%2F128_t.jpg&w=640&q=75 2x", "https://www.tvtime.com/static/arrow_large_yellow.svg", "https://www.tvtime.com/_next/image?url=%2F_next%2Fstatic%2Fmedia%2Ftvtime-icon-flat-square.887f36bc.png&w=96&q=75 1x, /_next/image?url=%2F_next%2Fstatic%2Fmedia%2Ftvtime-icon-flat-square.887f36bc.png&w=256&q=75 2x", "https://www.tvtime.com/_next/static/media/footer_fb.a1ef56e5.svg", "https://www.tvtime.com/_next/static/media/footer_x.1b764c8f.svg", "https://www.tvtime.com/_next/static/media/footer_ig.de5c9a26.svg", "https://www.tvtime.com/static/tvtime_qr.svg", "https://www.tvtime.com/_next/image?url=%2Fstatic%2Fplay.png&w=256&q=75 1x, /_next/image?url=%2Fstatic%2Fplay.png&w=384&q=75 2x", "https://www.tvtime.com/_next/image?url=%2Fstatic%2Fappstore.png&w=128&q=75 1x, /_next/image?url=%2Fstatic%2Fappstore.png&w=256&q=75 2x" ]	[]	[]	[ "" ]	null	[]	null	In 1865 Australia, the two Marston brothers, bold Dick and sensitive Jim, are drawn into a life of crime by their ex-convict father Ben and his friend, the famous cattle thief Captain Starlight. They help take some cattle their father and Starlight have stolen across the country to Adelaide, where they are sold with Starlight impersonating an English gentleman claiming to own the rustled herd.	en	/favicon.ico	TV Time	https://www.tvtime.com/movie/488ea18e-5f1d-47f8-a520-dadb870a372a	No MovieRating Drama , Western In 1865 Australia, the two Marston brothers, bold Dick and sensitive Jim, are drawn into a life of crime by their ex-convict father Ben and his friend, the famous cattle thief Captain Starlight. They help take some cattle their father and Starlight have stolen across the country to Adelaide, where they are sold with Starlight impersonating an English gentleman claiming to own the rustled herd.
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"https://media.timeout.com/images/105934843/750/562/image.jpg", "https://media.timeout.com/images/105929924/750/422/image.jpg", "https://media.timeout.com/images/105929924/750/562/image.jpg" ]	[]	[]	[ "" ]	null	[ "Matthew Singer", "Phil de Semlyen" ]	2023-09-07T23:00:00+00:00	From ‘Heat’ and ‘Out of Sight’ to ‘The Killing’ and ‘Rififi’: cinema's most nerve-fraying hold-up movies	en	/static/images/favicon.ico	Time Out Worldwide	https://www.timeout.com/film/the-60-best-heist-movies-ever-made	At the intersection of crime drama, action flick and psychological thriller lies the heist movie. In truth, though, the subgenre predates the many umbrellas it exists under: movies had barely been invented when Edwin S Porter dropped The Great Train Robbery, depicting a group of bandits holding up an American locomotive in the Old West. Well over a century later, filmmakers from Quentin Tarantino to Stanley Kubrick to Kathryn Bigelow had taken the same basic premise and used it to create some of the most memorable moments in cinema, whether it’s Rififi’s silent hit on a Parisian jeweller or the breathless shootout in Michael Mann’s Heat. It’s no wonder the concept has proven so enduring: somewhere deep down, everyone romanticises the concept of living outside the law, and even if we find the perpetrators despicable, there’s a visceral rush to watching criminality in action. Yes, it’s a genre with many tropes – the phrases ‘one last job’ and ‘ragtag group of low lives’ pop up frequently – but the best heist movies manage to find brilliant new ways to put those familiar rhythms to use. Here are 60 of the greatest examples. Recommended: 😬The best thriller films of all-time 🔪 The 12 best thrillers on Netflix 🔥 The 100 best movies of all-time 🌋 The 35 steamiest erotic thrillers ever made 1. Rififi (1955) The most referenced sequence in heist movie history comes in the second half of Rififi: a wordless robbery that’s impossible to watch without sweat beads forming. It’s the work of American director Jules Dassin, whose bitter experience of McCarthyite blacklisting made him perfect for this story of desperate characters backed into a corner. These men spout tough-guy dialogue (‘I liked you, Macaroni, but you know the rules’ should really get quoted a lot more regularly) and hold to a code that crumbles when their too-clever-by-half hit on a Parisian jewellers goes south. It’s magnifique. The mark: Gems in a Parisian jewellery shop. In movie terms, the ’90s truly began with a bunch of gangsters spitballing about Madonna in a diner. Indie movies existed before Reservoir Dogs, of course, but Quentin Tarantino’s revolution was to take the crusty ensemble heist genre and populate it with characters who think, talk and act like, well, Quentin Tarantino. The botched robbery itself isn’t even shown; it’s essentially the McGuffin that allows those characters to enter the same orbit and try to make sense of the bloody fall out. Every film Tarantino made afterward became bigger and louder, but Dogs remains a singular piece of cool, even as it borrows from other, older pieces of cool – like Kubrick’s The Killing. The mark: An LA jewellery store. Advertising George Clooney hadn’t yet assumed the Frank Sinatra role in Ocean’s Eleven when Steven Soderbergh cast him in Out of Sight, but you have to imagine this is where Soderbergh got the idea. As charismatic bank robber Jack Foley, TV star Clooney became a true leading man, layering on enough roguish charm that it’s impossible to believe anyone could resist him – not even the US Marshal (Jennifer Lopez) charged with bringing him to justice. That romantic chemistry fuels a wickedly entertaining cat-and-mouse tale, an Elmore Leonard adaptation that stands alongside Jackie Brown and Get Shorty. The mark: Uncut diamonds. A true pulp classic, John Huston’s gritty noir set the template for decades of crime movies to come, most notably in how it embeds audiences with the criminals and forces viewers to see the ensuing disreputable acts (and their consequences) from their perspective. Sterling Hayden is the ex-con fresh from prison assembling the crew for a can’t-miss jewellery store robbery in an unnamed Midwestern town. A then little-known Marilyn Monroe also has a small role made outsized by her already off-the-charts seductive charisma. The mark: A half-million dollars in jewellery. Advertising 5. The Italian Job (1969) Impossibly stylish and extremely British, The Italian Job has inspired other flashy, fast-paced and louche heist films, including two remakes, but few can match Peter Collinson’s original. That’s mostly because they don’t have Michael Caine, iconic as Charlie Croker, a womanising criminal who’s only just finished up a three-year prison sentence when he hatches a plot to rob an armoured vehicle transporting millions in gold bullion in Turin. And for all the imitators it spawned, none of them have the audacity to go with the ending Collinson did – as brilliant as it is perplexing. The mark: $4 million in gold bullion. 6. Odds Against Tomorrow (1959) A steely-faced noir, Odds Against Tomorrow was produced by Harry Belafonte and ghost-written by Abraham Polonsky, who used the name of his friend, John O Killens, to evade the blacklist. The paranoid spectre of that period hangs over the film, which stars Belafonte as a jazz musician and gambling addict roped into helping with a bank robbery by a corrupt ex-cop. Racism and moral rot are the movie’s major themes, which is among the bleakest of the period – and, with the jazzy score and shadowy cinematography, one of the most darkly stylish. The mark: A bank in upstate New York. Advertising Die Hard may be he greatest action movie ever made, but it gets relatively short shrift as a heist flick. That’s largely because the story is told from the perspective of the guy trying to stop the crime, and that guy is cool as hell. But if it wasn’t for a New York cop in a tank-top crawling around in the building’s air vents, the heist of Nakatomi Plaza would have gone off swimmingly. It’s a brilliant plan, involving plastic explosives, hostages and a terrorism smokescreen. Two sequels later, Hans Gruber’s brother would try to pull off an even more ambitious distraction game in New York – and this time, it was so well-researched, the actual FBI came calling. The mark: $100 million in bearer bonds. 8. Le Cercle Rouge (1970) It’s one of John Woo’s favourite gangster films, but if you need even more reason to track down this Jean-Pierre Melville heist flic, consider the timeless team-up of gallic gods Alain Delon and Yves Montand as the masterminds behind a high-concept theft of a Parisian jewellers. But the break-in itself, a silent, skilful escapade that owes a debt to Rififi, is merely the hook for Melville to hang a magnificent murky portrait of these honour-bound, but quietly desperate criminals. As Roger Ebert pointed out, that makes Le Cercle Rouge the best kind of heist movie. The mark: Two billion francs in diamonds. Advertising Is it a heist movie if the heist goes sideways before it even starts? The botched robbery that occurred at a Chase Manhattan branch in Brooklyn on a hot August day in 1972 was all the more impactful for failing so badly. The hostage situation and media circus that followed turned the perpetrators – two gay men with no prior criminal history – into countercultural heroes. Sidney Lumet’s ’70s classic frames the episode as a tragicomedy of errors, and gives Al Pacino space to get believably unhinged. Maybe not a great heist, then, but definitely a great movie. The mark: All the cash at First Brooklyn Savings Bank – which turns out to be $1,100. With his first major film effort, Stanley Kubrick effectively remixes Asphalt Jungle – even casting Sterling Hayden in essentially the same role – taking the basic idea of a bunch of criminal low-lifes plotting a major robbery which, given the shady characters involved, you know is not going to go off without a hitch. But don’t mistake The Killing for a ripoff or remake: Kubrick upends the narrative by fracturing the timeline and the visual language with brilliant long takes. It’s at once an outlier in the vaunted Kubrick filmography and a key inspiration for Reservoir Dogs. The mark: $2 million in racetrack takings. Advertising In many ways, Heat represents the pinnacle of the American crime film. Where else could the genre even go after having Al Pacino and Robert de Niro chase, shoot at and sit down for coffee with each other for nearly three hours? Credit to Michael Mann, who blows up the cops vs robbers formula to the most epic proportions, with complicated subplots and next-level action scenes – including a pantheon-enshrined bank robbery that leads into one of the most bracing shootouts in cinema history – without losing sight of the codependent relationship at the story’s core. The mark: A bank robbery worth $12.2 million. Attempting to summarise the plot of Christopher Nolan’s metaphysical heist film would warrant hazard pay. The best we can do is to say it involves a thief (Leonardo DiCaprio) with the ability to rappel into people’s dreams and both steal and implant ideas in their subconscious. Understanding Inception isn’t a prerequisite for being awed by it, though. For all its philosophical weight, it’s a movie better experienced than pondered, made up of landscape-warping set pieces and action sequences that literally defy gravity. The mark: The subconscious of a dying business magnate’s son. It’s complicated. Advertising Popcorn flicks don’t get much more buttery than this classic western. Robert Redford and Paul Newman make an all-time great pairing as the legendary train robbers on the run from the law. While their story is well-trodden in American lore, director George Roy Hill and screenwriter William Goldman give their partnership an almost buddy-comedy energy, separating the movie from similar works like Sam Peckinpah’s famously nihilistic Wild Bunch. A half-century later, it remains crazy fun. The mark: A series of banks and trains. One of the great hardboiled action movies of the ’70s, Joseph Sargent’s top-shelf thriller involves a group of colour-coded criminals who take advantage of New York’s chaotic subway system by hijacking a train and holding its passengers for ransom. It’s a basic premise rendered into something brilliant by the performances, namely from Robert Shaw as the villainous gang leader and Walter Matthau as the hangdog transit cop and unlikely hero. It’s been remade twice – first as a TV movie, then again with Denzel Washington – but nothing beats the original, which captures the look, feel and speech of Gotham in its grimy heyday. The mark: $1 million in cash. Advertising The Hughes brothers’ follow-up to the ‘90s gangsta classic Menace II Society hits on many of the same themes – namely, America’s abandonment of its Black citizens – but does so in a significantly different way. Set mostly in the early 1970s, it follows a middle-class kid (Larenz Tate) from the Bronx to Vietnam and back again, showing the toll the war took on African-American communities. Desperately adrift, Curtis falls back in with some old criminal elements from his neighbourhood to rob an armoured car. To call Dead Presidents a ‘heist movie’ feels limiting, but it must be said that the climatic hold-up is where the Hugheses really flex their muscles – the sight of the thieves disguised in white make-up is one of the decade’s most iconic images. The mark: An armoured car transporting money to a mint. 16. The Thomas Crown Affair (1999) A remake of the 1968 Steve McQueen-Faye Dunaway vehicle, John McTiernan swaps in Pierce Brosnan as the titular self-made billionaire and art thief and Rene Russo as the insurance investigator ensnared by his charms. It’s slicker and sleeker than the original but is easily better, namely because of the onscreen chemistry between Brosnan and Russo and the expertly choreographed swipe of a Monet painting from the Metropolitan Museum of Art. The mark: Monet’s ‘San Giorgio Maggiore at Dusk’. Advertising Right out the gate of his career, Quentin Tarantino proved he could make a killer heist flick, but adapting a true criminal mastermind like Elmore Leonard is a different challenge altogether. Jackie Brown is still the only Tarantino movie he didn’t fully conceive himself, and thus his least Tarantino-y, which, for some, makes it his best. Certainly, it’s in the upper echelon of Leonard screen adaptations, and contains perhaps the single best performance in the entire Tarantinoverse, courtesy of Pam Grier. Transferring the rough-edged cool of her ’70s blaxploitation heyday into a middle-aged working woman with a keen sense of self-preservation, she’s at once chiffon-smooth and tough as leather as the title heroine, a flight attendant moonlighting as an arms smuggler who devises a twisty plot involving a big bag of money to help her evade the cops, escape her shitty boss (Samuel L Jackson) and maybe start a new life with the bail bondsman who’s in love with her (Robert Forster, also phenomenal). The mark: $550,000 in drug money. There isn’t a more stylish film in the last decade and a half than Nicolas Winding Refn’s neon noir about a stunt driver (Ryan Gosling) breaking ties with the crime boss he’s fallen in with. Not since Ryan O'Neal has a getaway driver been more ice cool in extremis, with that satin gold scorpion jacket, black leather driving gloves and a sat nav system’s mastery of LA’s back streets. Drive owes obvious debt to Walter Hill’s The Driver – the movie that established the template of the getaway driver as morally ambiguous and emotionally unreadable – but there’s also a captivating stillness that recalls In the Mood for Love, a combination that produces an utterly unique atmosphere. The mark: A bag full of Mob money. Advertising Two female-led heist films dropped in 2018, and while Ocean’s 8 is a fun bucket of popcorn, Steve McQueen’s Widows is the most deserving of a place on this list. After a crew of criminals are killed attempting to steal $2 million from a Chicago crime boss, the group’s widows, led by Viola Davis, band together to execute another robbery in order to pay off their husbands’ inherited debts. McQueen smartly weaves together themes of police brutality, racism and political corruption, but never forgets to bring the white-knuckle thrills. The mark: $5 million from a politician’s home. Film fans are now well aware that the Coen brothers alternate between two modes: existential dread that’s often darkly funny and pure silliness that’s frequently still full of dread. In the ’80s, though, the transition from the brutal noir of their debut, Blood Simple, to the live-action cartoon of Raising Arizona must have given audiences whiplash. A whirlwind of pulpy dialogue and Looney Tunes energy, it stars Nicolas Cage and Holly Hunter as a desperate couple who nick the infant son of a wealthy furniture magnate straight out of his crib. Cue two escaped convicts and a bounty hunter straight out of Mad Max arriving at the door of their mobile home thirsting for the reward money for returning him The mark: An adorable baby boy. Advertising ‘We’re just taking away from a system that’s fucking us all anyway,’ says Vivica A Fox’s ex-bank teller in this enduring ’90s thriller about four Black women who decide to fuck the system right back. Alongside Jada Pinkett, Queen Latifah and Kimberly Elise, Fox’s struggling Angeleno is boxed in – by cops, employers, social services, even the waiters in their local diner – and resorts to sticking up banks to make ends meet. It’s a heist movie with the mind of a social drama, all shot with adrenalised cool by future Fast 8 director F Gary Grey (the car chases rock) and with a killer hip hop soundtrack. John McGinley is great, too, as the toothpick-chewing detective with a conscience on the gang’s trail. The mark: A series of LA banks. John Frankenheimer’s foundational action film stars Burt Lancaster as a French railway inspector in World War II determined to sabotage a Nazi plot to smuggle some priceless works of art out of Paris and back to Germany as the Allies close in. Tense and grittily realistic – and based on a real-life incident – it inverts the narrative of the typical heist film, as the heroes plot to stop the theft of a valuable artefact through chicanery of their own. Lancaster did his own stunts, and the movie provided the framework for generations of high-intensity action flicks to come, from Bullitt to Speed. The mark: A collection of art masterpieces. Advertising Michael Mann’s first streetlights-and-neon noir is a grim study of an expert safecracker (James Caan) who left his soul in prison but nonetheless dreams of a white-picket existence: the wife, the house, the kids, the legit job. Despite his obvious flaws, he nearly achieves it all, until he deludes himself into taking ‘one last job’ (always a mistake in this genre). Caan is excellent, making an essentially charmless character worth investing time in, before he inevitably blows his shot at the straight life. The mark: $4 million in diamonds. Spike Lee’s first true big-budget genre picture was a bigger success, commercially and critically, than many anticipated – and there are those who argue it belongs in the upper tier of his filmography. An ingenious criminal (Clive Owen) stages the intricate heist of a Wall Street bank, and a hard-nosed cop (Denzel Washington) is determined to thwart him. But the plot gets increasingly twisty as other characters get involved, including Christopher Plummer as the bank’s president and Jodie Foster as power broker he brings in as an negotiator. The end result is a movie that’s much smarter than the sum of its parts. The mark: A bank in Manhattan. Advertising Like The Treasure of the Sierra Madre with a shit-eating grin and a slacker attitude, Three Kings is the ultimate in Gen X heist flick: funny, ironic, and, like its characters, politically engaged – although only when it’s exhausted all possible ways not to be. Most of the time, it’s just a mismatched US army squad (George Clooney, Mark Wahlberg, Ice Cube, Spike Jonze) trading put-downs as they search Iraq for stolen Kuwaiti gold during the Gulf War, before learning some home truths about the horrors of war that still hold very true today. The mark: A stash of Kuwaiti bullion. Two decades after The Great Train Robbery invented the heist picture, Buster Keaton made a movie about a literal great train robbery. In this silent comedy classic, the original pratfall artist plays a southern railroad engineer who has his beloved locomotive stolen by Union spies at the onset of the Civil War, with his paramour aboard. (Yes, the hero is pro-Confederacy. It was a different time.) As usual, Keaton is a one-man Jackass, nearly killing himself for the audience’s amusement – yes, he really did ride on the cowcatcher of a moving train. The mark: A Confederate train. Advertising With Rififi, Jules Dassin depicted the perfect crime in such exacting detail, it inspired actual copycat thefts. A decade later, he returned to the heist picture to show that pulling off ‘the perfect crime’ is often a matter of luck rather than skill. A motley crew of thieves case the Topkapi Palace in Istanbul and plan to steal an emerald-encrusted dagger dating back to the Ottoman Empire sultan. Like Rififi, the heist plays out in near-total silence, until an unaccounted-for detail unravels the whole thing. It’s Dassin making fun of himself, and he seems to have a blast doing it. So does Peter Ustinov, who won an Oscar playing the group’s clueless fall guy. The mark: An ancient Turkish dagger. A band of sketchy ex-soldiers gang together to rob a bank in this crime caper whose droll humour makes it something of a British counterpart to that year’s Ocean’s 11. Except, The League of Gentlemen isn’t just an excuse to watch its ensemble cast – highlighted by Jack Hawkins, Nigel Patrick, Roger Livesey and Richard Attenborough – crack wise with each other. Director Basil Dearden stages a genuinely nail-biting heist sequence, featuring smoke bombs, explosions and machine guns. It almost goes perfectly… until, of course, it doesn’t. The mark: A million pounds from a City bank. Advertising Mention ‘heist movies’ and Ocean’s Eleven is probably the one that pops into people’s heads. Which iteration depends on age, but if we’re being honest, the ’60s version is mostly just the Rat Pack getting paid to hang out in Vegas and crack jokes. Decades later, Steven Soderbergh borrowed the template but made something a lot more thrilling and fun. Professional thief Danny Ocean (George Clooney) has a plan for an ambitious casino robbery, and sets about putting together an all-star team of criminals to pull it off. It’s got the ring-a-ding-ding comic interplay of the original, but Soderbergh draws upon the proceeding 40 years of heist flicks to forge a movie as exciting as it is breezy. The mark: $100 million from a Las Vegas casino vault. Is there any actor with a greater gulf between their two most iconic roles than that of Ben Kingsley? Eighteen years after winning an Oscar for portraying the ultimate man of peace in Gandhi, the British actor again won raves for playing his polar opposite: a hot-tempered, foul-mouthed Tasmanian devil of a gangster heavy named Don Logan. Dispatched to Spain and tasked with convincing a happily retired former comrade (Ray Winstone) into taking part in one last bank job, he’s equal parts hilarious and scary as hell. The first half of Jonathan Glazer’s sharply funny crime flick belongs to Kingsley, while the second half is owned by Ian McShane as Logan’s boss, who prefers a quieter form of menace, and is all the more intimidating for it. The mark: A London bank vault. Advertising 31. Violent Panic: The Big Crash (1976) With some frenetic shakycam and a climactic car chase that has to be seen to be believed, Battle Royale’s Kinji Fukasaku delivers a cult thriller that positively crashes through your nervous system. It offers a cool, culty ’70s spin on the ‘One Last Job’ subgenre of heist movies, marrying Japanese punk spirit with US genre techniques, as bank robber Takashi (Tsunehiko Watase) reacts to the death of his partner-in-crime and an increasingly enormous police manhunt by, well, robbing even more banks. Will he make it to Brazil with the loot and his beautiful girlfriend in tow? It’s a rush watching him try. The mark: Millions of yen from banks across Japan. Hailed upon release for Edgar Wright’s all gas, no brakes direction, Baby Driver is, as its title unintentionally suggests, something of a Kidz Bop version of Drive – only about 100 decibels louder. It involves a stoic, boyish getaway driver (Ansel Elgort) who falls in love with a waitress and attempts to get out of the crime business after pulling off one final job for his gangland-boss surrogate father (Kevin Spacey). Despite its retroactively problematic main cast, there’s still plenty to appreciate here, in particular the creative use of music: Elgort’s character drowns out his tinnitus with an infinite iPod playlist, which he cranks during the robberies, effectively making this a ‘jukebox action flick’. The mark: A post office’s stash of money orders. Advertising 33. One-Eyed Jacks (1961) Marlon Brando’s lone directorial credit came after Stanley Kubrick exited the production of this traditionalist western, which takes its time telling the story of a bandit named Kid Rio (Brando) seeking revenge against his former colleague Doc (Karl Malden), now a sheriff. The plot hinges around a robbery gone wrong, in which Rio’s new gang goes rogue and ends up killing a kid, giving Doc an excuse to get rid of him permanently. It sounds standard, but Brando brings deep thoughtfulness to the role and the picture itself – not to mention an elongated running time that would inspire the likes of Sergio Leone and Martin Scorsese. The mark: A bank in Monterrey, California. The phrase ‘hackers’ had barely entered the lexicon when this early Digital Age thriller first hit theaters, roughly around the time when dial-up modems were just starting to tie up phone lines across the world. Robert Redford headlines a stacked cast as a computer expert commissioned by the NSA to find a top-secret code-breaking device that’s mysteriously gone missing. Sneakers’ ’90s technobabble hasn’t aged particularly well, but its depiction of a world whose stability increasingly depends on fragile cybersecurity systems is remarkably prescient. The mark: A high-tech black box. Advertising At first blush, Point Break scans like a classic ‘good bad movie’. C’mon, a gang of surfer-dude bank robbers who wear rubber masks of former US presidents, led by a zenned-out Patrick Swayze? Keanu Reeves as an ex-college football star turned FBI agent named Johnny Utah? Gary Busey screaming about taking shrapnel in Khe Sahn? How seriously are we supposed to take this thing? Watch it another five… 20… 170 times, though, and the movie reveals itself to be a genuinely great action-thriller. The Ex-Presidents’ approach to bank robbing isn’t sophisticated, but they operate with ruthless efficiency. Until, of course, they decide to mess with their formula. The mark: The cash in bank tellers’ registers – never the vault. 36. Payroll (1961) No crime is ever truly victimless. Still, nicking an entire company’s monthly payroll feels like an especially low blow. But the mob behind the robbery in this vinegary, Newcastle-set thriller aren’t the kind to give two sods about depriving a few honest joes of their Friday night pint. What really marks them out is the poor planning, mutual mistrust, and, in several cases, total lack of nerve that damns them to disaster from the get-go. Throw in a vengeful widow and it’s curtains. The heist itself, involving an armoured van, some blueprints and a man on the inside, is a terrific set piece. Its violent fallout marks Payroll out as Get Carter’s slightly older, but equally cynical Geordie brother. The mark: A £100,000 payroll. Advertising Any scheme that starts with Bill Murray holding up a bank dressed as a clown can only go downhill, and that’s precisely the experience of Murray and his accomplices (Geena Davis and Randy Quaid), who discover that in New York, the hardest part of any crime is the getaway. The bank-robbing trio make a break for the airport and run smack into the gridlock and madness of the big city. It plays out like a sleazier Planes, Trains and Automobiles, as a series of obstacles – a fellow thief, a lost cabbie, Jason Robards’s cop – impede their progress. Quick Change remains Murray’s only directorial credit (shared with Howard Franklin), and it’s a smart-alecky caper worthy of his gifts. The mark: $1 million from a bank in midtown Manhattan. A 1970s throwback in terms of both feel and timeline, Stander tells the story of a cop in apartheid-era South Africa who, fed up with the rampant corruption in his profession, decides to start brazenly robbing banks on the side to make a point about what a white man can get away with in a racist society. It sounds preposterous, but it’s based on actual events. Thomas Jane, mostly known for cartoonish actioners like Deep Blue Sea and The Punisher, stars in the title role and gives an astonishingly nuanced performance as a man being ravaged by his own conscience with a death wish that he just can’t seem to fulfil. The mark: A series of banks in Johannesburg. Advertising Shot in one long, continuous take, this German production is, first and foremost, a dazzling technical achievement. But it’s no empty stunt. Following a Berlin clubgoer who, over the course of two-plus hours, falls in with a crew of criminals and unwittingly becomes the getaway driver for a hastily planned bank robbery, the single-take conceit ratchets up the tension to almost unbearable levels, while fully immersing the audience in the action. It’s one of the few movies where describing it as a ‘rollercoaster’ isn’t a hyperbolic cliché. The mark: €50,000 from a Berlin bank. Advertising A tribute to the classic Ealing comedies of the 1940s and ’50s, this enduring John Cleese Brit-com involves four crooks of various skill recruited for a diamond heist who all end up going into business for themselves, with hilarious results. The double-crossing is too knotty to properly summarise, but plot is almost secondary to the characters, which include Jamie Lee Curtis as a gangster’s moll perhaps overconfident in her feminine wiles, Kevin Kline as a weapons expert who’s equally hotheaded and dimwitted, and Cleese himself as an upstanding barrister around whom the scheming swirls. The mark: Valuable diamonds in a safe deposit box. The most shagadelic heist movie in film history, Mario Bava’s super-kitsch comic-book adaptation bends all the rules of the genre (the plot, for one thing, is absolute nonsense) but has so much fun doing it, reels you in from the moment its Ennio Morricone theme kicks into gear. Its hero, Diabolik (John Phillip Law), is a robber with a superhero’s prowess as getting out of tight scraps, a goddess for a girlfriend (Marisa Mell) and a penchant for high-concept theft. His crowning glory involves stealing some emeralds, shooting them at a notorious gangster from an actual gun, and then collecting them again from the mobster’s just-cremated body. The guy has serious pennacchio. The mark: An emerald necklace. Advertising Ken Loach doesn’t often do lighthearted, but this good-natured caper about a group of petty criminals in Glasgow plotting to steal the world’s rarest whiskey is appropriately soul-warming. Paul Brannigan plays Robbie, a thief and new father determined to go straight after discovering he has a nose for identifying good scotch. That is, until he’s pressured into performing one final job: nicking a barrel of valuable alcohol that’s about to go to auction. Loach’s knack for social realism elevates what would simply be a cute redemption story in the hands of other directors into a poignant moral message. The mark: A cask of ultra-rare whiskey. Two years after Dirty Harry, director Don Siegel returned with a different kind of violent genre picture – and a very different protagonist. Walter Matthau is Charley Varrick, a wrinkly, rumpled small-time crook who knocks over a small-town bank in New Mexico and gets away with a lot more than he bargained for, in terms of both payout and the baggage that comes with. See, the bank was loaded because the local mafiosi had been using it to launder money, meaning that Varrick and his partner now have both angry mobsters and police on their tail. Matthau, as usual, is drolly hilarious in the title role – slumped, sarcastic but maybe smarter than anyone chasing after him. The mark: $750,000 in Mob money. Advertising A blurring of fiction and documentary – but not exactly ‘docufiction’ – this indie sleeper depicts a real-life rare-books heist unsuccessfully committed by a group of college students in Lexington, Kentucky. Starring a cast of vaguely recognisable, if not exactly nameable, young actors, director Bart Layton (The Imposter) takes a Rashomon approach, replaying the crime from different perspectives and interweaving interviews with the actual perpetrators. The end result is an utterly unique, sometimes disorienting viewing experience that nonetheless still works as a captivating little thriller. The mark: A first edition of John James Audubon's Birds of America. It’s not hyperbole to place Jean Francoise-Richet’s two-part biopic of French gangster Jacques Mesrine somewhere close to Goodfellas and Scarface on cinema’s list of crime epics. Running from the ’50s through Mesrine’s violent death in 1972, the combined 246 minutes are sprawling but never boring due to the spellbinding work of actor Vincent Cassel. Mesrine spent most of his ‘career’ robbing banks and casino, before landing in prison, then escaping, then fashioning himself into a pseudo-revolutionary cult hero. It’s a crazy ride that’d be hard to believe if it didn’t happen. The mark: Banks and casinos. Advertising There are thrillers, and then there are the Safdie brothers’ movies, which seem designed to overwhelm audiences with enough anxiety to land them in the hospital. Before Uncut Gems, this crime drama teased what they were capable of in the field of panic-attack cinema. After a bank robbery goes awry and his developmentally disabled brother lands in jail, Costantine Nikas (Robert Pattinson in the role that, for critics, finally drove a stake through the heart of Edward Cullen) spends an evening burrowing ever deeper into the heart of the New York criminal underground in an attempt to free him. Have a defibrillator to hand, just in case. The mark: $65,000 from a New York bank. It wasn’t until its fifth instalment, when it shifted focus from car porn to elaborate heists involving cars, that the Fast & Furious franchise went into overdrive. Introducing Dwayne ‘The Rock’ Johnson as a US Marshal hunting Vin Diesel’s band of fugitive autophiles and moving the action to Brazil, director Justin Lin ups the insanity level several notches above ‘over the top’, reaching a bonkers high point with a set piece involving a massive safe chained to a pair of Dodge Chargers getting dragged through the streets of Rio de Janeiro. If that doesn’t convert sceptics to the House of Toretto, nothing will. The mark: $100 million belonging to a corrupt businessman. Advertising 49. Big Deal on Madonna Street (1958) Years before Jules Dassin decided to spoof his own heist classic Rififi with Topkapi, Italian director Mario Moncicelli beat him to the punch with this crime comedy in which a dream team – maybe make that ‘nightmare’ – of putzes attempt to pull off what should be an easy pawn shop robbery. Whereas in most heist movies, each member of a criminal team has a special skill to the table, each one here has a personal deficiency that ends up foiling the plot. The plan is to dig an underground tunnel from a nearby apartment into the business, but that, of course, looks easier on paper than it does in practice. The mark: A Rome pawn shop. It might give off the vibes of an old-school western, but the story of this leftfield gem from Yellowstone director Taylor Sheridan is borne straight from late-stage capitalism. After the matriarch of a West Texas family passes on, her down-and-out sons (Chris Pine and Ben Foster) commit a string of bank robberies in hopes of saving the ranch they inherited from her from foreclosure. Every character is painted in shades of sympathetic grey, including Jeff Bridges as the Texas Ranger pursuing the two brothers. It’s as smart as it is devastating. The mark: Banks in rural Texas. Advertising Imagine Dog Day Afternoon, only one of the hostages turns out to be Jean-Claude van Damme. It sounds like the set-up for some serious ass-kicking. But this isn’t the one-man wrecking crew of Bloodsport and Kickboxer fame. It’s the ‘real’ JCVD: an ageing, divorced action star who can barely afford to pay the lawyers in his child custody case. Instead of ‘Die Hard in a bank’, this metafictional curio is a sad, funny, surprisingly well-acted rumination on the illusion of celebrity, with just enough heist-y tension and roundhouse kicks to satisfy those who came expecting something completely different. The mark: A post office in the Muscles’ hometown of Brussels. Alec Guinness anchors this British crime caper, which is something of a spiritual precursor to a later Guinness vehicle, The Ladykillers. Here, he plays a meek bank clerk who, after years of going through his career unnoticed, hatches a plan to change his life dramatically by stealing a transport of gold bullion. Of course, the plot goes haywire in a most unexpected way, causing Guinness and his cohorts to scramble to set things back on course. Audrey Hepburn, pre-Roman Holiday, makes a blink-and-miss-it cameo. The mark: £1 million in gold bullion. Advertising The loot doesn’t have to be Italian Job-huge in a heist flick. Before he made Local Hero and Gregory’s Girl, Scottish great Bill Forsyth was turning out a sly crime film about a bunch of Glaswegian teenagers trying to fleece a warehouse of a few sinks. The result is somehow both hilariously mean-spirited and kinda sweet. It was made for £5000 and earned a decent return from cinemagoers keen to see a Glasgae crime caper in which a bunch of loveable no-hopers try to fence a van full of worthless basins – not that Forsyth ever saw a penny it. Someone got robbed. The mark: Some stainless steel sinks. 54. Villain (1971) Though under-seen compared to the likes of Get Carter and Performance, Michael Tuchner’s engaging character study is up there with them as cynical, rough-edged ’70s gangster pictures. The villain in question is Vic Dakin, a sadistic gang leader with omnivorous sexual appetite. The plot centres around the robbery of a plastics factory, but things get a bit twisty and convoluted as it goes along. But Richard Burton is memorably vicious as Dakin, a character as amoral and nearly as frightening a figure as Malcolm McDowell in A Clockwork Orange. The mark: A factory payroll. Advertising 55. Dhoom 2 (2004) This high-octane sequel brings one of Bollywood’s hottest pairings of all time: Hrithik Roshan and Aishwarya Rai Bachchan, together as a shapeshifting thief and his devoted lover. Watch them spar verbally, while pulling off elaborate thefts of antique swords and coins using cutting-edge technology and cool bikes in Mumbai, Durban and Rio de Janeiro. The opening scene, involving a moving train in the Namib desert and the theft of the Queen’s crown, is a stupendous reason to suspend disbelief entirely, while. Dhoom's infamous cop duo, Jai and Ali, combine sleuthing with some the kind of rambunctious songs you won’t find in, say, Heat. Ashanti Omkar The mark: The Queen’s crown. With its mixture of war movie, heist film and satirical comedy, Kelly’s Heroes sometimes struggles to make its disparate elements cohere, but it’s still a wild blast for the most part due primarily to the oddball cast. Clint Eastwood is the titular World War II lieutenant who becomes disillusioned enough with his mission he decides to sneak behind enemy lines and steal a clutch of gold for himself. Joining him in the mission are Telly Savalas, Don Rickles and Donald Sutherland as a proto-hippie named Oddball. The mark: A consignment of Nazi gold. Advertising 57. The Great Train Robbery (1903) How deep rooted are heist movies in film history? Around the same time as Georges Méliès was voyaging to the moon, audiences were clutching their satchels over a group of bandits sticking up a passenger train. Edwin S Porter’s short wasn’t the first narrative film, but it introduced several other firsts to the cinematic canon, including title cards, panning shots and an actual script. Seventy-five years later, Michael Crichton kinda-sorta ‘remade’ the movie with Sean Connery and Donald Sutherland, proving that, while the art movie making had come a long way, even the most basic crime stories can still shake audiences. The mark: An old-timey locomotive. Sweet, funny and understated, this humble British comedy came and went from theatres, but it deserves a second look from anyone who missed it. Starring Helen Mirren and Jim Broadment, it tells the true story of Kempton Bunton, an ageing taxi driver who, in the early ‘60s, and with genuinely good intentions, stole a Goya painting from the National Gallery. The Duke turned out to be the final feature film from director Roger Michell, who specialised in these kinds of subtle, uplifting little movies. It’s a fitting cap to his career. The mark: A portrait of the Duke of Wellington. Advertising 59. Bad Genius (2017) Taking a test is not usually a white-knuckle ride, so it’s something of a minor miracle that director Nattawut Poonpiriya manages to make the act of sitting at a desk and filling in answer bubbles as stress-inducing as any safecracking heist. In this exhilarating Thai thriller, a teenage brainiac develops a lucrative scheme helping the rich kids at her prestigious high school to cheat on their exams, culminating in a plan to smuggle the answers for a college admissions test out of Australia and back to Thailand. The movie takes a No. 2 pencil to the eye of a corrupt global academic system that saves educational opportunity for the already-privileged. The mark: The answers to an exam. 60. Robbery (1967) In historical terms, Robbery’s greatest impact is getting director Peter Yates hired to helm the much better remembered Steve McQueen car-chase classic Bullitt. But this crime thriller – a heavily embellished account of the real-life ‘Great Train Robbery’ of 1963 – deserves some reappraisal as one for containing some of the more technically thrilling action sequences of its era, including the intricately arranged opening heist of a British Royal Mail train and the ensuing getaway, which piqued the interest of McQueen enough to recommend Yates to the producers of Bullitt. The mark: £2.6 million in jewels on a London-bound train.
6420	dbpedia	3	5	https://www.theguardian.com/tv-and-radio/2023/aug/24/who-is-erin-carter-review-the-real-question-is-who-cares	en	Who Is Erin Carter? review – the real question is: who cares?	https://i.guim.co.uk/img…55a8c9bfda4d4dda	https://i.guim.co.uk/img…55a8c9bfda4d4dda	[ "https://sb.scorecardresearch.com/p?c1=2&c2=6035250&cv=2.0&cj=1&cs_ucfr=0&comscorekw=Television%2CTelevision+%26+radio%2CCulture", "https://i.guim.co.uk/img/media/9e075d85b39a3919f32f85c19e066a6b46fc86e2/483_0_5338_3203/master/5338.jpg?width=465&dpr=1&s=none", "https://i.guim.co.uk/img/uploads/2017/10/09/Lucy-Mangan,-R.png?width=75&dpr=1&s=none" ]	[]	[]	[ "" ]	null	[ "Lucy Mangan", "www.theguardian.com" ]	2023-08-24T00:00:00	This mystery drama is deathly dull, packed with cliches and atrocious dialogue. It’s the TV equivalent of a cry for help	en	https://assets.guim.co.u…e-touch-icon.svg	the Guardian	https://www.theguardian.com/tv-and-radio/2023/aug/24/who-is-erin-carter-review-the-real-question-is-who-cares	Who is Erin Carter? This is the question posed by a new seven-part drama on Netflix. Well, let’s see now. Erin (played by Evin Ahmad) is a substitute teacher at an international school in Spain, where she has lived for five years – apparently without picking up more than eight words of the language – since fleeing England for reasons unknown. She is the mother of Harper (Indica Watson), a preteen with a deteriorating eye condition and an admirable propensity to lamp anyone who tries to bully her about it. She is the killer, in self-defence, of one of the people engaged in the armed robbery of a supermarket into which she and Harper have popped to use the loo. In his dying throes, he recognises her from her mysterious past life: “It’s … you!” She is someone whose reaction to being identified by an armed robber – then having her picture plastered all over the papers and internet as a brave, robbery-foiling citizen – is to sigh, look pained and get into a childish spat with the mean-girl mother next door, Penelope (Charlotte Vega). Perhaps, instead, she might have packed up the gun she has hidden in the attic, tucked Harper under her arm and got the hell out of Dodge. She is someone whose character notes seem to have read in their entirety: “Feisty but with a heart of gold.” In other words, she gets told off for swearing and cares about the kids in her class. “It’s a cry for help,” she says of young Dylan when he draws cocks and balls all over his exam paper. If you say so. In short, Who Is Erin Carter? is not convincing (at least outside the scenes that Watson – a preternaturally gifted actor doing a great deal with woefully little – is allowed to dominate). Nor is it suspenseful. Its tepid plot takes an age to get going, to the extent that it does. The camera loves lingering on pained or puzzled faces, or following people down the picturesque streets of Barcelona on their way to execute another decision likely to do them harm. Almost every scene loses momentum. The only exceptions are the occasional set pieces when Erin comes across another villain who recognises her from “before” – and whom she must dispatch after a sub-Buffy-style fight scene, all without letting a flicker of emotion cross her face. It is very strange – and that is before we get to the school administrator Olivia (played by This Time With Alan Partridge’s Susannah Fielding), who is brisk, funny and on some kind of amphetamines that enable her to stay on top of her schedule. Ms Swearalot, by contrast, is always late! Crazy! Olivia seems to be from a different programme entirely – one that I would gladly watch. Fielding has funny bones. Then there is divorced neighbour and cop-with-gambling-debts, Emilio (Pep Ambròs). He sees the CCTV of the robbery, notes Erin’s unexpected willingness and ability to kill bad guys, then recruits her – in return for cleaning up some of the mess she has left behind. But he can’t do much about her spat with Penelope, which begins to take up an inordinate amount of screen time. This is felt particularly keenly after we are introduced to Daniel (Douglas Henshall), Dylan’s suspiciously successful businessman father, and Lena (Denise Gough), a prisoner on tagged release in England; they are waiting in the wings to deliver some acting and plot, if they could just get a clear run at things. Cliches abound – the slow-motion shower shot, the dark drawings in the child’s schoolbook expressing unresolved trauma, an effortfully carefree moment frolicking in the sea. Characters say – actually say – “It’s OK not to be OK” and “All things considered, it could have been worse” and “Are you sure you’re OK?” For those of you who remember the early 90s, think of it as Eldorado with a crime thriller element that no one cares about. Younger viewers can think of it as Dylan’s exam paper in televisual form.
6420	dbpedia	1	69	https://www.abebooks.com/ROBBERY-UNDER-ARMS-Story-Life-Adventure/22626187117/bd	en	ROBBERY UNDER ARMS. A Story Of Life and Adventure in the Bush and in the Goldfields of Australia. Near Fine "Three-Decker" First Edition in Original Cloth. by Boldrewood (Rolf) p.s. (Browne, (T.A.) ;-	https://pictures.abebook…2626187117_2.jpg		[ "https://pictures.abebooks.com/inventory/md/md22626187117.jpg", "https://pictures.abebooks.com/inventory/md/md22626187117_2.jpg", "https://pictures.abebooks.com/inventory/md/md22626187117_3.jpg", "https://assets.prod.abebookscdn.com/cdn/shared/images/Shared/css/seller-rating/fourstar.svg", "https://assets.prod.abebookscdn.com/cdn/shared/images/common/groups/seller-associations/aba-icon.png", "https://assets.prod.abebookscdn.com/cdn/shared/images/common/groups/seller-associations/pbfa-icon.png", "https://assets.prod.abebookscdn.com/cdn/shared/images/common/groups/seller-associations/ilab-icon.png", "https://assets.prod.abebookscdn.com/cdn/shared/images/common/icons/cc-visa.png", "https://assets.prod.abebookscdn.com/cdn/shared/images/common/icons/cc-masterc.png", "https://assets.prod.abebookscdn.com/cdn/shared/images/common/icons/cc-amex.png", "https://assets.prod.abebookscdn.com/cdn/shared/images/common/icons/wallet_applepay.png", "https://assets.prod.abebookscdn.com/cdn/shared/images/common/icons/wallet_googlepay.png", "https://assets.prod.abebookscdn.com/cdn/shared/images/common/social/facebook.svg", "https://assets.prod.abebookscdn.com/cdn/shared/images/common/social/x-twitter.svg", "https://assets.prod.abebookscdn.com/cdn/shared/images/common/social/instagram.svg", "https://assets.prod.abebookscdn.com/cdn/shared/images/common/footer/abebooks-footer-logo.png" ]	[]	[]	[ "" ]	null	[ "(T.A.) ;" ]	1888-08-16T00:00:00	Hardcover - London ;- Remington & Co - 1888 - Condition: Near Fine - A SUPERB 3 volume set Crown 8vo. Original green cloth, decorated in black and lettered in gilt. Vol. 1 - 300pps. / Vol. 2 (inner endpaper gutters starting)- 300pps. / Vol. 3 - 291pps. Complete with Half Titles (each with inked inscription) Original green floral endpapers. Apart from some sporadic foxing this is an excellent set of this, Australia's foremost literary classic ! Truly Rare in this collectable condition. (Sadleir 261;- Wolff 586) It is considered a Classic of Australian Colonial Literature and has inspired numerous adaptations in film, television and theatre. English author Thomas Wood called the novel " a classic, which for life and dash and zip and colour - all of a period - has no match in all Australian letters." Furthermore " Robbery Under Arms" is cited as an important influence on Owen Wister's novel, "The Virginian", (1902), widely regarded as the first Western. - ROBBERY UNDER ARMS. A Story Of Life and Adventure in the Bush and in the Goldfields of Australia. Near Fine "Three-Decker" First Edition in Original Cloth.	en			https://www.abebooks.com/ROBBERY-UNDER-ARMS-Story-Life-Adventure/22626187117/bd	About this Item A SUPERB 3 volume set Crown 8vo. Original green cloth, decorated in black and lettered in gilt. Vol. 1 - 300pps. / Vol. 2 (inner endpaper gutters starting)- 300pps. / Vol. 3 - 291pps. Complete with Half Titles (each with inked inscription) Original green floral endpapers. Apart from some sporadic foxing this is an excellent set of this, Australia's foremost literary classic ! Truly Rare in this collectable condition. (Sadleir 261;- Wolff 586) It is considered a Classic of Australian Colonial Literature and has inspired numerous adaptations in film, television and theatre. English author Thomas Wood called the novel " a classic, which for life and dash and zip and colour - all of a period - has no match in all Australian letters." Furthermore " Robbery Under Arms" is cited as an important influence on Owen Wister's novel, "The Virginian", (1902), widely regarded as the first Western. Seller Inventory # 4243 Contact seller Report this item Established 1867. Family business. Very Large Shop in Preston Town Centre near the University (just off M6 Motorway). Open 6 days 11.30a.m. to 5p.m. (or by appointment.)Specialities ;- Travel, Topography, Atlases, Science, Natural History, Conan Doyle & Sherlock Holmes. Come along and see us! Visit Seller's Storefront Association Member Members of these associations are committed to maintaining the highest standards. They vouch for the authenticity of all items offered for sale. They provide expert and detailed descriptions, disclose all significant defects and/or restorations, provide clear and accurate pricing, and operate with fairness and honesty during the purchase experience. Seller's business information HALEWOOD AND SONS ABA ILAB Est. 1867. United Kingdom Terms of Sale: Payment in Sterling; International money order;- Bank transfer. All books remain the property of Halewood & Sons until paid for in full, except for Libraries, Institutions and Clients known to us who will be invoiced to suit requirements. Any item may be returned if found to be not as described within 7 days of receipt. Shipping Terms: Shipping costs are based on books weighing 2.2 LB, or 1 KG. If your book order is heavy or oversized, we may contact you to let you know extra shipping is required.
6420	dbpedia	1	7	https://aso.gov.au/titles/tv/robbery-under-arms/notes/	en	Curator's notes Robbery Under Arms (1985) on ASO	https://aso.gov.au/media…e/AS_Favicon.png	https://aso.gov.au/media…e/AS_Favicon.png	[ "https://aso.gov.au/media/chrome/search_button.png", "https://aso.gov.au/media/titles/robberyu/robberyu1__jpg_172x124_crop_q85.jpg", "https://aso.gov.au/media/titles/robberyu/robberyu2__jpg_172x124_crop_q85.jpg", "https://aso.gov.au/media/people/Janet_Bell_jpg_72x93_crop_detail_q85.jpg", "https://aso.gov.au/media/chrome/esymbol.png", "https://aso.gov.au/media/chrome/footer_partners.png", "https://aso.gov.au/media/chrome/nfsa-logo-orb.png", "https://static.getclicky.com/139763ns.gif" ]	[]	[]	[ "" ]	null	[]	null	Reviewed by - Janet Bell.	en	/media/chrome/AS_Favicon.png		null	Robbery Under Arms was adapted from the classic Australian book of the same name written by Rolf Boldrewood, the pen-name for Thomas Alexander Browne (1826-1915). The subtitle of the book, A Story of Life and Adventure in the Bush and in the Goldfields of Australia, represents a fair summary of the drama, which has often caught the imagination of filmmakers. Before this 1985 version there had been five attempts to tell this story, the best known being the Australian–British feature film of 1957 starring Peter Finch as Captain Starlight. The latest version has fine performances from Sam Neill as the elusive Captain Starlight with Steve Vidler and Chis Cummins as the wild colonial Marston boys. As well as evoking the difficult lives of frontier women, British imperialism is juxtaposed with the Irish Catholic colonial spirit. The issue of race is explored through the fraternal relationship between Captain Starlight and Warrigal (Tommy Lewis), an Aboriginal Australian, a relationship not so clearly defined in the 19th century novel. No expense was spared with this lush recreation of colonial Australia during the gold rush era of the mid-19th century. The South Australian Film Corporation found half of the large budget of $7.3 million which was to be offset by the double profit opportunity of both a cinema and a television mini-series release. The rest of the budget was raised privately. The shooting took place over 20 weeks during 1984 and was filmed entirely in South Australia in the Flinders Ranges, the Adelaide Hills and the saltwater flats northwest of Adelaide.
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"https://images.static-bluray.com/transparent.gif" ]	[]	[]	[ "Robbery Under Arms" ]	null	[]	null			https://www.blu-ray.com/favicon.ico	Blu-ray.com	https://www.blu-ray.com/Robbery-Under-Arms/424407/	Movie finder Release calendar New releases Coming soon Reviews User reviews Search Directed by Jack Lee Robbery Under Arms 1957 83 MIN Overview Releases Reviews Cast crew Movie Codes Products News Forum Action Adventure Crime Country UK LanguageEnglish Runtime83 min Movie plot tags In 1865 Australia, the two Marston brothers, bold Dick and sensitive Jim, are drawn into a life of crime by their ex-convict father Ben and his friend, the famous cattle thief Captain Starlight . They help take some cattle their father and Starlight have stolen across the country to Adelaide, where they are sold with Starlight impersonating an English gentleman. In 1865 Australia, the two Marston brothers, bold Dick and sensitive Jim, are drawn into a life of crime by their ex-convict father Ben and his friend, the famous cattle thief Captain Starlight . They help take some cattle their father and Starlight have stolen across the country to Adelaide, where they are sold with Starlight impersonating an English gentleman. (less) Director: Jack Lee Writers: Alexander Baron, W.P. Lipscomb Starring: Peter Finch, Ronald Lewis, Laurence Naismith, Maureen Swanson, David McCallum, Vincent Ball Producers: Joseph Janni, Earl St. John » See full cast & crew 7 DVD collections
6420	dbpedia	2	91	https://academic.oup.com/adaptation/article-abstract/9/1/46/2332804	en				[]	[]	[]	[ "" ]	null	[]	null					null
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6420	dbpedia	3	6	https://en.wikipedia.org/wiki/film_noir	en	Film noir	https://upload.wikimedia…ComboTrailer.jpg	https://upload.wikimedia…ComboTrailer.jpg	[ "https://en.wikipedia.org/static/images/icons/wikipedia.png", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-tagline-en.svg", "https://upload.wikimedia.org/wikipedia/commons/thumb/4/47/Sound-icon.svg/20px-Sound-icon.svg.png", "https://upload.wikimedia.org/wikipedia/commons/thumb/2/25/BigComboTrailer.jpg/220px-BigComboTrailer.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/b/b5/Marlene_Dietrich_circa_1930_%28cropped%29.png/220px-Marlene_Dietrich_circa_1930_%28cropped%29.png", "https://upload.wikimedia.org/wikipedia/en/thumb/3/3b/BlackMask1934Oct.jpg/220px-BlackMask1934Oct.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/b/b1/OutOfThePastMitchumGreer.jpg/220px-OutOfThePastMitchumGreer.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/a/a4/LonelyPlaceTrailer.jpg/220px-LonelyPlaceTrailer.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/b/ba/Lady_from_Shanghai_trailer_rita_hayworth6.JPG/220px-Lady_from_Shanghai_trailer_rita_hayworth6.JPG", "https://upload.wikimedia.org/wikipedia/commons/thumb/f/fc/DetourPoster1.jpg/220px-DetourPoster1.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/8/87/Gnome-mime-sound-openclipart.svg/50px-Gnome-mime-sound-openclipart.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/6/6a/StrayDogShadows.jpg/220px-StrayDogShadows.jpg", "https://upload.wikimedia.org/wikipedia/en/thumb/1/1f/1BelmondoDoesBogey.jpg/220px-1BelmondoDoesBogey.jpg", "https://upload.wikimedia.org/wikipedia/en/thumb/3/3e/StoneSmoking.jpg/220px-StoneSmoking.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/8/87/Gnome-mime-sound-openclipart.svg/50px-Gnome-mime-sound-openclipart.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/a/af/BladeRunnerSS.jpg/220px-BladeRunnerSS.jpg", "https://upload.wikimedia.org/wikipedia/commons/5/52/TaxiDriver1.jpg", "https://upload.wikimedia.org/wikipedia/en/thumb/7/72/VertigoHangTrailer.jpg/220px-VertigoHangTrailer.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/4/44/SorryWrongNumber2.jpg/220px-SorryWrongNumber2.jpg", "https://upload.wikimedia.org/wikipedia/en/thumb/1/10/PursuedPoster.jpg/220px-PursuedPoster.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/d/d7/BigClinch.jpg/220px-BigClinch.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/4/47/Sound-icon.svg/45px-Sound-icon.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/4/4a/Commons-logo.svg/12px-Commons-logo.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/9/96/Symbol_category_class.svg/16px-Symbol_category_class.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/e/e2/Symbol_portal_class.svg/16px-Symbol_portal_class.svg.png", "https://upload.wikimedia.org/wikipedia/en/thumb/8/8a/OOjs_UI_icon_edit-ltr-progressive.svg/10px-OOjs_UI_icon_edit-ltr-progressive.svg.png", "https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1", "https://en.wikipedia.org/static/images/footer/wikimedia-button.svg", "https://en.wikipedia.org/static/images/footer/poweredby_mediawiki.svg" ]	[]	[]	[ "" ]	null	[ "Contributors to Wikimedia projects" ]	2001-05-24T21:01:35+00:00		en	/static/apple-touch/wikipedia.png		https://en.wikipedia.org/wiki/Film_noir	Cinematic term used to describe stylized feature film crime dramas "Film Noir" redirects here. For the Carly Simon album, see Film Noir (album). Film noirYears activeClassic period: 1940s and 1950s; earlier films are often referred to as proto-noirs and later films as neo-noirsLocationUnited StatesInfluences German Expressionism French poetic realism Italian neorealism American hardboiled fiction Influenced French New Wave Neo-noir Tech noir Film noir ( ; French: [film nwaʁ]) is a cinematic term used primarily to describe stylized Hollywood crime dramas, particularly those that emphasize cynical attitudes and motivations. The 1940s and 1950s are generally regarded as the "classic period" of American film noir. Film noir of this era is associated with a low-key, black-and-white visual style that has roots in German Expressionism cinematography. Many of the prototypical stories and attitudes expressed in classic noir derive from the hardboiled school of crime fiction that emerged in the United States during the Great Depression.[1] The term film noir, French for 'black film' (literal) or 'dark film' (closer meaning),[2] was first applied to Hollywood films by French critic Nino Frank in 1946, but was unrecognized by most American film industry professionals of that era.[3] Frank is believed to have been inspired by the French literary publishing imprint Série noire, founded in 1945. Cinema historians and critics defined the category retrospectively. Before the notion was widely adopted in the 1970s, many of the classic films noir[a] were referred to as "melodramas". Whether film noir qualifies as a distinct genre or whether it should be considered a filmmaking style is a matter of ongoing and heavy debate among film scholars. Film noir encompasses a range of plots; common archetypical protagonists include a private investigator (The Big Sleep), a plainclothes police officer (The Big Heat), an aging boxer (The Set-Up), a hapless grifter (Night and the City), a law-abiding citizen lured into a life of crime (Gun Crazy), a femme fatale (Gilda) or simply a victim of circumstance (D.O.A.). Although film noir was originally associated with American productions, the term has been used to describe films from around the world. Many films released from the 1960s onward share attributes with films noir of the classical period, and often treat its conventions self-referentially. Latter-day works are typically referred to as neo-noir. The clichés of film noir have inspired parody since the mid-1940s.[4] Definition [edit] The question of what defines film noir and what sort of category it is, provokes continuing debate.[5] "We'd be oversimplifying things in calling film noir oneiric, strange, erotic, ambivalent, and cruel ..."—this set of attributes constitutes the first of many attempts to define film noir made by French critics Raymond Borde [fr] and Étienne Chaumeton in their 1955 book Panorama du film noir américain 1941–1953 (A Panorama of American Film Noir), the original and seminal extended treatment of the subject. [6] They emphasize that not every noir film embodies all five attributes in equal measure—one might be more dreamlike; another, particularly brutal.[7] The authors' caveats and repeated efforts at alternative definition have been echoed in subsequent scholarship, but in the words of cinema historian Mark Bould, film noir remains an "elusive phenomenon."[8] Though film noir is often identified with a visual style that emphasizes low-key lighting and unbalanced compositions,[9] films commonly identified as noir evidence a variety of visual approaches, including ones that fit comfortably within the Hollywood mainstream.[10] Film noir similarly embraces a variety of genres, from the gangster film to the police procedural to the gothic romance to the social problem picture—any example of which from the 1940s and 1950s, now seen as noir's classical era, was likely to be described as a melodrama at the time.[11] While many critics refer to film noir as a genre itself, others argue that it can be no such thing.[13] Foster Hirsch defines a genre as determined by "conventions of narrative structure, characterization, theme, and visual design." Hirsch, as one who has taken the position that film noir is a genre, argues that these elements are present "in abundance." Hirsch notes that there are unifying features of tone, visual style and narrative sufficient to classify noir as a distinct genre.[14] Others argue that film noir is not a genre. It is often associated with an urban setting, but many classic noirs take place in small towns, suburbia, rural areas, or on the open road; setting is not a determinant, as with the Western. Similarly, while the private eye and the femme fatale are stock character types conventionally identified with noir, the majority of films in the genre feature neither. Nor does film noir rely on anything as evident as the monstrous or supernatural elements of the horror film, the speculative leaps of the science fiction film, or the song-and-dance routines of the musical.[15] An analogous case is that of the screwball comedy, widely accepted by film historians as constituting a "genre": screwball is defined not by a fundamental attribute, but by a general disposition and a group of elements, some—but rarely and perhaps never all—of which are found in each of the genre's films.[16] Because of the diversity of noir (much greater than that of the screwball comedy), certain scholars in the field, such as film historian Thomas Schatz, treat it as not a genre but a "style". [17] Alain Silver, the most widely published American critic specializing in film noir studies, refers to film noir as a "cycle"[18] and a "phenomenon",[19] even as he argues that it has—like certain genres—a consistent set of visual and thematic codes.[20] Screenwriter Eric R. Williams labels both film noir and screwball comedy a "pathway" in his screenwriters taxonomy; explaining that a pathway has two parts: 1) the way the audience connects with the protagonist and 2) the trajectory the audience expects the story to follow.[21] Other critics treat film noir as a "mood,"[22] a "series",[23] or simply a chosen set of films they regard as belonging to the noir "canon."[24] There is no consensus on the matter.[25] Background [edit] Cinematic sources [edit] The aesthetics of film noir were influenced by German Expressionism, an artistic movement of the 1910s and 1920s that involved theater, music, photography, painting, sculpture and architecture, as well as cinema. The opportunities offered by the booming Hollywood film industry and then the threat of Nazism led to the emigration of many film artists working in Germany who had been involved in the Expressionist movement or studied with its practitioners.[26] M (1931), shot only a few years before director Fritz Lang's departure from Germany, is among the first crime films of the sound era to join a characteristically noirish visual style with a noir-type plot, in which the protagonist is a criminal (as are his most successful pursuers). Directors such as Lang, Jacques Tourneur, Robert Siodmak and Michael Curtiz brought a dramatically shadowed lighting style and a psychologically expressive approach to visual composition (mise-en-scène) with them to Hollywood, where they made some of the most famous classic noirs.[27] By 1931, Curtiz had already been in Hollywood for half a decade, making as many as six films a year. Movies of his such as 20,000 Years in Sing Sing (1932) and Private Detective 62 (1933) are among the early Hollywood sound films arguably classifiable as noir—scholar Marc Vernet offers the latter as evidence that dating the initiation of film noir to 1940 or any other year is "arbitrary".[28] Expressionism-orientated filmmakers had free stylistic rein in Universal horror pictures such as Dracula (1931), The Mummy (1932)—the former photographed and the latter directed by the Berlin-trained Karl Freund—and The Black Cat (1934), directed by Austrian émigré Edgar G. Ulmer.[29] The Universal horror film that comes closest to noir, in story and sensibility, is The Invisible Man (1933), directed by Englishman James Whale and photographed by American Arthur Edeson. Edeson later photographed The Maltese Falcon (1941), widely regarded as the first major film noir of the classic era.[30] Josef von Sternberg was directing in Hollywood during the same period. Films of his such as Shanghai Express (1932) and The Devil Is a Woman (1935), with their hothouse eroticism and baroque visual style anticipated central elements of classic noir. The commercial and critical success of Sternberg's silent Underworld (1927) was largely responsible for spurring a trend of Hollywood gangster films.[31] Successful films in that genre such as Little Caesar (1931), The Public Enemy (1931) and Scarface (1932) demonstrated that there was an audience for crime dramas with morally reprehensible protagonists.[32] An important, possibly influential, cinematic antecedent to classic noir was 1930s French poetic realism, with its romantic, fatalistic attitude and celebration of doomed heroes.[33] The movement's sensibility is mirrored in the Warner Bros. drama I Am a Fugitive from a Chain Gang (1932), a forerunner of noir.[34] Among films not considered noir, perhaps none had a greater effect on the development of the genre than Citizen Kane (1941), directed by Orson Welles. Its visual intricacy and complex, voiceover narrative structure are echoed in dozens of classic films noir.[35] Italian neorealism of the 1940s, with its emphasis on quasi-documentary authenticity, was an acknowledged influence on trends that emerged in American noir. The Lost Weekend (1945), directed by Billy Wilder, another Vienna-born, Berlin-trained American auteur, tells the story of an alcoholic in a manner evocative of neorealism.[36] It also exemplifies the problem of classification: one of the first American films to be described as a film noir, it has largely disappeared from considerations of the field.[37] Director Jules Dassin of The Naked City (1948) pointed to the neorealists as inspiring his use of location photography with non-professional extras. This semidocumentary approach characterized a substantial number of noirs in the late 1940s and early 1950s. Along with neorealism, the style had an American precedent cited by Dassin, in director Henry Hathaway's The House on 92nd Street (1945), which demonstrated the parallel influence of the cinematic newsreel.[38] Literary sources [edit] The primary literary influence on film noir was the hardboiled school of American detective and crime fiction, led in its early years by such writers as Dashiell Hammett (whose first novel, Red Harvest, was published in 1929) and James M. Cain (whose The Postman Always Rings Twice appeared five years later), and popularized in pulp magazines such as Black Mask. The classic film noirs The Maltese Falcon (1941) and The Glass Key (1942) were based on novels by Hammett; Cain's novels provided the basis for Double Indemnity (1944), Mildred Pierce (1945), The Postman Always Rings Twice (1946), and Slightly Scarlet (1956; adapted from Love's Lovely Counterfeit). A decade before the classic era, a story by Hammett was the source for the gangster melodrama City Streets (1931), directed by Rouben Mamoulian and photographed by Lee Garmes, who worked regularly with Sternberg. Released the month before Lang's M, City Streets has a claim to being the first major film noir; both its style and story had many noir characteristics.[40] Raymond Chandler, who debuted as a novelist with The Big Sleep in 1939, soon became the most famous author of the hardboiled school. Not only were Chandler's novels turned into major noirs—Murder, My Sweet (1944; adapted from Farewell, My Lovely), The Big Sleep (1946), and Lady in the Lake (1947)—he was an important screenwriter in the genre as well, producing the scripts for Double Indemnity, The Blue Dahlia (1946), and Strangers on a Train (1951). Where Chandler, like Hammett, centered most of his novels and stories on the character of the private eye, Cain featured less heroic protagonists and focused more on psychological exposition than on crime solving;[41] the Cain approach has come to be identified with a subset of the hardboiled genre dubbed "noir fiction". For much of the 1940s, one of the most prolific and successful authors of this often downbeat brand of suspense tale was Cornell Woolrich (sometimes under the pseudonym George Hopley or William Irish). No writer's published work provided the basis for more noir films of the classic period than Woolrich's: thirteen in all, including Black Angel (1946), Deadline at Dawn (1946), and Fear in the Night (1947).[42] Another crucial literary source for film noir was W. R. Burnett, whose first novel to be published was Little Caesar, in 1929. It was turned into a hit for Warner Bros. in 1931; the following year, Burnett was hired to write dialogue for Scarface, while The Beast of the City (1932) was adapted from one of his stories. At least one important reference work identifies the latter as a film noir despite its early date.[43] Burnett's characteristic narrative approach fell somewhere between that of the quintessential hardboiled writers and their noir fiction compatriots—his protagonists were often heroic in their own way, which happened to be that of the gangster. During the classic era, his work, either as author or screenwriter, was the basis for seven films now widely regarded as noir, including three of the most famous: High Sierra (1941), This Gun for Hire (1942), and The Asphalt Jungle (1950).[44] Classic period [edit] Overview [edit] The 1940s and 1950s are generally regarded as the classic period of American film noir. While City Streets and other pre-WWII crime melodramas such as Fury (1936) and You Only Live Once (1937), both directed by Fritz Lang, are categorized as full-fledged noir in Alain Silver and Elizabeth Ward's film noir encyclopedia, other critics tend to describe them as "proto-noir" or in similar terms.[45] The film now most commonly cited as the first "true" film noir is Stranger on the Third Floor (1940), directed by Latvian-born, Soviet-trained Boris Ingster.[46] Hungarian émigré Peter Lorre—who had starred in Lang's M—was top-billed, although he did not play the primary lead. (He later played secondary roles in several other formative American noirs.) Although modestly budgeted, at the high end of the B movie scale, Stranger on the Third Floor still lost its studio, RKO, US$56,000 (equivalent to $1,217,900 in 2023), almost a third of its total cost.[47] Variety magazine found Ingster's work: "...too studied and when original, lacks the flare [sic] to hold attention. It's a film too arty for average audiences, and too humdrum for others."[48] Stranger on the Third Floor was not recognized as the beginning of a trend, let alone a new genre, for many decades.[46] Most film noirs of the classic period were similarly low- and modestly-budgeted features without major stars—B movies either literally or in spirit. In this production context, writers, directors, cinematographers, and other craftsmen were relatively free from typical big-picture constraints. There was more visual experimentation than in Hollywood filmmaking as a whole: the Expressionism now closely associated with noir and the semi-documentary style that later emerged represent two very different tendencies. Narrative structures sometimes involved convoluted flashbacks uncommon in non-noir commercial productions. In terms of content, enforcement of the Production Code ensured that no film character could literally get away with murder or be seen sharing a bed with anyone but a spouse; within those bounds, however, many films now identified as noir feature plot elements and dialogue that were very risqué for the time.[50] Thematically, films noir were most exceptional for the relative frequency with which they centered on portrayals of women of questionable virtue—a focus that had become rare in Hollywood films after the mid-1930s and the end of the pre-Code era. The signal film in this vein was Double Indemnity, directed by Billy Wilder; setting the mold was Barbara Stanwyck's femme fatale, Phyllis Dietrichson—an apparent nod to Marlene Dietrich, who had built her extraordinary career playing such characters for Sternberg. An A-level feature, the film's commercial success and seven Oscar nominations made it probably the most influential of the early noirs.[51] A slew of now-renowned noir "bad girls" followed, such as those played by Rita Hayworth in Gilda (1946), Lana Turner in The Postman Always Rings Twice (1946), Ava Gardner in The Killers (1946), and Jane Greer in Out of the Past (1947). The iconic noir counterpart to the femme fatale, the private eye, came to the fore in films such as The Maltese Falcon (1941), with Humphrey Bogart as Sam Spade, and Murder, My Sweet (1944), with Dick Powell as Philip Marlowe. The prevalence of the private eye as a lead character declined in film noir of the 1950s, a period during which several critics describe the form as becoming more focused on extreme psychologies and more exaggerated in general.[52] A prime example is Kiss Me Deadly (1955); based on a novel by Mickey Spillane, the best-selling of all the hardboiled authors, here the protagonist is a private eye, Mike Hammer. As described by Paul Schrader, "Robert Aldrich's teasing direction carries noir to its sleaziest and most perversely erotic. Hammer overturns the underworld in search of the 'great whatsit' [which] turns out to be—joke of jokes—an exploding atomic bomb."[53] Orson Welles's baroquely styled Touch of Evil (1958) is frequently cited as the last noir of the classic period.[54] Some scholars believe film noir never really ended, but continued to transform even as the characteristic noir visual style began to seem dated and changing production conditions led Hollywood in different directions—in this view, post-1950s films in the noir tradition are seen as part of a continuity with classic noir.[55] A majority of critics, however, regard comparable films made outside the classic era to be something other than genuine film noir. They regard true film noir as belonging to a temporally and geographically limited cycle or period, treating subsequent films that evoke the classics as fundamentally different due to general shifts in filmmaking style and latter-day awareness of noir as a historical source for allusion.[56] These later films are often called neo-noir. Directors and the business of noir [edit] While the inceptive noir, Stranger on the Third Floor, was a B picture directed by a virtual unknown, many of the films noir still remembered were A-list productions by well-known film makers. Debuting as a director with The Maltese Falcon (1941), John Huston followed with Key Largo (1948) and The Asphalt Jungle (1950). Opinion is divided on the noir status of several Alfred Hitchcock thrillers from the era; at least four qualify by consensus: Shadow of a Doubt (1943), Notorious (1946), Strangers on a Train (1951) and The Wrong Man (1956),[57] Otto Preminger's success with Laura (1944) made his name and helped demonstrate noir's adaptability to a high-gloss 20th Century-Fox presentation.[58] Among Hollywood's most celebrated directors of the era, arguably none worked more often in a noir mode than Preminger; his other noirs include Fallen Angel (1945), Whirlpool (1949), Where the Sidewalk Ends (1950) (all for Fox) and Angel Face (1952). A half-decade after Double Indemnity and The Lost Weekend, Billy Wilder made Sunset Boulevard (1950) and Ace in the Hole (1951), noirs that were not so much crime dramas as satires on Hollywood and the news media respectively. In a Lonely Place (1950) was Nicholas Ray's breakthrough; his other noirs include his debut, They Live by Night (1948) and On Dangerous Ground (1952), noted for their unusually sympathetic treatment of characters alienated from the social mainstream.[59] Orson Welles had notorious problems with financing but his three film noirs were well-budgeted: The Lady from Shanghai (1947) received top-level, "prestige" backing, while The Stranger (1946), his most conventional film, and Touch of Evil (1958), an unmistakably personal work, were funded at levels lower but still commensurate with headlining releases.[60] Like The Stranger, Fritz Lang's The Woman in the Window (1944) was a production of the independent International Pictures. Lang's follow-up, Scarlet Street (1945), was one of the few classic noirs to be officially censored: filled with erotic innuendo, it was temporarily banned in Milwaukee, Atlanta and New York State.[61] Scarlet Street was a semi-independent, cosponsored by Universal and Lang's Diana Productions, of which the film's co-star, Joan Bennett, was the second biggest shareholder. Lang, Bennett and her husband, the Universal veteran and Diana production head Walter Wanger, made Secret Beyond the Door (1948) in similar fashion.[62] Before leaving the United States while subject to the Hollywood blacklist, Jules Dassin made two classic noirs that also straddled the major/independent line: Brute Force (1947) and the influential documentary-style The Naked City (1948) were developed by producer Mark Hellinger, who had an "inside/outside" contract with Universal similar to Wanger's.[63] Years earlier, working at Warner Bros., Hellinger had produced three films for Raoul Walsh, the proto-noirs They Drive by Night (1940), Manpower (1941) and High Sierra (1941), now regarded as a seminal work in noir's development.[64] Walsh had no great name during his half-century as a director but his noirs The Man I Love (1947)，White Heat (1949) and The Enforcer (1951) had A-list stars and are seen as important examples of the cycle.[65] Other directors associated with top-of-the-bill Hollywood films noir include Edward Dmytryk (Murder, My Sweet (1944), Crossfire (1947))—the first important noir director to fall prey to the industry blacklist—as well as Henry Hathaway (The Dark Corner (1946), Kiss of Death (1947)) and John Farrow (The Big Clock (1948), Night Has a Thousand Eyes (1948)). Most of the Hollywood films considered to be classic noirs fall into the category of the B movie.[66] Some were Bs in the most precise sense, produced to run on the bottom of double bills by a low-budget unit of one of the major studios or by one of the smaller Poverty Row outfits, from the relatively well-off Monogram to shakier ventures such as Producers Releasing Corporation (PRC). Jacques Tourneur had made over thirty Hollywood Bs (a few now highly regarded, most forgotten) before directing the A-level Out of the Past, described by scholar Robert Ottoson as "the ne plus ultra of forties film noir".[67] Movies with budgets a step up the ladder, known as "intermediates" by the industry, might be treated as A or B pictures depending on the circumstances. Monogram created Allied Artists in the late 1940s to focus on this sort of production. Robert Wise (Born to Kill [1947], The Set-Up [1949]) and Anthony Mann (T-Men [1947] and Raw Deal [1948]) each made a series of impressive intermediates, many of them noirs, before graduating to steady work on big-budget productions. Mann did some of his most celebrated work with cinematographer John Alton, a specialist in what James Naremore called "hypnotic moments of light-in-darkness".[68] He Walked by Night (1948), shot by Alton though credited solely to Alfred Werker, directed in large part by Mann, demonstrates their technical mastery and exemplifies the late 1940s trend of "police procedural" crime dramas. It was released, like other Mann-Alton noirs, by the small Eagle-Lion company; it was the inspiration for the Dragnet series, which debuted on radio in 1949 and television in 1951.[69] Several directors associated with noir built well-respected oeuvres largely at the B-movie/intermediate level. Samuel Fuller's brutal, visually energetic films such as Pickup on South Street (1953) and Underworld U.S.A. (1961) earned him a unique reputation; his advocates praise him as "primitive" and "barbarous".[71][72] Joseph H. Lewis directed noirs as diverse as Gun Crazy (1950) and The Big Combo (1955). The former—whose screenplay was written by the blacklisted Dalton Trumbo, disguised by a front—features a bank hold-up sequence shown in an unbroken take of over three minutes that was influential.[73] The Big Combo was shot by John Alton and took the shadowy noir style to its outer limits.[74] The most distinctive films of Phil Karlson (The Phenix City Story [1955] and The Brothers Rico [1957]) tell stories of vice organized on a monstrous scale.[75] The work of other directors in this tier of the industry, such as Felix E. Feist (The Devil Thumbs a Ride [1947], Tomorrow Is Another Day [1951]), has become obscure. Edgar G. Ulmer spent most of his Hollywood career working at B studios and once in a while on projects that achieved intermediate status; for the most part, on unmistakable Bs. In 1945, while at PRC, he directed a noir cult classic, Detour.[76] Ulmer's other noirs include Strange Illusion (1945), also for PRC; Ruthless (1948), for Eagle-Lion, which had acquired PRC the previous year and Murder Is My Beat (1955), for Allied Artists. A number of low- and modestly-budgeted noirs were made by independent, often actor-owned, companies contracting with larger studios for distribution. Serving as producer, writer, director and top-billed performer, Hugo Haas made films like Pickup (1951), The Other Woman (1954) and Jacques Tourneur, The Fearmakers (1958). It was in this way that accomplished noir actress Ida Lupino established herself as the sole female director in Hollywood during the late 1940s and much of the 1950s. She does not appear in the best-known film she directed, The Hitch-Hiker (1953), developed by her company, The Filmakers, with support and distribution by RKO.[77] It is one of the seven classic film noirs produced largely outside of the major studios that have been chosen for the United States National Film Registry. Of the others, one was a small-studio release: Detour. Four were independent productions distributed by United Artists, the "studio without a studio": Gun Crazy; Kiss Me Deadly; D.O.A. (1950), directed by Rudolph Maté and Sweet Smell of Success (1957), directed by Alexander Mackendrick. One was an independent distributed by MGM, the industry leader: Force of Evil (1948), directed by Abraham Polonsky and starring John Garfield, both of whom were blacklisted in the 1950s.[78] Independent production usually meant restricted circumstances but Sweet Smell of Success, despite the plans of the production team, was clearly not made on the cheap, though like many other cherished A-budget noirs, it might be said to have a B-movie soul.[79] Perhaps no director better displayed that spirit than the German-born Robert Siodmak, who had already made a score of films before his 1940 arrival in Hollywood. Working mostly on A features, he made eight films now regarded as classic-era noir (a figure matched only by Lang and Mann).[80] In addition to The Killers, Burt Lancaster's debut and a Hellinger/Universal co-production, Siodmak's other important contributions to the genre include 1944's Phantom Lady (a top-of-the-line B and Woolrich adaptation), the ironically titled Christmas Holiday (1944), and Cry of the City (1948). Criss Cross (1949), with Lancaster again the lead, exemplifies how Siodmak brought the virtues of the B-movie to the A noir. In addition to the relatively looser constraints on character and message at lower budgets, the nature of B production lent itself to the noir style for economic reasons: dim lighting saved on electricity and helped cloak cheap sets (mist and smoke also served the cause). Night shooting was often compelled by hurried production schedules. Plots with obscure motivations and intriguingly elliptical transitions were sometimes the consequence of hastily written scripts. There was not always enough time or money to shoot every scene. In Criss Cross, Siodmak achieved these effects, wrapping them around Yvonne De Carlo, who played the most understandable of femme fatales; Dan Duryea, in one of his many charismatic villain roles; and Lancaster as an ordinary laborer turned armed robber, doomed by a romantic obsession.[81] Classic-era film noirs in the National Film Registry 1940–49 1950–58 Outside the United States [edit] Some critics regard classic film noir as a cycle exclusive to the United States; Alain Silver and Elizabeth Ward, for example, argue, "With the Western, film noir shares the distinction of being an indigenous American form ... a wholly American film style."[83] However, although the term "film noir" was originally coined to describe Hollywood movies, it was an international phenomenon.[84] Even before the beginning of the generally accepted classic period, there were films made far from Hollywood that can be seen in retrospect as films noir, for example, the French productions Pépé le Moko (1937), directed by Julien Duvivier, and Le Jour se lève (1939), directed by Marcel Carné.[85] In addition, Mexico experienced a vibrant film noir period from roughly 1946 to 1952, which was around the same time film noir was blossoming in the United States.[86] During the classic period, there were many films produced in Europe, particularly in France, that share elements of style, theme, and sensibility with American films noir and may themselves be included in the genre's canon. In certain cases, the interrelationship with Hollywood noir is obvious: American-born director Jules Dassin moved to France in the early 1950s as a result of the Hollywood blacklist, and made one of the most famous French film noirs, Rififi (1955). Other well-known French films often classified as noir include Quai des Orfèvres (1947) and Les Diaboliques (1955), both directed by Henri-Georges Clouzot. Casque d'Or (1952), Touchez pas au grisbi (1954), and Le Trou (1960) directed by Jacques Becker; and Ascenseur pour l'échafaud (1958), directed by Louis Malle. French director Jean-Pierre Melville is widely recognized for his tragic, minimalist films noir—Bob le flambeur (1955), from the classic period, was followed by Le Doulos (1962), Le deuxième souffle 1966), Le Samouraï (1967), and Le Cercle rouge (1970).[87] In the 1960s, Greek films noir "The Secret of the Red Mantle"[88] and "The Fear" allowed audience for an anti-ableist reading which challenged stereotypes of disability. .[89] Scholar Andrew Spicer argues that British film noir evidences a greater debt to French poetic realism than to the expressionistic American mode of noir.[90] Examples of British noir (sometimes described as "Brit noir") from the classic period include Brighton Rock (1947), directed by John Boulting; They Made Me a Fugitive (1947), directed by Alberto Cavalcanti; The Small Back Room (1948), directed by Michael Powell and Emeric Pressburger; The October Man (1950), directed by Roy Ward Baker; and Cast a Dark Shadow (1955), directed by Lewis Gilbert. Terence Fisher directed several low-budget thrillers in a noir mode for Hammer Film Productions, including The Last Page (a.k.a. Man Bait; 1952), Stolen Face (1952), and Murder by Proxy (a.k.a. Blackout; 1954). Before leaving for France, Jules Dassin had been obliged by political pressure to shoot his last English-language film of the classic noir period in Great Britain: Night and the City (1950). Though it was conceived in the United States and was not only directed by an American but also stars two American actors—Richard Widmark and Gene Tierney—it is technically a UK production, financed by 20th Century-Fox's British subsidiary. The most famous of classic British noirs is director Carol Reed's The Third Man (1949), from a screenplay by Graham Greene. Set in Vienna immediately after World War II, it also stars two American actors, Joseph Cotten and Orson Welles, who had appeared together in Citizen Kane.[91] Elsewhere, Italian director Luchino Visconti adapted Cain's The Postman Always Rings Twice as Ossessione (1943), regarded both as one of the great noirs and a seminal film in the development of neorealism.[92] (This was not even the first screen version of Cain's novel, having been preceded by the French Le Dernier Tournant in 1939.)[93] In Japan, the celebrated Akira Kurosawa directed several films recognizable as films noir, including Drunken Angel (1948), Stray Dog (1949), The Bad Sleep Well (1960), and High and Low (1963).[94] Spanish author Mercedes Formica's novel La ciudad perdida (The Lost City) was adapted into film in 1960.[95] Among the first major neo-noir films—the term often applied to films that consciously refer back to the classic noir tradition—was the French Tirez sur le pianiste (1960), directed by François Truffaut from a novel by one of the gloomiest of American noir fiction writers, David Goodis.[96] Noir crime films and melodramas have been produced in many countries in the post-classic area. Some of these are quintessentially self-aware neo-noirs—for example, Il Conformista (1969; Italy), Der Amerikanische Freund (1977; Germany), The Element of Crime (1984; Denmark), and El Aura (2005; Argentina). Others simply share narrative elements and a version of the hardboiled sensibility associated with classic noir, such as Castle of Sand (1974; Japan), Insomnia (1997; Norway), Croupier (1998; UK), and Blind Shaft (2003; China).[97] Neo-noir and echoes of the classic mode [edit] See also: Neo-noir The neo-noir film genre developed mid-way into the Cold War. This cinematological trend reflected much of the cynicism and the possibility of nuclear annihilation of the era. This new genre introduced innovations that were not available to earlier noir films. The violence was also more potent.[98] 1960s and 1970s [edit] While it is hard to draw a line between some of the noir films of the early 1960s such as Blast of Silence (1961) and Cape Fear (1962) and the noirs of the late 1950s, new trends emerged in the post-classic era. The Manchurian Candidate (1962), directed by John Frankenheimer, Shock Corridor (1963), directed by Samuel Fuller, and Brainstorm (1965), directed by experienced noir character actor William Conrad, all treat the theme of mental dispossession within stylistic and tonal frameworks derived from classic film noir.[99] The Manchurian Candidate examined the situation of American prisoners of war (POWs) during the Korean War. Incidents that occurred during the war as well as those post-war functioned as an inspiration for a "Cold War Noir" subgenre.[100][101] The television series The Fugitive (1963–67) brought classic noir themes and mood to the small screen for an extended run.[99] In a different vein, films began to appear that self-consciously acknowledged the conventions of classic film noir as historical archetypes to be revived, rejected, or reimagined. These efforts typify what came to be known as neo-noir.[103] Though several late classic noirs, Kiss Me Deadly (1955) in particular, were deeply self-knowing and post-traditional in conception, none tipped its hand so evidently as to be remarked on by American critics at the time.[104] The first major film to overtly work this angle was French director Jean-Luc Godard's À bout de souffle (Breathless; 1960), which pays its literal respects to Bogart and his crime films while brandishing a bold new style for a new day.[105] In the United States, Arthur Penn (1965's Mickey One, drawing inspiration from Truffaut's Tirez sur le pianiste and other French New Wave films), John Boorman (1967's Point Blank, similarly caught up, though in the Nouvelle vague's deeper waters), and Alan J. Pakula (1971's Klute) directed films that knowingly related themselves to the original films noir, inviting audiences in on the game.[106] A manifest affiliation with noir traditions—which, by its nature, allows different sorts of commentary on them to be inferred—can also provide the basis for explicit critiques of those traditions. In 1973, director Robert Altman flipped off noir piety with The Long Goodbye. Based on the novel by Raymond Chandler, it features one of Bogart's most famous characters, but in iconoclastic fashion: Philip Marlowe, the prototypical hardboiled detective, is replayed as a hapless misfit, almost laughably out of touch with contemporary mores and morality.[107] Where Altman's subversion of the film noir mythos was so irreverent as to outrage some contemporary critics,[108] around the same time Woody Allen was paying affectionate, at points idolatrous homage to the classic mode with Play It Again, Sam (1972). The "blaxploitation" film Shaft (1971), wherein Richard Roundtree plays the titular African-American private eye, John Shaft, takes conventions from classic noir. The most acclaimed of the neo-noirs of the era was director Roman Polanski's 1974 Chinatown.[109] Written by Robert Towne, it is set in 1930s Los Angeles, an accustomed noir locale nudged back some few years in a way that makes the pivotal loss of innocence in the story even crueler. Where Polanski and Towne raised noir to a black apogee by turning rearward, director Martin Scorsese and screenwriter Paul Schrader brought the noir attitude crashing into the present day with Taxi Driver (1976), a crackling, bloody-minded gloss on bicentennial America.[110] In 1978, Walter Hill wrote and directed The Driver, a chase film as might have been imagined by Jean-Pierre Melville in an especially abstract mood.[111] Hill was already a central figure in 1970s noir of a more straightforward manner, having written the script for director Sam Peckinpah's The Getaway (1972), adapting a novel by pulp master Jim Thompson, as well as for two tough private eye films: an original screenplay for Hickey & Boggs (1972) and an adaptation of a novel by Ross Macdonald, the leading literary descendant of Hammett and Chandler, for The Drowning Pool (1975). Some of the strongest 1970s noirs, in fact, were unwinking remakes of the classics, "neo" mostly by default: the heartbreaking Thieves Like Us (1974), directed by Altman from the same source as Ray's They Live by Night, and Farewell, My Lovely (1975), the Chandler tale made classically as Murder, My Sweet, remade here with Robert Mitchum in his last notable noir role.[112] Detective series, prevalent on American television during the period, updated the hardboiled tradition in different ways, but the show conjuring the most noir tone was a horror crossover touched with shaggy, Long Goodbye-style humor: Kolchak: The Night Stalker (1974–75), featuring a Chicago newspaper reporter investigating strange, usually supernatural occurrences.[113] 1980s and 1990s [edit] The turn of the decade brought Scorsese's black-and-white Raging Bull (1980, cowritten by Schrader). An acknowledged masterpiece—in 2007 the American Film Institute ranked it as the greatest American film of the 1980s and the fourth greatest of all time—it tells the story of a boxer's moral self-destruction that recalls in both theme and visual ambiance noir dramas such as Body and Soul (1947) and Champion (1949).[115] From 1981, Body Heat, written and directed by Lawrence Kasdan, invokes a different set of classic noir elements, this time in a humid, erotically charged Florida setting. Its success confirmed the commercial viability of neo-noir at a time when the major Hollywood studios were becoming increasingly risk averse. The mainstreaming of neo-noir is evident in such films as Black Widow (1987), Shattered (1991), and Final Analysis (1992).[116] Few neo-noirs have made more money or more wittily updated the tradition of the noir double entendre than Basic Instinct (1992), directed by Paul Verhoeven and written by Joe Eszterhas.[117] The film also demonstrates how neo-noir's polychrome palette can reproduce many of the expressionistic effects of classic black-and-white noir.[114] Like Chinatown, its more complex predecessor, Curtis Hanson's Oscar-winning L.A. Confidential (1997), based on the James Ellroy novel, demonstrates the opposite tendency—the deliberately retro film noir; its tale of corrupt cops and femmes fatale is seemingly lifted straight from a film of 1953, the year in which it is set.[118] Director David Fincher followed the immensely successful neo-noir Seven (1995) with a film that developed into a cult favorite after its original, disappointing release: Fight Club (1999), a sui generis mix of noir aesthetic, perverse comedy, speculative content, and satiric intent.[119] Working generally with much smaller budgets, brothers Joel and Ethan Coen have created one of the most extensive oeuvres influenced by classic noir, with films such as Blood Simple (1984)[121] and Fargo (1996), the latter considered by some a supreme work in the neo-noir mode.[122] The Coens cross noir with other generic traditions in the gangster drama Miller's Crossing (1990)—loosely based on the Dashiell Hammett novels Red Harvest and The Glass Key—and the comedy The Big Lebowski (1998), a tribute to Chandler and an homage to Altman's version of The Long Goodbye.[123] The characteristic work of David Lynch combines film noir tropes with scenarios driven by disturbed characters such as the sociopathic criminal played by Dennis Hopper in Blue Velvet (1986) and the delusionary protagonist of Lost Highway (1997). The Twin Peaks cycle, both the TV series (1990–91) and a film, Fire Walk with Me (1992), puts a detective plot through a succession of bizarre spasms. David Cronenberg also mixes surrealism and noir in Naked Lunch (1991), inspired by William S. Burroughs' novel. Perhaps no American neo-noirs better reflect the classic noir B movie spirit than those of director-writer Quentin Tarantino.[124] Neo-noirs of his such as Reservoir Dogs (1992) and Pulp Fiction (1994) display a relentlessly self-reflexive, sometimes tongue-in-cheek sensibility, similar to the work of the New Wave directors and the Coens. Other films from the era readily identifiable as neo-noir (some retro, some more au courant) include director John Dahl's Kill Me Again (1989), Red Rock West (1992), and The Last Seduction (1993); four adaptations of novels by Jim Thompson—The Kill-Off (1989), After Dark, My Sweet (1990), The Grifters (1990), and the remake of The Getaway (1994); and many more, including adaptations of the work of other major noir fiction writers: The Hot Spot (1990), from Hell Hath No Fury, by Charles Williams; Miami Blues (1990), from the novel by Charles Willeford; and Out of Sight (1998), from the novel by Elmore Leonard.[125] Several films by director-writer David Mamet involve noir elements: House of Games (1987), Homicide (1991),[126] The Spanish Prisoner (1997), and Heist (2001).[127] On television, Moonlighting (1985–89) paid homage to classic noir while demonstrating an unusual appreciation of the sense of humor often found in the original cycle.[125] Between 1983 and 1989, Mickey Spillane's hardboiled private eye Mike Hammer was played with wry gusto by Stacy Keach in a series and several stand-alone television films (an unsuccessful revival followed in 1997–98). The British miniseries The Singing Detective (1986), written by Dennis Potter, tells the story of a mystery writer named Philip Marlow; widely considered one of the finest neo-noirs in any medium, some critics rank it among the greatest television productions of all time.[128] Neon-noir [edit] Among big-budget auteurs, Michael Mann has worked frequently in a neo-noir mode, with such films as Thief (1981)[126] and Heat (1995) and the TV series Miami Vice (1984–89) and Crime Story (1986–88). Mann's output exemplifies a primary strain of neo-noir, or as it is affectionately called, "neon noir",[129][130] in which classic themes and tropes are revisited in a contemporary setting with an up-to-date visual style and rock- or hip hop-based musical soundtrack.[131] Neo-noir film borrows from and reflects many of the characteristics of the film noir: the presence of crime and violence, complex characters and plot-lines, mystery, and moral ambivalence, all of which come into play in the neon-noir sub-genre. But more than just exhibiting the superficial traits of the genre, neon-noir emphasizes the socio-critique of film noir, recalling the specific socio-cultural dimensions of the interwar years when noirs first became prominent; a time of global existential crisis, depression and the mass movement of the rural population to cities. Long shots or montages of cityscapes, often portrayed as dark and menacing, are suggestive of what Dueck referred to as a ‘bleak societal perspective’,[132] providing a critique on global capitalism and consumerism. Other characteristics include the use of highly stylized lighting techniques such chiaroscuro, and neon signs and brightly lit buildings that provide a sense of alienation and entrapment. Accentuating the use of artificial and neon lighting in the films-noir of the '40s and '50s, neon-noir films accentuate this aesthetic with electrifying color and manipulated light in order to highlight their socio-cultural critiques and their references to contemporary and pop culture. In doing so, neon-noir films present the themes of urban decay, consumerist decadence and capitalism, existentialism, sexuality, and issues of race and violence in the contemporary culture, not only in America, but the globalized world at large. Neon-noirs seek to bring the contemporary noir, somewhat diluted under the umbrella of neo-noir, back to the exploration of culture: class, race, gender, patriarchy, and capitalism. Neon-noirs present an existential exploration of society in a hyper-technological and globalized world. Illustrating society as decadent and consumerist, and identity as confused and anxious, neon-noirs reposition the contemporary noir in the setting of urban decay, often featuring scenes set in underground city haunts: brothels, nightclubs, casinos, strip bars, pawnshops, laundromats. Neon-noirs were popularized in the '70s and '80s by films such as Taxi Driver (1976), Blade Runner (1982),[133] and films from David Lynch, such as Blue Velvet (1986) and later, Lost Highway (1997). Other titles from this era included Brian De Palma's Blow Out (1981) and the Coen Brothers' debut Blood Simple (1984).[134][135] More currently, films such as Harmony Korine’s highly provocative Spring Breakers (2012),[136] and Danny Boyle’s Trance (2013) have been especially noted for their neon-infused rendering of film noir; while Trance was celebrated for ‘shak(ing) the ingredients (of the noir) like colored sand in a jar’, Spring Breakers notoriously produced a slew of criticism[137] referring to its ‘fever-dream’ aesthetic and ‘neon-caked explosion of excess’ (Kohn).[138] Another neon-noir endowed with the 'fever-dream' aesthetic is The Persian Connection, expressly linked to Lynchian aesthetics as a neon-drenched contemporary noir.[139] Neon-noir can be seen as a response to the over-use of the term neo-noir. While the term neo-noir functions to bring noir into the contemporary landscape, it has often been criticized for its dilution of the noir genre. Author Robert Arnett commented on its "amorphous" reach: "any film featuring a detective or crime qualifies".[140] The neon-noir, more specifically, seeks to revive noir sensibilities in a more targeted manner of reference, focalizing socio-cultural commentary and a hyper-stylized aesthetic. 2000s and 2010s [edit] The Coen brothers make reference to the noir tradition again with The Man Who Wasn't There (2001); a black-and-white crime melodrama set in 1949; it features a scene apparently staged to mirror one from Out of the Past. Lynch's Mulholland Drive (2001) continued in his characteristic vein, making the classic noir setting of Los Angeles the venue for a noir-inflected psychological jigsaw puzzle. British-born director Christopher Nolan's black-and-white debut, Following (1998), was an overt homage to classic noir. During the new century's first decade, he was one of the leading Hollywood directors of neo-noir with the acclaimed Memento (2000) and the remake of Insomnia (2002).[141] Director Sean Penn's The Pledge (2001), though adapted from a very self-reflexive novel by Friedrich Dürrenmatt, plays noir comparatively straight, to devastating effect[neutrality is disputed].[142] Screenwriter David Ayer updated the classic noir bad-cop tale, typified by Shield for Murder (1954) and Rogue Cop (1954), with his scripts for Training Day (2001) and, adapting a story by James Ellroy, Dark Blue (2002); he later wrote and directed the even darker Harsh Times (2006). Michael Mann's Collateral (2004) features a performance by Tom Cruise as an assassin in the lineage of Le Samouraï. The torments of The Machinist (2004), directed by Brad Anderson, evoke both Fight Club and Memento.[143] In 2005, Shane Black directed Kiss Kiss Bang Bang, basing his screenplay in part on a crime novel by Brett Halliday, who published his first stories back in the 1920s. The film plays with an awareness not only of classic noir but also of neo-noir reflexivity itself.[144] With ultra-violent films such as Sympathy for Mr. Vengeance (2002) and Thirst (2009), Park Chan-wook of South Korea has been the most prominent director outside of the United States to work regularly in a noir mode in the new millennium.[145] The most commercially successful neo-noir of this period has been Sin City (2005), directed by Robert Rodriguez in extravagantly stylized black and white with splashes of color.[146] The film is based on a series of comic books created by Frank Miller (credited as the film's codirector), which are in turn openly indebted to the works of Spillane and other pulp mystery authors.[147][148] Similarly, graphic novels provide the basis for Road to Perdition (2002), directed by Sam Mendes, and A History of Violence (2005), directed by David Cronenberg; the latter was voted best film of the year in the annual Village Voice poll.[149] Writer-director Rian Johnson's Brick (2005), featuring present-day high schoolers speaking a version of 1930s hardboiled argot, won the Special Jury Prize for Originality of Vision at the Sundance Film Festival. The television series Veronica Mars (2004–07, 2019) and the movie Veronica Mars (2014) also brought a youth-oriented twist to film noir. Examples of this sort of generic crossover have been dubbed "teen noir".[150][151] Neo-noir films released in the 2010s include Kim Jee-woon’s I Saw the Devil (2010), Fred Cavaye’s Point Blank (2010), Na Hong-jin’s The Yellow Sea (2010), Nicolas Winding Refn’s Drive (2011),[152] Claire Denis' Bastards (2013)[153][154] and Dan Gilroy's Nightcrawler (2014). 2020s [edit] The Science Channel broadcast the 2021 science documentary series Killers of the Cosmos in a format it describes as "space noir." In the series, actor Aidan Gillen in animated form serves as the host of the series while portraying a private investigator who takes on "cases" in which he "hunts down" lethal threats to humanity posed by the cosmos. The animated sequences combine the characteristics of film noir with those of a pulp fiction graphic novel set in the mid-20th century, and they link conventional live-action documentary segments in which experts describe the potentially deadly phenomena.[155][156][157][158] Science fiction noir [edit] See also: Tech noir In the post-classic era, a significant trend in noir crossovers has involved science fiction. In Jean-Luc Godard's Alphaville (1965), Lemmy Caution is the name of the old-school private eye in the city of tomorrow. The Groundstar Conspiracy (1972) centers on another implacable investigator and an amnesiac named Welles. Soylent Green (1973), the first major American example, portrays a dystopian, near-future world via a noir detection plot; starring Charlton Heston (the lead in Touch of Evil), it also features classic noir standbys Joseph Cotten, Edward G. Robinson, and Whit Bissell. The film was directed by Richard Fleischer, who two decades before had directed several strong B noirs, including Armored Car Robbery (1950) and The Narrow Margin (1952).[161] The cynical and stylized perspective of classic film noir had a formative effect on the cyberpunk genre of science fiction that emerged in the early 1980s; the film most directly influential on cyberpunk was Blade Runner (1982), directed by Ridley Scott, which pays evocative homage to the classic noir mode[162] (Scott subsequently directed the poignant 1987 noir crime melodrama Someone to Watch Over Me). Scholar Jamaluddin Bin Aziz has observed how "the shadow of Philip Marlowe lingers on" in such other "future noir" films as 12 Monkeys (1995), Dark City (1998) and Minority Report (2002).[163] Fincher's feature debut was Alien 3 (1992), which evoked the classic noir jail film Brute Force. David Cronenberg's Crash (1996), an adaptation of the speculative novel by J. G. Ballard, has been described as a "film noir in bruise tones".[164] The hero is the target of investigation in Gattaca (1997), which fuses film noir motifs with a scenario indebted to Brave New World. The Thirteenth Floor (1999), like Blade Runner, is an explicit homage to classic noir, in this case involving speculations about virtual reality. Science fiction, noir, and anime are brought together in the Japanese films of 90s Ghost in the Shell (1995) and Ghost in the Shell 2: Innocence (2004), both directed by Mamoru Oshii.[165] The Animatrix (2003), based on and set within the world of The Matrix film trilogy, contains an anime short film in classic noir style titled "A Detective Story".[166] Anime television series with science fiction noir themes include Noir (2001)[165] and Cowboy Bebop (1998).[167] The 2015 film Ex Machina puts an understated film noir spin on the Frankenstein mythos, with the sentient android Ava as a potential femme fatale, her creator Nathan embodying the abusive husband or father trope, and her would-be rescuer Caleb as a "clueless drifter" enthralled by Ava.[168] Parodies [edit] Film noir has been parodied many times in many manners. In 1945, Danny Kaye starred in what appears to be the first intentional film noir parody, Wonder Man.[169] That same year, Deanna Durbin was the singing lead in the comedic noir Lady on a Train, which makes fun of Woolrich-brand wistful miserablism. Bob Hope inaugurated the private-eye noir parody with My Favorite Brunette (1947), playing a baby-photographer who is mistaken for an ironfisted detective.[169] In 1947 as well, The Bowery Boys appeared in Hard Boiled Mahoney, which had a similar mistaken-identity plot; they spoofed the genre once more in Private Eyes (1953). Two RKO productions starring Robert Mitchum take film noir over the border into self-parody: The Big Steal (1949), directed by Don Siegel, and His Kind of Woman (1951).[b] The "Girl Hunt" ballet in Vincente Minnelli's The Band Wagon (1953) is a ten-minute distillation of—and play on—noir in dance.[170] The Cheap Detective (1978), starring Peter Falk, is a broad spoof of several films, including the Bogart classics The Maltese Falcon and Casablanca. Carl Reiner's black-and-white Dead Men Don't Wear Plaid (1982) appropriates clips of classic noirs for a farcical pastiche, while his Fatal Instinct (1993) sends up noir classic (Double Indemnity) and neo-noir (Basic Instinct). Robert Zemeckis's Who Framed Roger Rabbit (1988) develops a noir plot set in 1940s Los Angeles around a host of cartoon characters.[171] Noir parodies come in darker tones as well. Murder by Contract (1958), directed by Irving Lerner, is a deadpan joke on noir, with a denouement as bleak as any of the films it kids. An ultra-low-budget Columbia Pictures production, it may qualify as the first intentional example of what is now called a neo-noir film; it was likely a source of inspiration for both Melville's Le Samouraï and Scorsese's Taxi Driver.[172] Belying its parodic strain, The Long Goodbye's final act is seriously grave. Taxi Driver caustically deconstructs the "dark" crime film, taking it to an absurd extreme and then offering a conclusion that manages to mock every possible anticipated ending—triumphant, tragic, artfully ambivalent—while being each, all at once.[173] Flirting with splatter status even more brazenly, the Coens' Blood Simple is both an exacting pastiche and a gross exaggeration of classic noir.[174] Adapted by director Robinson Devor from a novel by Charles Willeford, The Woman Chaser (1999) sends up not just the noir mode but the entire Hollywood filmmaking process, with each shot seemingly staged as the visual equivalent of an acerbic Marlowe wisecrack.[175] In other media, the television series Sledge Hammer! (1986–88) lampoons noir, along with such topics as capital punishment, gun fetishism, and Dirty Harry. Sesame Street (1969–curr.) occasionally casts Kermit the Frog as a private eye; the sketches refer to some of the typical motifs of noir films, in particular the voiceover. Garrison Keillor's radio program A Prairie Home Companion features the recurring character Guy Noir, a hardboiled detective whose adventures always wander into farce (Guy also appears in the Altman-directed film based on Keillor's show). Firesign Theatre's Nick Danger has trodden the same not-so-mean streets, both on radio and in comedy albums. Cartoons such as Garfield's Babes and Bullets (1989) and comic strip characters such as Tracer Bullet of Calvin and Hobbes have parodied both film noir and the kindred hardboiled tradition—one of the sources from which film noir sprang and which it now overshadows.[176] It's Always Sunny in Philadelphia parodied the noir genre in its season 14 episode "The Janitor Always Mops Twice."[177][178] Identifying characteristics [edit] In their original 1955 canon of film noir, Raymond Borde and Etienne Chaumeton identified twenty-two Hollywood films released between 1941 and 1952 as core examples; they listed another fifty-nine American films from the period as significantly related to the field of noir.[181] A half-century later, film historians and critics had come to agree on a canon of approximately three hundred films from 1940 to 1958.[182] There remain, however, many differences of opinion over whether other films of the era, among them a number of well-known ones, qualify as films noir or not. For instance, The Night of the Hunter (1955), starring Robert Mitchum in an acclaimed performance, is treated as a film noir by some critics, but not by others.[183] Some critics include Suspicion (1941), directed by Alfred Hitchcock, in their catalogues of noir; others ignore it.[184] Concerning films made either before or after the classic period, or outside of the United States at any time, consensus is even rarer. To support their categorization of certain films as noirs and their rejection of others, many critics refer to a set of elements they see as marking examples of the mode. The question of what constitutes the set of noir's identifying characteristics is a fundamental source of controversy. For instance, critics tend to define the model film noir as having a tragic or bleak conclusion,[185] but many acknowledged classics of the genre have clearly happy endings (e.g., Stranger on the Third Floor, The Big Sleep, Dark Passage, and The Dark Corner), while the tone of many other noir denouements is ambivalent.[186] Some critics perceive classic noir's hallmark as a distinctive visual style. Others, observing that there is actually considerable stylistic variety among noirs, instead emphasize plot and character type. Still others focus on mood and attitude. No survey of classic noir's identifying characteristics can therefore be considered definitive. In the 1990s and 2000s, critics have increasingly turned their attention to that diverse field of films called neo-noir; once again, there is even less consensus about the defining attributes of such films made outside the classic period.[187] Roger Ebert offered "A Guide to Film Noir", writing that "Film noir is... A French term meaning 'black film', or film of the night, inspired by the Series Noir, a line of cheap paperbacks that translated hard-boiled American crime authors and found a popular audience in France A movie which at no time misleads you into thinking there is going to be a happy ending. Locations that reek of the night, of shadows, of alleys, of the back doors of fancy places, of apartment buildings with a high turnover rate, of taxi drivers and bartenders who have seen it all. Cigarettes. Everyone in film noir is always smoking, as if to say, 'On top of everything else, I've been assigned to get through three packs today. The best smoking movie of all time is Out of the Past, in which Robert Mitchum and Kirk Douglas smoke furiously at each other. At one point, Mitchum enters a room, Douglas extends a pack and says 'Cigarette?' and Mitchum, holding up his hand, says, 'Smoking.' Women who would just as soon kill you as love you, and vice versa. For women: low necklines, floppy hats, mascara, lipstick, dressing rooms, boudoirs, calling the doorman by his first name, high heels, red dresses, elbowlength gloves, mixing drinks, having gangsters as boyfriends, having soft spots for alcoholic private eyes, wanting a lot of someone else's women, sprawling dead on the floor with every limb meticulously arranged and every hair in place. For men: fedoras, suits and ties, shabby residential hotels with a neon sign blinking through the window, buying yourself a drink out of the office bottle, cars with running boards, all-night diners, protecting kids who shouldn't be playing with the big guys, being on first-name terms with homicide cops, knowing a lot of people whose descriptions end in 'ies,' such as bookies, newsies, junkies, alkys, jockeys and cabbies. Movies either shot in black-and-white, or feeling like they were. Relationships in which love is only the final flop card in the poker game of death. The most American film genre, because no other society could have created a world so full of doom, fate, fear and betrayal, unless it were essentially naive and optimistic."[188] Visual style [edit] The low-key lighting schemes of many classic films noir are associated with stark light/dark contrasts and dramatic shadow patterning—a style known as chiaroscuro (a term adopted from Renaissance painting).[c] The shadows of Venetian blinds or banister rods, cast upon an actor, a wall, or an entire set, are an iconic visual in noir and had already become a cliché well before the neo-noir era. Characters' faces may be partially or wholly obscured by darkness—a relative rarity in conventional Hollywood filmmaking. While black-and-white cinematography is considered by many to be one of the essential attributes of classic noir, the color films Leave Her to Heaven (1945) and Niagara (1953) are routinely included in noir filmographies, while Slightly Scarlet (1956), Party Girl (1958), and Vertigo (1958) are classified as noir by varying numbers of critics.[189] Film noir is also known for its use of low-angle, wide-angle, and skewed, or Dutch angle shots. Other devices of disorientation relatively common in film noir include shots of people reflected in one or more mirrors, shots through curved or frosted glass or other distorting objects (such as during the strangulation scene in Strangers on a Train), and special effects sequences of a sometimes bizarre nature. Night-for-night shooting, as opposed to the Hollywood norm of day-for-night, was often employed.[190] From the mid-1940s forward, location shooting became increasingly frequent in noir.[191] In an analysis of the visual approach of Kiss Me Deadly, a late and self-consciously stylized example of classic noir, critic Alain Silver describes how cinematographic choices emphasize the story's themes and mood. In one scene, the characters, seen through a "confusion of angular shapes", thus appear "caught in a tangible vortex or enclosed in a trap." Silver makes a case for how "side light is used ... to reflect character ambivalence", while shots of characters in which they are lit from below "conform to a convention of visual expression which associates shadows cast upward of the face with the unnatural and ominous".[192] Structure and narrational devices [edit] Films noir tend to have unusually convoluted story lines, frequently involving flashbacks and other editing techniques that disrupt and sometimes obscure the narrative sequence. Framing the entire primary narrative as a flashback is also a standard device. Voiceover narration, sometimes used as a structuring device, came to be seen as a noir hallmark; while classic noir is generally associated with first-person narration (i.e., by the protagonist), Stephen Neale notes that third-person narration is common among noirs of the semidocumentary style.[194] Neo-noirs as varied as The Element of Crime (surrealist), After Dark, My Sweet (retro), and Kiss Kiss Bang Bang (meta) have employed the flashback/voiceover combination. Bold experiments in cinematic storytelling were sometimes attempted during the classic era: Lady in the Lake, for example, is shot entirely from the point of view of protagonist Philip Marlowe; the face of star (and director) Robert Montgomery is seen only in mirrors.[195] The Chase (1946) takes oneirism and fatalism as the basis for its fantastical narrative system, redolent of certain horror stories, but with little precedent in the context of a putatively realistic genre. In their different ways, both Sunset Boulevard and D.O.A. are tales told by dead men. Latter-day noir has been in the forefront of structural experimentation in popular cinema, as exemplified by such films as Pulp Fiction, Fight Club, and Memento.[196] Plots, characters, and settings [edit] Crime, usually murder, is an element of almost all films noir; in addition to standard-issue greed, jealousy is frequently the criminal motivation. A crime investigation—by a private eye, a police detective (sometimes acting alone), or a concerned amateur—is the most prevalent, but far from dominant, basic plot. In other common plots the protagonists are implicated in heists or con games, or in murderous conspiracies often involving adulterous affairs. False suspicions and accusations of crime are frequent plot elements, as are betrayals and double-crosses. According to J. David Slocum, "protagonists assume the literal identities of dead men in nearly fifteen percent of all noir."[197] Amnesia is fairly epidemic—"noir's version of the common cold", in the words of film historian Lee Server.[198] Films noir tend to revolve around heroes who are more flawed and morally questionable than the norm, often fall guys of one sort or another. The characteristic protagonists of noir are described by many critics as "alienated";[200] in the words of Silver and Ward, "filled with existential bitterness".[201] Certain archetypal characters appear in many film noirs—hardboiled detectives, femme fatales, corrupt policemen, jealous husbands, intrepid claims adjusters, and down-and-out writers. Among characters of every stripe, cigarette smoking is rampant.[202] From historical commentators to neo-noir pictures to pop culture ephemera, the private eye and the femme fatale have been adopted as the quintessential film noir figures, though they do not appear in most films now regarded as classic noir. Of the twenty-six National Film Registry noirs, in only four does the star play a private eye: The Maltese Falcon, The Big Sleep, Out of the Past, and Kiss Me Deadly. Just four others readily qualify as detective stories: Laura, The Killers, The Naked City, and Touch of Evil. There is usually an element of drug or alcohol use, particularly as part of the detective's method to solving the crime, as an example the character of Mike Hammer in the 1955 film Kiss Me Deadly who walks into a bar saying "Give me a double bourbon, and leave the bottle". Chaumeton and Borde have argued that film noir grew out of the "literature of drugs and alcohol".[203] Film noir is often associated with an urban setting, and a few cities—Los Angeles, San Francisco, New York, and Chicago, in particular—are the location of many of the classic films. In the eyes of many critics, the city is presented in noir as a "labyrinth" or "maze".[204] Bars, lounges, nightclubs, and gambling dens are frequently the scene of action. The climaxes of a substantial number of film noirs take place in visually complex, often industrial settings, such as refineries, factories, trainyards, power plants—most famously the explosive conclusion of White Heat, set at a chemical plant.[205] In the popular (and, frequently enough, critical) imagination, in noir it is always night and it always raining.[206] A substantial trend within latter-day noir—dubbed "film soleil" by critic D. K. Holm—heads in precisely the opposite direction, with tales of deception, seduction, and corruption exploiting bright, sun-baked settings, stereotypically the desert or open water, to searing effect. Significant predecessors from the classic and early post-classic eras include The Lady from Shanghai; the Robert Ryan vehicle Inferno (1953); the French adaptation of Patricia Highsmith's The Talented Mr. Ripley, Plein soleil (Purple Noon in the United States, more accurately rendered elsewhere as Blazing Sun or Full Sun; 1960); and director Don Siegel's version of The Killers (1964). The tendency was at its peak during the late 1980s and 1990s, with films such as Dead Calm (1989), After Dark, My Sweet (1990), The Hot Spot (1990), Delusion (1991), Red Rock West (1993) and the television series Miami Vice.[207] Worldview, morality, and tone [edit] Film noir is often described as essentially pessimistic.[208] The noir stories that are regarded as most characteristic tell of people trapped in unwanted situations (which, in general, they did not cause but are responsible for exacerbating), striving against random, uncaring fate, and are frequently doomed. The films are seen as depicting a world that is inherently corrupt.[209] Classic film noir has been associated by many critics with the American social landscape of the era—in particular, with a sense of heightened anxiety and alienation that is said to have followed World War II. In author Nicholas Christopher's opinion, "it is as if the war, and the social eruptions in its aftermath, unleashed demons that had been bottled up in the national psyche."[210] Films noir, especially those of the 1950s and the height of the Red Scare, are often said to reflect cultural paranoia; Kiss Me Deadly is the noir most frequently marshaled as evidence for this claim.[211] Film noir is often said to be defined by "moral ambiguity",[212] yet the Production Code obliged almost all classic noirs to see that steadfast virtue was ultimately rewarded and vice, in the absence of shame and redemption, severely punished (however dramatically incredible the final rendering of mandatory justice might be). A substantial number of latter-day noirs flout such conventions: vice emerges triumphant in films as varied as the grim Chinatown and the ribald Hot Spot.[213] The tone of film noir is generally regarded as downbeat; some critics experience it as darker still—"overwhelmingly black", according to Robert Ottoson.[214] Influential critic (and filmmaker) Paul Schrader wrote in a seminal 1972 essay that "film noir is defined by tone", a tone he seems to perceive as "hopeless".[215] In describing the adaptation of Double Indemnity, noir analyst Foster Hirsch describes the "requisite hopeless tone" achieved by the filmmakers, which appears to characterize his view of noir as a whole.[216] On the other hand, definitive film noirs such as The Big Sleep, The Lady from Shanghai, Scarlet Street and Double Indemnity itself are famed for their hardboiled repartee, often imbued with sexual innuendo and self-reflexive humor.[217] Music [edit] The music of film noir was typically orchestral, per the Hollywood norm, but often with added dissonance.[218] Many of the prime composers, like the directors and cameramen, were European émigrés, e.g., Max Steiner (The Big Sleep, Mildred Pierce), Miklós Rózsa (Double Indemnity, The Killers, Criss Cross), and Franz Waxman (Fury, Sunset Boulevard, Night and the City). Double Indemnity is a seminal score, initially disliked by Paramount's music director for its harshness but strongly endorsed by director Billy Wilder and studio chief Buddy DeSylva.[219] There is a widespread popular impression that "sleazy" jazz saxophone and pizzicato bass constitute the sound of noir, but those characteristics arose much later, as in the late-1950s music of Henry Mancini for Touch of Evil and television's Peter Gunn. Bernard Herrmann's score for Taxi Driver makes heavy use of saxophone.[citation needed] See also [edit] Film gris-a term coined by experimental filmmaker Thom Andersen Scandinavian noir List of film noir titles List of neo-noir titles B movie Modernist film Postmodern film Minimalist film Maximalist film Neo-noir Notes [edit] Citations [edit] Sources [edit] Abbas, M. Ackbar (1997). Hong Kong: Culture and the Politics of Disappearance. Minneapolis: University of Minnesota Press. ISBN 978-0-8166-2924-4 Appel, Alfred (1974). Nabokov's Dark Cinema. Oxford and New York: Oxford University Press. ISBN 978-0-19-501834-9 Aziz, Jamaluddin Bin (2005). "Future Noir", chap. in "Transgressing Women: Investigating Space and the Body in Contemporary Noir Thrillers". Ph.D. dissertation, Department of English and Creative Writing, Lancaster University (chapter available online). Ballinger, Alexander, and Danny Graydon (2007). The Rough Guide to Film Noir. London: Rough Guides. ISBN 978-1-84353-474-7 Bernstein, Matthew (1995). "A Tale of Three Cities: The Banning of Scarlet Street", Cinema Journal 35, no. 1. Biesen, Sheri Chinen (2005). Blackout: World War II and the Origins of Film Noir. Baltimore: Johns Hopkins University Press. ISBN 978-0-8018-8217-3 Borde, Raymond, and Etienne Chaumeton (2002 [1955]). A Panorama of American Film Noir, 1941–1953, trans. Paul Hammond. San Francisco: City Lights Books. ISBN 978-0-87286-412-2 Bould, Mark (2005). Film Noir: From Berlin to Sin City. London and New York: Wallflower. ISBN 978-1-904764-50-2 Butler, David (2002). Jazz Noir: Listening to Music from Phantom Lady to The Last Seduction. Westport, Conn.: Greenwood. ISBN 978-0-275-97301-8 Cameron, Ian, ed. (1993). The Book of Film Noir. New York: Continuum. ISBN 978-0-8264-0589-0 Christopher, Nicholas (1998 [1997]). Somewhere in the Night: Film Noir and the American City, 1st paperback ed. New York: Owl/Henry Holt. ISBN 978-0-8050-5699-0 Clarens, Carlos (1980). Crime Movies: An Illustrated History. New York: W.W. Norton. ISBN 978-0-393-01262-0 Conard, Mark T. (2007). The Philosophy of Neo-Noir. Lexington: University Press of Kentucky. ISBN 978-0-8131-2422-3 Copjec, Joan, ed. (1993). Shades of Noir. London and New York: Verso. ISBN 978-0-86091-625-3 Creeber, Glen (2007). The Singing Detective. London: BFI Publishing. ISBN 978-1-84457-198-7 Dancyger, Ken, and Jeff Rush (2002). Alternative Scriptwriting: Successfully Breaking the Rules, 3d ed. Boston and Oxford: Focal Press. ISBN 978-0-240-80477-4 Dargis, Manohla (2004). "Philosophizing Sex Dolls amid Film Noir Intrigue", The New York Times, September 17 (available online Archived 2023-09-01 at the Wayback Machine). Davis, Blair (2004). "Horror Meets Noir: The Evolution of Cinematic Style, 1931–1958", in Horror Film: Creating and Marketing Fear, ed. Steffen Hantke. Jackson: University Press of Mississippi. ISBN 978-1-57806-692-6 Downs, Jacqueline (2002). "Richard Fleischer", in Contemporary North American Film Directors: A Wallflower Critical Guide, 2d ed., ed. Yoram Allon, Del Cullen, and Hannah Patterson. London and New York: Wallflower. ISBN 978-1-903364-52-9 Durgnat, Raymond (1970). "Paint It Black: The Family Tree of the Film Noir", Cinema 6/7 (collected in Gorman et al., The Big Book of Noir, and Silver and Ursini, Film Noir Reader [1]). Erickson, Glenn (2004). "Fate Seeks the Loser: Edgar G. Ulmer's Detour", in Silver and Ursini, Film Noir Reader 4, pp. 25–31. Gorman, Ed, Lee Server, and Martin H. Greenberg, eds. (1998). The Big Book of Noir. New York: Carroll & Graf. ISBN 978-0-7867-0574-0 Greene, Naomi (1999). Landscapes of Loss: The National Past in Postwar French Cinema. Princeton, N.J.: Princeton University Press. ISBN 978-0-691-00475-4 Greenspun, Roger (1973). "Mike Hodges's 'Pulp' Opens; A Private Eye Parody Is Parody of Itself", The New York Times, February 9 (available online Archived 2023-09-01 at the Wayback Machine). Hanson, Helen (2008). Hollywood Heroines: Women in Film Noir and the Female Gothic Film. London and New York: I.B. Tauris. ISBN 978-1-84511-561-6 Hayde, Michael J. (2001). My Name's Friday: The Unauthorized But True Story of Dragnet and the Films of Jack Webb. Nashville, Tenn.: Cumberland House. ISBN 978-1-58182-190-1 Hirsch, Foster (1999). Detours and Lost Highways: A Map of Neo-Noir. Pompton Plains, N.J.: Limelight. ISBN 978-0-87910-288-3 Hirsch, Foster (2001 [1981]). The Dark Side of the Screen: Film Noir. New York: Da Capo. ISBN 978-0-306-81039-8 Holden, Stephen (1999). "Hard-Boiled as a Two-Day-Old Egg at a Two-Bit Diner", The New York Times, October 8 (available online Archived 2023-09-01 at the Wayback Machine). Holm, D. K. (2005). Film Soleil. Harpenden, UK: Pocket Essentials. ISBN 978-1-904048-50-3 Hunter, Stephen (1982). "Blade Runner", in his Violent Screen: A Critic's 13 Years on the Front Lines of Movie Mayhem (1995), pp. 196–99. Baltimore: Bancroft. ISBN 978-0-9635376-4-5 Irwin, John T. (2006). Unless the Threat of Death is Behind Them: Hard-Boiled Fiction and Film Noir. Baltimore: Johns Hopkins University Press. ISBN 978-0-8018-8435-1 James, Nick (2002). "Back to the Brats", in Contemporary North American Film Directors, 2d ed., ed. Yoram Allon, Del Cullen, and Hannah Patterson, pp. xvi–xx. London: Wallflower. ISBN 978-1-903364-52-9 Jones, Kristin M. (2009). "Dark Cynicism, British Style", Wall Street Journal, August 18 (available online Archived 2017-07-10 at the Wayback Machine). Kennedy, Harlan (1982). "Twenty-First Century Nervous Breakdown", Film Comment, July/August. Kirgo, Julie (1980). "Farewell, My Lovely (1975)", in Silver and Ward, Film Noir: An Encyclopedic Reference, pp. 101–2. Kolker, Robert (2000). A Cinema of Loneliness, 3d ed. Oxford and New York: Oxford University Press. ISBN 978-0-19-512350-0 Krutnik, Frank, Steve Neale, and Brian Neve (2008). "Un-American" Hollywood: Politics and Film in the Blacklist Era. New Brunswick, N.J.: Rutgers University Press. ISBN 978-0-8135-4198-3 Lynch, David, and Chris Rodley (2005). Lynch on Lynch, rev. ed. New York and London: Faber and Faber. ISBN 978-0-571-22018-2 Lyons, Arthur (2000). Death on the Cheap: The Lost B Movies of Film Noir. New York: Da Capo. ISBN 978-0-306-80996-5 Macek, Carl (1980). "City Streets (1931)", in Silver and Ward, Film Noir: An Encyclopedic Reference, pp. 59–60. Macek, Carl, and Alain Silver (1980). "House on 92nd Street (1945)", in Silver and Ward, Film Noir: An Encyclopedic Reference, pp. 134–35. Mackendrick, Alexander (2006). On Film-making: An Introduction to the Craft of the Director. New York: Macmillan. ISBN 978-0-571-21125-8 Marshman, Donald (1947). "Mister 'See'-Odd-Mack'", Life, August 25. Martin, Richard (1997). Mean Streets and Raging Bulls: The Legacy of Film Noir in Contemporary American Cinema. Lanham, Md.: Scarecrow Press. ISBN 0-8108-3337-9 Maslin, Janet (1996). "Deadly Plot by a Milquetoast Villain", The New York Times, March 8 (available online Archived 2012-08-08 at the Wayback Machine). McGilligan, Patrick (1997). Fritz Lang: The Nature of the Beast. New York and London: Faber and Faber. ISBN 978-0-571-19375-2 Muller, Eddie (1998). Dark City: The Lost World of Film Noir. New York: St. Martin's. ISBN 978-0-312-18076-8 Naremore, James (2008). More Than Night: Film Noir in Its Contexts, 2d ed. Berkeley, Los Angeles, and London: University of California Press. ISBN 978-0-520-25402-2 Neale, Steve (2000). Genre and Hollywood. London and New York: Routledge. ISBN 978-0-415-02606-2 Ottoson, Robert (1981). A Reference Guide to the American Film Noir: 1940–1958. Metuchen, N.J., and London: Scarecrow Press. ISBN 978-0-8108-1363-2 Palmer, R. Barton (2004). "The Sociological Turn of Adaptation Studies: The Example of Film Noir", in A Companion To Literature And Film, ed. Robert Stam and Alessandra Raengo, pp. 258–77. Maiden, Mass., Oxford, and Carlton, Australia: Blackwell. ISBN 978-0-631-23053-3 Place, Janey, and Lowell Peterson (1974). "Some Visual Motifs of Film Noir", Film Comment 10, no. 1 (collected in Silver and Ursini, Film Noir Reader [1]). Porfirio, Robert (1980). "Stranger on the Third Floor (1940)", in Silver and Ward, Film Noir: An Encyclopedic Reference, p. 269. Ray, Robert B. (1985). A Certain Tendency of the Hollywood Cinema, 1930–1980. Princeton, N.J.: Princeton University Press. ISBN 978-0-691-10174-3 Richardson, Carl (1992). Autopsy: An Element of Realism in Film Noir. Metuchen, N.J., and London: Scarecrow Press. ISBN 978-0-8108-2496-6 Sanders, Steven M. (2006). "Film Noir and the Meaning of Life", in The Philosophy of Film Noir, ed. Mark T. Conard, pp. 91–106. Lexington: University Press of Kentucky. ISBN 978-0-8131-9181-2 Sarris, Andrew (1996 [1968]). The American Cinema: Directors and Directions, 1929–1968. Cambridge, Massachusetts: Da Capo. ISBN 978-0-306-80728-2 Schatz, Thomas (1981). Hollywood Genres: Formulas, Filmmaking, and the Studio System. New York: Random House. ISBN 978-0-07-553623-9 Schatz, Thomas (1998 [1996]). The Genius of the System: Hollywood Filmmaking in the Studio Era, new ed. London: Faber and Faber. ISBN 978-0-571-19596-1 Schrader, Paul (1972). "Notes on Film Noir", Film Comment 8, no. 1 (collected in Silver and Ursini, Film Noir Reader [1]). Server, Lee (2002). Robert Mitchum: "Baby I Don't Care". New York: Macmillan. ISBN 978-0-312-28543-2 Server, Lee (2006). Ava Gardner: "Love Is Nothing". New York: Macmillan. ISBN 978-0-312-31209-1 Silver, Alain (1996 [1975]). "Kiss Me Deadly: Evidence of a Style", rev. versions in Silver and Ursini, Film Noir Reader [1], pp. 209–35 and Film Noir Compendium (newest with remastered frame captures, 2016), pp. 302–325. Silver, Alain (1996). "Introduction", in Silver and Ursini, Film Noir Reader [1], pp. 3–15, rev. ver. in Silver and Ursini, Film Noir Compendium (2016), pp. 10–25. Silver, Alain, and James Ursini (and Robert Porfirio—vol. 3), eds. (2004 [1996–2004]). Film Noir Reader, vols. 1–4. Pompton Plains, N.J.: Limelight. Silver, Alain, and Elizabeth Ward (1992). Film Noir: An Encyclopedic Reference to the American Style, 3d ed. Woodstock, N.Y.: Overlook Press. ISBN 978-0-87951-479-2 (See also: Silver, Ursini, Ward, and Porfirio [2010]. Film Noir: The Encyclopedia, 4th rev., exp. ed. Overlook. ISBN 978-1-59020-144-2) Slocum, J. David (2001). Violence and American Cinema. London and New York: Routledge. ISBN 978-0-415-92810-6 Spicer, Andrew (2007). European Film Noir. Manchester, UK: Manchester University Press. ISBN 978-0-7190-6791-4 Telotte, J. P. (1989). Voices in the Dark: The Narrative Patterns of Film Noir. Urbana and Chicago: University of Illinois Press. ISBN 978-0-252-06056-4 Thomson, David (1998). A Biographical Dictionary of Film, 3rd ed. New York: Knopf. ISBN 978-0-679-75564-7 Turan, Kenneth (2008). "UCLA's Pre-Code Series", Los Angeles Times, January 27 (available online ). Tuska, Jon (1984). Dark Cinema: American Film Noir in Cultural Perspective. Westport, Conn., and London: Greenwood. ISBN 978-0-313-23045-5 Tyree, J. M., and Ben Walters (2007). The Big Lebowski. London: BFI Publishing. ISBN 978-1-84457-173-4 Ursini, James (1995). "Angst at Sixty Fields per Second", in Silver and Ursini, Film Noir Reader [1], pp. 275–87. "Variety staff" (anon.) (1940). "Stranger on the Third Floor" [review], Variety (excerpted online). "Variety staff" (anon.) (1955). "Kiss Me Deadly" [review], Variety (excerpted online Archived 2018-07-07 at the Wayback Machine). Vernet, Marc (1993). "Film Noir on the Edge of Doom", in Copjec, Shades of Noir, pp. 1–31. Wager, Jans B. (2005). Dames in the Driver's Seat: Rereading Film Noir. Austin: University of Texas Press. ISBN 978-0-292-70966-9 Walker, Michael (1992). "Robert Siodmak", in Cameron, The Book of Film Noir, pp. 110–51. White, Dennis L. (1980). "Beast of the City (1932)", in Silver and Ward, Film Noir: An Encyclopedic Reference, pp. 16–17. Widdicombe, Toby (2001). A Reader's Guide to Raymond Chandler. Westport, Conn.: Greenwood. ISBN 978-0-313-30767-6 Williams, Linda Ruth (2005). The Erotic Thriller in Contemporary Cinema. Bloomington: Indiana University Press. ISBN 978-0-253-34713-8 Suggested reading [edit] Auerbach, Jonathan (2011). Film Noir and American Citizenship. Durham, N.C.: Duke University Press. ISBN 978-0-8223-4993-8 Chopra-Gant, Mike (2005). Hollywood Genres and Postwar America: Masculinity, Family and Nation in Popular Movies and Film Noir. London: IB Tauris. ISBN 978-1-85043-838-0 Cochran, David (2000). America Noir: Underground Writers and Filmmakers of the Postwar Era. Washington, D.C.: Smithsonian Institution Press. ISBN 978-1-56098-813-7 Dickos, Andrew (2002). Street with No Name: A History of the Classic American Film Noir. Lexington: University Press of Kentucky. ISBN 978-0-8131-2243-4 Dimendberg, Edward (2004). Film Noir and the Spaces of Modernity. Cambridge, Massachusetts, and London: Harvard University Press. ISBN 978-0-674-01314-8 Dixon, Wheeler Winston (2009). Film Noir and the Cinema of Paranoia. New Brunswick, N.J.: Rutgers University Press. ISBN 978-0-8135-4521-9 García Martín, J. H. (2018). La musicalización diegética de la crisis en el cine negro holliwodiense de los años 40. La música clásica como signo del conflicto. Área abierta, 18(3), 389-407. https://doi.org/10.5209/ARAB.58492 Grossman, Julie (2009). Rethinking the Femme Fatale in Film Noir: Ready for Her Close-Up. Basingstoke, UK: Palgrave Macmillan. ISBN 978-0-230-23328-7 Hannsberry, Karen Burroughs (1998). Femme Noir: Bad Girls of Film. Jefferson, N.C.: McFarland. ISBN 978-0-7864-0429-2 Hannsberry, Karen Burroughs (2003). Bad Boys: The Actors of Film Noir. Jefferson, N.C.: McFarland. ISBN 978-0-7864-1484-0 Hare, William (2003). Early Film Noir: Greed, Lust, and Murder Hollywood Style. Jefferson, N.C.: McFarland. ISBN 978-0-7864-1629-5 Hogan, David J. (2013). Film Noir FAQ. Milwaukee, WI: Hal Leonard. ISBN 978-1-55783-855-1 Kaplan, E. Ann, ed. (1998). Women in Film Noir, new ed. London: British Film Institute. ISBN 978-0-85170-666-5 Keaney, Michael F. (2003). Film Noir Guide: 745 Films of the Classic Era, 1940–1959. Jefferson, N.C.: McFarland. ISBN 978-0-7864-1547-2 Mason, Fran (2002). American Gangster Cinema: From Little Caesar to Pulp Fiction. Houndmills, UK: Palgrave. ISBN 978-0-333-67452-9 Mayer, Geoff, and Brian McDonnell (2007). Encyclopedia of Film Noir. Westport, Conn.: Greenwood. ISBN 978-0-313-33306-4 McArthur, Colin (1972). Underworld U.S.A. New York: Viking. ISBN 978-0-670-01953-3 Naremore, James (2019). Film Noir: A Very Short Introduction. Oxford: Oxford University Press. ISBN 978-0-19-879174-4 Osteen, Mark. Nightmare Alley: Film Noir and the American Dream (Johns Hopkins University Press; 2013) 336 pages; interprets film noir as a genre that challenges the American mythology of upward mobility and self-reinvention. Palmer, R. Barton (1994). Hollywood's Dark Cinema: The American Film Noir. New York: Twayne. ISBN 978-0-8057-9335-2 Palmer, R. Barton, ed. (1996). Perspectives on Film Noir. New York: G.K. Hall. ISBN 978-0-8161-1601-0 Pappas, Charles (2005). It's a Bitter Little World: The Smartest, Toughest, Nastiest Quotes from Film Noir. Iola, Wisc.: Writer's Digest Books. ISBN 978-1-58297-387-6 Rabinowitz, Paula (2002). Black & White & Noir: America's Pulp Modernism. New York: Columbia University Press. ISBN 978-0-231-11481-3 Schatz, Thomas (1997). Boom and Bust: American Cinema in the 1940s. Berkeley, Los Angeles, and London: University of California Press. ISBN 978-0-684-19151-5 Selby, Spencer (1984). Dark City: The Film Noir. Jefferson, N.C.: McFarland. ISBN 978-0-89950-103-1 Shadoian, Jack (2003). Dreams and Dead Ends: The American Gangster Film, 2d ed. Oxford and New York: Oxford University Press. ISBN 978-0-19-514291-4 Silver, Alain, and James Ursini (1999). The Noir Style. Woodstock, N.Y.: Overlook Press. ISBN 978-0-87951-722-9 Silver, Alain, and James Ursini (2016). Film Noir Compendium. Milwaukee, WI: Applause. ISBN 978-1-49505-898-1 Spicer, Andrew (2002). Film Noir. Harlow, UK: Pearson Education. ISBN 978-0-582-43712-8 Starman, Ray (2006). TV Noir: the 20th Century. Troy, N.Y.: The Troy Bookmakers Press. ISBN 978-1-933994-22-2 Suggested listening [edit] Murder is My Beat: Classic Film Noir Themes and Scenes (1997, Rhino Movie Music) – 18-track audio CD Maltese Falcons, Third Men & Touches of Evil-The Sound of Film Noir 1941–1950 (2019, Jasmine Records [UK]) – 42-track audio CD Film Noir: Six Classic Soundtracks (2016, Real Gone Jazz [UK]) – 57 tracks on 4 audio CDs
6420	dbpedia	2	87	https://uk.chili.com/content/robbery-under-arms-1957/e55ea77d-bcc7-4da1-b04e-f2606d034d6e	en	CHILI	http://cdn.chili.com/images/web/logoChili.png?width=800&height=800	http://cdn.chili.com/images/web/logoChili.png?width=800&height=800	[]	[]	[]	[ "" ]	null	[]	null	Without subscription, wherever you are, forever. LIVE YOUR MOVIE!	en	/favicon/favicon.ico	CHILI	null
6420	dbpedia	0	71	https://alchetron.com/Robbery-Under-Arms	en	Robbery Under Arms	https://alchetron.com/cd…-resize-750.jpeg	https://alchetron.com/cd…-resize-750.jpeg	[ "https://alchetron.com/cdn/private_file_1517239302069a16bf39b-3e49-4880-834a-90279cde138.jpg", "https://alchetron.com/cdn/robbery-under-arms-ef93c791-07e0-41da-8853-5c80363b83e-resize-750.jpeg" ]	[]	[]	[ "" ]	null	[]	2017-08-18T08:30:48+00:00	Robbery Under Arms is a bushranger novel by Thomas Alexander Browne, published under his pseudonym Rolf Boldrewood. It was first published in serialised form by The Sydney Mail between July 1882 and August 1883, then in three volumes in London in 1888. It was abridged into a single volume in 1889 as	en	/favicon.ico	Alchetron.com	https://alchetron.com/Robbery-Under-Arms	Plot introduction Writing in the first person, the narrator Dick Marston tells the story of his life and loves and his association with the notorious bushranger Captain Starlight, a renegade from a noble English family. Set in the bush and goldfields of Australia in the 1850s, Starlight's gang, with Dick and his brother Jim's help, sets out on a series of escapades that include cattle theft and robbery under arms. Plot summary The book begins with Dick sitting in gaol, with just under one month before his scheduled execution for his crimes. He is given writing material, and begins documenting his life's story. He starts with his childhood, with a father (Ben) who is prone to violence, particularly when he has been drinking; his mother, his sister (Aileen) and brother, Jim. He documents his first exposure to his father's crimes, the theft of a red calf, and the disapproval of this crime by his mother, who says she thought he had given up stealing since the theft which led to his transportation as a convict from England. Dick's first active involvement in crime, comes where the brothers choose to go cattle duffing (stealing), even though an offer of solid, honest work had been made with neighbour and friend, George Storefield. The divergent lives of the brothers to that of George is a recurring theme of the book from this point forward, as they continue to meet up at different points throughout the story's course. This first theft includes their introduction to Captain Starlight, his Aboriginal assistant, Warrigal, and their hideaway, Terrible Hollow. Further thefts follow, leading up to the brazen theft of 1000 head, driven overland to Adelaide with Starlight. After the success of this adventure, the brothers "lie low" in Melbourne, where they meet the sisters, Kate and Jeanie Morrison. The brothers return to home for Christmas, leading to incarceration and trial of Dick and Starlight. (The magistrate chooses to refer to Starlight only by this nickname, at the Captain's request). Warrigal helps Dick and Starlight escape to Terrible Hollow. The gang later has its first stage holdup. The brothers then move to the Turon goldfields. Their prosperity through honest, hard work gives them the chance for escape from the country to start a new life overseas. Jim is re-united with Jeanie Morrison and marries her. Dick meets Kate Morrison again, but her tumultuous nature leads her, in an angry mood, to alert the police to their presence, and they narrowly escape capture and return to the safety of Terrible Hollow. Seeing no alternative to crime, the gang joins forces with a soon- to- be rival Dan Moran and his friends to stage a major hold up of the armed, escorted stagecoach leaving the goldfields. The robbery is a success, with the members splitting up after sharing the gold takings. Starlight's crew hears word of Moran's planned home invasion of a police informant named Mr Whitman, at a time when Mr Whitman was known to be absent. Marston and Starlight intervene, forcing Moran and his men to leave, thus preventing further harm to the women present and the home being burnt down at the end of the night. At the height of their infamy, the gang attend the Turon horse race, where Starlight's horse, Rainbow, wins. The same weekend, they attend the wedding of a publican's daughter, Bella Barnes, where Starlight fulfils his earlier promise to dance, unrecognised, with her at her wedding, despite the presence of the entire town, including the goldfields commissioner and other dignatories. Ben Marston is later ambushed and wounded by bounty hunters. Moran, nearby, releases him, and shoots all four bounty hunters in cold blood, again highlighting the different honour codes between the two gangs. Ben returns to Terrible Hollow, and is nursed by his daughter, Aileen. Aileen and Starlight begin a relationship, and arrange to marry. Despite the animosity between the rivals, they team up again to rob the home of the Goldfield Commissioner, Mr Knightley, but are met with more resistance than they expected. One of Moran's associates is shot in the skirmish, and Moran is keen to kill Knightley when they later have him face to face. Starlight turns the tables by giving Mr Knightley one of his own pistols. He them proceeds to arrange for Knightley's wife to go to Bathurst and withdraw some cash, and meet Moran's men by "the Black Stump", outside of Bathurst town. Starlight passes the time gambling with Mr Knightley, sharing his food, drink and company. Starlight loses money in the gambling, and arranges to repay by direct payment into his account, as well as paying for the horse he is offered when leaving. Throughout the book, there have been chance meetings with Dick's childhood friend and neighbour, George Storefield who, in contrast with the Marston boys, works hard, keeps within the law and thrives financially. Dick starts to hold up George, now a successful grazier, businessman, magistrate and landholder, before realising who it was. George offers the brothers safe haven and cattle mustering work, which would allow Dick, Starlight and Jim safer travel to Townsville in Queensland, from where they plan to leave to San Francisco. They accept the offer, but are caught, partially due to betrayal by Warrigal and Kate Morrison along the way, and Starlight and Jim are shot dead. Dick is wounded and brought to trial, bringing the story to where it began, with Dick expecting to be hanged shortly. In a surprise ending, Dick's sentence is reduced to fifteen years imprisonment due to petitions from Storefield, Knightley and other prominent people. He serves twelve years, is visited occasionally by Gracey Storefield, whom he marries shortly after his release, before moving to a remote area of Queensland to manage a station for her brother, George Storefield. Characters in Robbery under arms Dick Marston: The narrator, an Australian bushman. Jim Marston: His brother. Aileen Marston: Dick and Jim's sister. Mrs Marston: Ben's wife and the mother of Dick, Jim and Aileen. Ben Marston: Dick, Jim and Aileen's father, a Lincolnshire man transported for poaching. Jeanie Morrison/"Jeanie Marston": One of two sisters that the Marston brothers meet in Melbourne while "lying low". Later marries Jim. She is Kate's sister. Kate Morrison: One of two sisters that the Marston brothers meet in Melbourne while "lying low". She is Jeanie's sister and Jim's sister-in-law. George Storefield: Neighbour and friend of the Marston family. Gracy Storefield: George's sister and Dick's wife after serving his prison sentence. Captain Starlight: An honourable bushranger. Warrigal: Starlight's Aboriginal assistant. Rainbow: Starlight's horse. Mr Whitman: A police informant. Mr Knightley: The goldfield commissioner. Mrs Knightley: Mr Knightley's wife. Miss Falkland: A woman whom Starlight and his crew rescues when Dan Moran leads his men in a home invasion of Mr Whitman. Bella Barnes: A friend of the bushrangers with whom Starlight vows to dance at her wedding. Dan Moran: A corrupt bushranger. Note: The spelling of the surname Marston varies in some editions/adaptations. Alternate spellings include "Marsden" and "Masterton". Major themes The book, written in first person narrative, contains repeated regrets for the narrator's crimes, highlighting how seemingly minor crimes lead to an inescapable life of further crimes. These are contrasted with the success of Dick's hardworking childhood friend, who becomes a successful landowner, merchant and magistrate. The themes of honour and loyalty are repeated throughout the story, which eventually leads to Dick's redemption from hanging and, having served his time in gaol, a presumed peaceful, safe and legal life. As a ripping yarn, originally told in periodical installments, the story mostly centres around the lovable villains, who are adventurers and thieves but nevertheless with high moral standards and, in some ways, trapped by circumstances of their own making. Literary significance and criticism English author Thomas Wood called the novel "a classic, which for life and dash and zip and colour — all of a period — has no match in all Australian letters." Robbery Under Arms is cited as an important influence on Owen Wister's novel The Virginian, widely regarded as the first western. Film, TV or theatrical adaptations 1890: Popular stage melodrama by Garnet Walch and Alfred Dampier. 1907: Robbery Under Arms - black and white silent film, one of Australia's earliest features, produced by Charles MacMahon. 1907: Robbery Under Arms - silent film made by J and N Tait, who had made The Story of the Kelly Gang 1911: Captain Starlight, or Gentleman of the Road - another black and white silent film made by Dampier's daughter, Lily, and her husband, Alfred Rolfe. 1920: Robbery Under Arms - silent film written and directed by actor Kenneth Brampton, who also played the role of Captain Starlight. 1957: Robbery Under Arms - sound and technicolour film version for the British Rank Organisation, directed by Jack Lee, starring Peter Finch as Captain Starlight. 1985: Robbery Under Arms - film and mini-series starring Steven Vidler as Dick Marston and Sam Neill as Captain Starlight, released in separate versions for screen and television. Produced by Jock Blair and directed by Donald Crombie and Ken Hannam. [The musical score by Garry McDonald and Laurie Stone was edited and produced for release by Philip Powers on compact disc by oneMone Records in the early 1990s.] Browne was paid twenty shillings per performance for Alfred Dampier's theatrical adaptation. The novel has also been adapted for radio. 'Rolfe Boldrewood' spent time camped between Warrnambool and Port Fairy in South West Victoria along the banks of the Merri River. He was particularly interested in nearby 'Tower Hill', a place not unlike the 'Terrible Hollow', which some authorities speculate may have been his inspiration for 'The Hollow'. Interestingly, at nearby Koroit, 'Henry Handel Richardson' aka Ethel Florence Lindesay, spent some of her childhood, and used the town to describe unfavourable places in her novels. Release details 1888, First edition, England, Remington and Co Publishers, Hardback (3 vols.)
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"https://i0.wp.com/aguidetoaustralianbushranging.com/wp-content/uploads/2017/08/besieged-the-ned-kelly-story.jpg?resize=297%2C423&ssl=1", "https://i0.wp.com/aguidetoaustralianbushranging.com/wp-content/uploads/2017/08/v1-bjs4ndq2ntc7ajsxnzqyndsxmjawozc2ods1nzy.jpg?resize=497%2C373&ssl=1", "https://i0.wp.com/aguidetoaustralianbushranging.com/wp-content/uploads/2017/08/ned-kelly-uncovered.jpg?resize=299%2C420&ssl=1", "https://i0.wp.com/aguidetoaustralianbushranging.com/wp-content/uploads/2018/03/moonlite01.jpg?resize=493%2C272&ssl=1" ]	[]	[]	[ "" ]	null	[]	2021-09-17T00:00:00+10:00	Posts about Robbery Under Arms written by AJFPhelan56	en	https://i0.wp.com/aguide…it=32%2C32&ssl=1	A Guide to Australian Bushranging	https://aguidetoaustralianbushranging.com/tag/robbery-under-arms/	Austral-Asiatic Review, Tasmanian and Australian Advertiser (Hobart Town, Tas. : 1837 – 1844), Friday 15 September 1843, page 4 TRIAL OF KAVENAGH. Contrary to general expectation, it being now after two o’clock, Laurence Kavenagh was ordered to be placed at the bar, to take his trial for the robbery of the Launceston coach at Epping Forest. After some little delay, he was accordingly ushered into the dock, and a fresh jury was called, the other jurors being discharged altogether. Laurence Kavenagh was capitally charged, under the colonial Act of Council, with robbing James Hewitt on the 3d of July last, being at the time armed with a certain offensive weapon, to wit, a gun — with puting [sic] the said James Hewitt in bodily fear, and stealing from him a watch of the value of 50s., and seven one pound promissory notes. To this information the prisoner pleaded Not Guilty; in a very cool manner, and addressed the Court, requesting to have counsel assigned for his defence. He had no ways and means, he said, of employing one. His Honor said that he had no power to appoint a counsel for the prisoner. He had read the depositions, and he did not see anything in them to justify him in doing so. It must not go abroad that, in all capital cases, a counsel was to be appointed. At Port Arthur, his Honor knew that, in all cases of murder, it was supposed that the Court would assign counsel to the prisoner; this was a common notion there. His Honor did not see he could appoint a counsel in the prisoner’s case, unless upon petition. The Attorney-General observed, that at home the Judge asked the counsel to assist a prisoner in his defence, if the Judge thought it was a case which required the aid of counsel. The learned gentleman stated, that on looking over the depositions in the recent case of the two boys who were charged with the murder of their overseer at Port Arthur, he had felt it his duty, as Crown prosecutor, to suggest the appointment of counsel, as he saw that points of law were likely to arise; but there was nothing, in the present case, to warrant such an appointment. His Honor told the prisoner, that he did not think he should be justified in putting the public to the expense of assigning counsel to him. It would do him no good, nor the public either. In cases where points of law were likely to arise, or in which there was any difficulty, his Honor would always appoint counsel; but here there was nothing complex or ambiguous in the evidence, and it would be of no service to the prisoner. The prisoner — As you think proper, your Honor. The Attorney-General, after a short address, in which he explained the law of the case, under the Colonial Act, proceeded to call his witnesses. James Hewitt, coachman to Mrs. Cox — Had seen prisoner at the bar before, on the 3rd of July, in Epping Forest, witness was driving the coach; Mr. Darke was with him on the box; it was about a quarter-past ten in the morning; there were three men came up, and desired them to stop; they were armed with guns; the prisoner at the bar was one of the men; he had a gun of some description; they came up in front of the horses, and desired witness to stand, and said they did not want to molest any one, only to rob them; they told them not to be afraid; the three men had their guns pointed from their shoulders; witness could not tell which of the three men told him to stop; witness stopped his horses, because he expected they would have shot at the horses, or something of that sort; the arms were presented at witness; the passengers were Miss Hilton, Mr. Darke, and Mr. Jacobs, who with Mrs. Cox, was inside; witness was ordered off the box; he came down, because they presented their arms at him; they robbed him of his watch; they asked him for what he had got, and witness told them they had better take it themselves, and then they would be sure of it; witness let them take his watch, to save further bother; witness expected that if he had not let them take the watch quietly, they would have taken it by force; he was afraid to refuse; they took £7 in notes, and a watch; the watch from his fob, and the notes from his breeches pocket; witness had no doubt the prisoner at the bar was one of those persons. By his Honor. — The prisoner stood guard at the side of the road, when witness first saw him; this was after he (witness) got off the box; they made no threat, but told witness to stand, which he instantly did. Mr. John Charles Darke was passenger on the Launceston coach in Epping Forest, on the 3rd of July; Hewitt was driving it; a man made his appearance in front of the coach, armed with a double-barrelled gun; the prisoner was that man; when he got to the horses heads, he desired the coachman to stop, when two other men came out of the bush; one of the other men desired them to get down; the prisoner told them to stay where they were, until he had ascertained who were in the coach; Hewitt got down from the box; witness saw one of the men take something from Hewitt, which witness thought was money; the double-barrelled gun appeared to be presented at witness and Hewitt, on the box. The prisoner at the bar said, “I dare you to stir; don’t stir, or I will shoot you.” His gun was then pointed to witness and Hewitt; the gun was under his arm, not to his shoulder; witness had never seen the prisoner before, nor either of the other two persons; witness had not the slightest doubt that the prisoner was one of the men; he knew him the moment he saw him in the jail; he (witness) never looked through a hole in his cell, to identify Kavenagh. By the prisoner. — You were carrying the gun with the butt-end to your arm pit; I never came to look through the cell; the gun was a double-barrelled gun; I am quite sure of that; when I heard that one of the bushrangers was wounded, I thought there were strong doubts whether they were the party that robbed the coach, and I went to the gaol to ask Mr. Capon about it, as I was about to leave the colony. By His Honor. — Mr. Price addressed the prisoner as Kavenagh, but this was after I had recognized him; I recognized him going up the stairs, before he was brought into the room. By the Attorney-General. — The moment I saw him I knew him, as one of the men who robbed the Coach, but did not know his name till Mr. Price addressed him. Prisoner. — Pray Sir, did you come free to the Colony? Witness. — I did come free into the Colony. By His Honor. — I knew him by his face, his figure, and his voice. By a Juror, (Mr. Carter). — He had not the same dress on when he robbed the Coach as he has on now; he had on a drab coat. Mrs. Mary Ann Cox corroborated the testimony of the other witnesses, as to the stopping of the Coach in Epping Forest, by the three men, the prisoner at the bar as one of the persons who stopped it; she was quite positive he was one of the men. This being the case for the prosecution, his Honor intimated to the prisoner that this was the time for him to make his defence. The prisoner bowed, and spoke as follows:— I have seen a good many scenes of misery in my time; but what I saw at Port Arthur beat all. There is one circumstance that I feel bound to mention. I was driven to a place of worship by the lash of the law. My own prayer-book was taken out of my hand by the Superintendent, and I was forbidden to read it under pain of severe punishment. I do not blame the Superintendent; it was not his fault. But I put it to any conscientious Protestant in this Court, whether he would like to be driven to a Catholic place of worship, or punished for going there! All men are not of one mind at Port Arthur. There are some men who forget that they have been men. I have not forgot that. I flew from Port Arthur on this account, at the hazard of that life I am now about to forfeit. While I was in the bush, I would rather have been shot than have fallen into the hands of the Government. But I fell into a mistake; for since I have been in custody, I have been treated well (with emphasis), and I am very much obliged to the gentlemen for their kindness and attention. Gentlemen, after I went into the bush, and when I was under arms, I committed no act of violence or cruelty, and did nothing but what became a man. I did no violence to anybody. Stains of blood we always avoided — both me and my companions; and if I have been unfortunate, and done wrong, thanks be to God I have no stain of blood upon my hands! If I abstained from violence, it was not because I expected any mercy while standing at a bar like this. I did not surrender through any exportation of mercy, but through a feeling that I had in my own breast, having met with an accident. I would have pleaded guilty to this charge, only I was accused of having used violence, and violence I never used to any one; but if I came against armed men, I would stand against them the best way I could; but as to using violence against an unarmed man, or an unarmed party, I would not be guilty of so cowardly an act. I have nothing more to say, your Honor. I have no witnesses. His Honor addressed the Jury; he explained in his usual lucid manner, the nature of the charge against the “poor man” at the bar, and the fatal penalty attached to its commission. Upon the evidence little was said, as it was explicit, plain, and incontrovertible. The defence set up by the prisoner, his Honor observed, was being forcibly driven to a place of worship contrary to the tenets of his own religion, and this was the only defence; but it touched not the duty of the jury, neither had they any evidence of such a fact; yet if that was the case, it was most detestable and cruel tyranny, and an instance of bigotry against which his Honor, for one, would most resolutely set his face. Why the prisoner should have stated this circumstance, his Honor did not know, unless it was to excite the compassion of the jury; but their duty was plain and straightforward, and must be performed without favour or affection. The jury retired for about twenty minutes, and then returned a verdict of Guilty. The prisoner was then remanded, his Honor deferring his sentence, but affording him no hope that the capital part would be abandoned. The many outrages committed by the prisoner and his companions, and the anxiety and terror which they had caused in so many families, rendered an example necessary. His Honor was glad to see the prisoner in a state of mind so favourable to the reception of that religious instruction and consolation which would be abundantly afforded him. He earnestly hoped that such a state of mind was sincere; and although his Honor could not deny that the prisoner had used no violence, yet no mercy could be extended to him on that account. The trial lasted but a very short time, and the prisoner throughout preserved a demeanour cool, firm, and collected; there was nothing of the bravo about him, and he appeared fully aware of his situation; he expected no mercy — and he asked for none; and he delivered his defence in a style of natural but simple eloquence which was extremely affecting. He related the cruel treatment which he had received at Port Arthur, with an expression of indignant feeling, which to our minds carried a conviction of its truth, while he avowed his abhorrence of bloodshed, with a fervor which evinced his sincerity. He was dressed in a long dark great coat, and had his left arm in a sling; he appeared, otherwise, in good health. He is rather a good looking man, with an expression of vivacity and intelligence on a fair countenance. We need scarcely add, that the Court was crowded throughout the whole day. — Colonial Times, September 12. T. A. Browne was the real name of colonial era author Rolf Boldrewood. Boldrewood wrote many popular tales of frontier life and bushrangers, drawing heavily on his own experiences and on popular news stories as inspiration. The central character of Boldrewood’s magnum opus, Robbery Under Arms, is Dick Marston; a young stockman who becomes wrapped up in the exploits of the dashing Captain Starlight. The theft of a thousand cattle by Captain Starlight and his gang is one of the major set pieces in “Robbery Under Arms”, and like with most events and characters in Rolf Boldrewood’s writing, was based on an actual event. Henry Redford was a Queensland cattle duffer and part-time bushranger who performed one of the most daring heists in Australian colonial history. In 1870 he stole 1000 cattle from Bowen Downs Station near Longreach and moved them overland through the Strzelecki Desert to South Australia for sale, netting £5000. It was a daring accomplishment unrivalled by even experienced stockmen. It wasn’t until 1872 that Readford was arrested and tried for the crime. A sympathetic (or impressed) jury found him not guilty. The tale is recounted in the news article below. (Images from “Robbery Under Arms”, 1920) Western Grazier (Wilcannia, NSW : 1896 – 1951), Friday 26 May 1944, page 4 The Greatest Cattle Stealing Case In Our History STORY OF HENRY REDFORD The greatest cattle stealing swindle of all time in Australian history was way back in 1870— that of Henry Redford, stockman and his associates. “Thank God, gentlemen, the verdict is yours, not mine,” said the Judge, and smiting the bench with his gavel, he left the courtroom. In the year 1860 explorers William Landsborough and Nat Buchanan, after tracing the Fitzroy and the Belyando Rivers west of Rockhampton, decided to go land-seeking still further west in the country traversed three years previously by A. C Gregory. They travelled 150 miles beyond the Belyando, and came to good country near a mountain, which subsequently they named Mount Cornish. After the usual formalities, they obtained a lease of thousands of square miles of the wonderful rolling downs country in this neighborhood; and they formed two stations — one, Mount Cornish, a cattle station, and the other, Bowen Downs, a sheep station. In due course the proprietors of these two stations formed themselves into the Landsborough Company, and their brand, L.C.5, became known in all the saleyards of Australia. Two more part owners came into the company, namely, Morehead and Young, but in the slump In the middle ‘sixties, just prior to the discovery of Gympie gold, the three original pioneers, Buchanan, Landsborough and Cornish, were obliged to sell out their interests very cheaply, and Morehead and Young were left in possession. Thus, but the luck of the game, those who found the country were deprived of the rich harvest in later years. In November, 1867, Bill Butler, over seer of Bowen Downs Station, made a 400-mile journey eastward to Gracemere Station, near Rockhampton, to buy from the Norwegian pioneer family, the Archers (formerly of Durundur) a stud bull. Bill selected a great white bull (named Whitey), an imported animal, who was pure white, and of remarkable appearance. This animal was branded A on the near and off rumps (Archer’s brand), so Bill branded him also with an S, for extra identification. He drove the bull home to Bowen Downs, and Whitey was liberated amongst the cows and heifers of Morehead and Young. Just as Whitey was settling down to domestic felicity a villian [sic] appeared on the scene, and Whitey’s wanderings recommenced. The villain was named Henry Redford, a stockman, with two mates and large ideas. Redford and Company lurked in a concealed gully on the Thompson River, near Mount Cornish, where they built stockyards and gradually accumulated a herd of over a thousand L.C.5. cattle, including many hundred cows and heifers who belonged to Whltey’s harem. No suspicion was attached to the comings and goings of Redford and his mates, Doudney and Brooke, who were employed by a teamster named Forrester, of Tambo. The stockyard builders had formed the tremendous plan of lifting a thousand cattle and droving them a thousand miles to South Australia, where they expected to sell them for £5,000. THE BIG PLAN They planned the biggest cattle steal in the world’s history. Never in the wilds of Texas were a thousand head rustled at one go. We do these things on a proper scale in Australia, even though Australia’s boys prefer to read stories of Zane Grey’s Wild West instead of our Wilder West. When the mob in the hidden stockyards were ready to start on their trans continental amble, Whitey refused to be separated from his sweethearts and wives. To avoid raising too big a dust, the cattle were divided into three mobs, and were slowly droved down the Thompson River, day after day and week after week, leaving Bowen Downs further in the rear. The plan of the ‘lifters’ was to abandon the cattle and take to the bush, should they ever be pursued. Anxiously they watched the horizon behind them for signs of pursuit, but, in that land of great distance, great mobs and great carelessness, their absence remained unnoticed. After three weeks the bellowing mob reached the junction where the Barcoo joins the Thompson country, completely uninhabitated and following the track blazed by E. B. Kennedy In 1847. They were 200 miles south of Bowen Downs, 200 miles west of Tambo Police barracks, and 200 miles north-west of Bulloo Barracks at Thargomindah which were in the charge of the intrepid Inspector J. M. Gilmour, who was even then searching the country west of Cooper’s Creek for bones presumed to be the remains of explorer Leichhardt, missing since 1847. DOWN THE COOPER’S The three herds were now joined into one big bellowing mob, and the daring duffers, following a very careful itinerary, drove them slowly down Cooper’s Creek towards the South Australian border at Oontoo. No human being was there to question the thieves, who were as bold as the brass they hoped to make from the sale. These were the days of slow police communication and there was nothing to fear except pursuit by black trackers from Bowen Downs. Every time a mob of emus galloped behind the duffers to the north, Red ford and his co-pirates imagined that they saw Inspector Gilmour or his equally famous offsider, Trooper Ludovic, with the two Bulloo black-trackers, Tiger and Tommy. But no Tigers or Tommies appeared, and as the season was good, the lowing kine wound quickly down the lea — in other words down Cooper’s Creek —till they came to the stockade of Burke and Wills Camp 65, which had been the focus of the drama that had thrilled and horrified a continent ten years previously. Now, who will deny that Redford and his mates were game? For despite the tragedy of Burke and Wills, there Aussie duffers formed a plan to drive their mob down Gregory’s old path along StrzeIecki Creek towards Mount Hopeless, where Burke had been baffled. Redford was a Hawkesbury River native — one of that tough breed, descendants of convicts, outlaws, free settlers, soldiers and aborigines, who had fed on bacon and corn and ridden their shaggy ponies up and down the gullies sinces [sic] the days of Governor Bligh. These men are the original hillbillies of Australia, distillers of moonshine, rough as bags, broad in the shoulders, narrow in the waist, long in the head, and with small hands and feet. Redford, who by now had changed his name to Collins, was of the same Hawkesbury river breed as Postman Peat, who carried Her Majesty’s Mails on horseback from Peat’s punt, along Peat’s Ridge, to Newcastle, twice a week for 50 years, wet or dry. Redford had the same do-or-die spirit, as now he tailed his purloined mob over the border into South Australia at Oontoo, in the district of the Three Corners of Death . STURT’S DESERT COUNTRY Ahead, of them the Strzelecki Creek meandered southwards in a series of waterholes, some dry and some full, and some fresh and some salt, through a desert country inhabited by the notorious Tinga Tingana blacks. This was Sturt’s Stony Desert Country, and the cattle lowed and mooed as they sensed what was ahead of them. Whitey bravely led on, but several small mobs broke away and headed back to the north, to become a prey for dingoes and Tinga Tinganas. The route lay through Nappamerrie, Innamincka and Burley Burley water holes, after which the Strzelecki Creek did the disappearing trick and bobbed up again in a series of soaks a few miles apart until the duffers and their mob came to Murtie Murtie waterhole, 70 miles below Innamincka. The trio were well equipped with shooting irons, and were able to vary their diet of everlasting beef with the black duck which were abundant in the lagoons and swamps of the disappearing Strzelecki. That experienced traveller, Whitey, who had now inspected the scenery from England to Rockhampton and thence most points westward to Bowen Downs, vowed that he had never seen anything like the parrakeelia and maneroo weed of the Strzelecki. Now the Tinga Tingana waterhole was reached, headquarters of the dreaded tribe of that euphonious name, but the natives made no attempt to bar Whitey’s progress. On he went via Yerungarrowie and Goora Goora waterhole, until finally Whitey and Redford and their thousand beefy companions sighted the roof of a slab humpy! They had come to Artacoona Well the furthest outpost of polite society in South Australia, inhabited by the Walke Brothers, who named their station Wallelderdine. Bowen Downs eight hundred miles to the north-east. The robbers felt safe from pursuit, but their problem was how to dispose of the booty without being pinched. Walke’s Wallelderdine Station was the fringe of South Australian settlement, and word would soon spread about the passage of such a big mob down the Strzelecki. The simple-minded Walke Brothers could scarcely believe their eyes as they saw the cloud of dust on the northern horizon of their desert-bounded station, which betokened the arrival of Whitey and his attendants, come all the way from Queensland through the graveyard of Burke and Wills. Redford, alias Collins, announced that he was a Queensland grazier, travelling a mob belonging to himself and his brother overland to the saleyards at Port Augusta. WHITEY SOLD They asked the Walkes for provisions and clothing from the station stores, offering in exchange two prime L.C.5 cows, but the Walke Brothers had cast covetous eyes on Whitey. that deep-thewed wanderer of the waste lands. Little did the Walkes realise that Henry Redford, in the stillness of the night, by the Strzelecki’s brackish sand holes, had already decided to sell this pedigreed champion whose value was more than £500, anonymously to the first bidder in preference to shooting him before reaching the more settled districts. In exchange for three pairs of moleskin trousers, 150 lbs. of flour, 7 lbs. of tea, cream-of-tartar and baking soda, and some plug tobacco, Whitey changed hands. This transaction was Harry Redford’s only mistake. It also proved a bad deal for the Walkes. Refreshed by a feed of damper, the three musketeers of Mount Cornish next drove their bull-less herd in the direction of Mount Hopeless, passing Mulligan Spring — so named because the blacks’ name for It was Mullachan. Mount Hopeless and Mullachan were both out-stations of Blanchewater, which specialised in breeding Indian Army remounts (walers), of which there were 3,000 head on the station. As the mob passed through the dried mud of Lake Crossing, between Lakes Blanche and Callabonna, their hooves padded over the spot where a few years later the skeleton of a diprotodon was found by scientists and amazed the whole world. At length they reached Mount Hopeless Station, which had been pioneered by John Baker in 1858, and went on to the homestead at Blanche water. John Baker was absent, but his manager, Mr. Mules, opened his eyes at such a huge mob appearing from the desert. Now Hawkesbury Henry had had enough of cattle duffing, flies and heat, and his only desire was to convert the herd into cash, split the divvy with his pals and leave the quart pots of the Strzelecki for the flesh pots of the Torrens. So he made a proposition. SOLD FOR FORTUNE Mr. Mules jumped at the chance of buying the mob, which it had never entered his head to believe were duffed, for, in all Australian history, cattle duffers had never lifted more than a few head at a time. So the deed was done, and the duffers departed for Adelaide to cash their draft of £5,000. The scene changes to the courtroom at Roma in Queensland, 300 miles west of Brisbane. There, on the 11th day of February, 1873, before Judge Blakaney on circuit, the case of Regina v. Redford is called. The prisoner, Henry Redford, Is indicted that he in March, 1870, at Bowen Downs Station, feloniously did steal 100 bullocks, 100 cows, 100 heifers, 100 steers and one bull, the property of Morehead and Young. Sounds a bit paltry, considering that the mob was 1,000 in addition to Whitey. Mr. Pring, Q.C., prosecuted for the Crown, and plain Mr. Paul defended the prisoner. JURY EMPANELLED Forty-eight jurymen were empanelled, but after strenuous and prolonged objections by both sides, only seven good men and true remained in the box. The prisoner produced no evidence. Mr. Pring, Q.C., then addressed the jury. He said that the prisoner’s guilt was beyond all doubt, that the evidence could not be answered, and that it only remained for the jury to give a verdict which would put a stop to the abominable habit of cattle-duffing in Western Queensland for all times. (No applause from the public gallery, which was crowded with cattle-duffers. Seven red faces In the jury box, which was also crowded with cattle-duffers). Mr. Paul, counsel for the prisoner, next addressed the jury, which listened to him with bated breath. He ridiculed the evidence given by the lunatic McPherson, and asked that the Court should direct the jury to put such evidence out of their minds. “This informer” he said “is trying to escape the penalties of his own crimes by giving evidence against his quondam mate.” Continuing Mr. Paul pointed out eloquently that the prisoner had been held under arrest for 12 months without a trial and had suffered great hardships through being refused bail. At the conclusion of Mr. Paul’s address, which had lasted for an hour, the jury looked sorrowful. The Judge, in his summing up, instructed the jury not to be led away by the specious though clever address by counsel for the prisoner. He instructed them to dismiss from their minds the hardships said to have been endured during the 12 months Redford was conined [sic] awaiting trial. These remarks were uttered, no doubt, with a view to making the prisoner appear a martyr. The Jury then retired at 9 p.m., the case having lasted since 10 a.m. that day. NOT GUILTY The jury returned to court at 10 p.m., after an hour’s retirement. “What is your verdict, gentlemen?” asked the Judge’s associate. “Not guilty!” said the foreman in a still, small voice. (Sensation In the Court). “What did you say?” thundered the Judge. “Not guilty,” replied the foreman, guiltily. After a pause His Honor said: “I will new discharge the prisoner, but before doing so, I wish to remark that I thank God, gentlemen of the jury, that the verdict is yours, not mine,” and smiting the bench with his gavel, His Honor retired in a huff and a hurry. The sequel came a few months later after His Honor’s return to Brisbane. The Government of Free and Easy Land uttered the following terrible malediction against Roma: PROCLAMATION Wednesday, 5th April, 1873. By the Most Honorable George Augustus Constantine, Marquis of Normanby, etc., Governor and Commander-in-Chief of the Colony of Queensland. “Whereas it is now deemed expedient to withdraw for the time hereafter mentioned from the District Court of Roma, the criminal jurisdiction of such Court, now before I, George Augustus Constantine, Marquis or Normanby, Earl of Mulgrave, all in the County of York, in the Peerage of the United Kingdom; the Baron Mulgrave of New Ross, in the County of Wexford, in the Peerage of Ireland; a member or Her Majesty’s most honorable Privy Council, Governor and Commander-in-Chief of the Colony of Queensland and its dependencies DECLARE and ORDER that the criminal jurisdiction possessed by the Court at Roma shall be with drawn therefrom for the term of two years.” Thus by bell, book and candle, on this Black Wednesday, the Honorable George Augustus Constantine (you know the rest) formally blacklisted, reprimanded stigmatised, chided, castigated, admonished. lectured, reproved, condemned, execrated and generally anathematised the Roma Jury Panel which had found Henry Redford not guilty! So ends the true story of Henry Redford, alias Starlight, the hero of Rolfe Boldrewood’s fictitious, false and fantastic fable, “Robbery Under Arms.” Redford was still alive when that book was published, and had been adjudged “not guilty,” so Boldrewood had to beware of the laws of libel. I have now told the full and true story for the first time, as Redford died in 1903 in the Northern Territory, and all the actors of the drama, including the seven jurymen and the Great White Bull himself, have long since passed away. It is said that the Walke Brothers went broke through neglecting their own business while engaged on Her Majesty’s business at Roma. It is also undeniable that John Baker, of Mount Hopeless, was under no obligation to return the 1,000 head which his manager, Mules, had bought from ‘Henry Collins’; for, as Redford was adjudged ‘Not Guilty,’ the receipt given to Mules was valid. What became of the £5,000 only the lawyers and Henry Redford know. — ‘Man’ Few figures in history reach the notoriety and cultural impact of the Kelly Gang. As so much is easily available on the subject already, here is an easily digestible summary of the so-called Kelly Outbreak. For more detailed information, there is a swathe of articles available on A Guide to Australian Bushranging that examine elements of the history in more depth. The story of the Kelly Gang begins on 15 April, 1878. Constable Alexander Fitzpatrick was sent by Sergeant Whelan at Benalla to take charge of the police station at Greta. Greta was well-known to police in the district as members of the Kelly, Quinn and Lloyd families (all related) had selections there. These families were under particularly strict scrutiny by the police due to their recidivism and suspected involvement in crimes such as stock theft. In fact, Constable Fitzpatrick had heard there was a warrant out for the arrest of Dan Kelly, the seventeen year-old son of the notorious Ellen Kelly, for his suspected involvement in horse stealing. He made it known to Whelan that he intended to arrest Dan en route to Greta police station. Despite popular understanding, Fitzpatrick was not required by law to carry a copy of a warrant with him. When Fitzpatrick arrived at the Kelly selection, Dan was not at home so he spoke with Ellen Kelly (who was nursing a newborn), then rode to their neighbour, William “Brickey” Williamson, and questioned him about whether he had a permit for the logs he was splitting. He lingered until dusk and returned to the Kelly selection in case Dan had returned rather than riding to Greta to take charge of the station as ordered. Dan Kelly answered the door and Fitzpatrick made his intentions known. Dan agreed to go quietly with Fitzpatrick on condition that he could finish his dinner first as he had been riding all day. He denied having stolen any horses and it would later be revealed that he had been in gaol when the animals in question were stolen, corroborating his assertions. What happened next is not known for sure due to conflicting evidence. What seems to have been the case, according to popular understanding, is that Fitzpatrick possibly made an unwanted sexual advance on fifteen year-old Kate Kelly and a fight broke out. Fitzpatrick claimed that Ellen Kelly hit him in the head with a coal shovel and Ned Kelly entered the house and shot him in the wrist, accompanied by Brickey Williamson and Ellen Kelly’s son-in-law Bill Skillion who were both brandishing revolvers. Ned Kelly would claim he was never there and Ellen would indicate that Fitzpatrick was drunk and had fought with Ned and Dan. Another version of the story states that Fitzpatrick injured his arm on a door latch and claimed it was a bullet wound, cutting himself to make it look like he had removed a bullet. Regardless, Fitzpatrick returned to Benalla and lodged a report. The following day Ellen Kelly, Brickey Williamson and Bill Skillion were arrested and charged with aiding an attempted murder. Ned and Dan Kelly had gone into hiding at Dan Kelly’s hut in the bush, and a £100 reward was posted for the capture of Ned Kelly for attempted murder. While the brothers were hiding in the Wombat Ranges Ellen Kelly, Brickey Williamson and Bill Skillion were sentenced. Ellen Kelly received three years hard labour, the two men were given six years each. Days later a search party was sent from Mansfield to find the Kelly brothers. Word soon reached the bushrangers that they were being hunted and they tracked the police as they ventured into the bush from Mansfield on 25 October, 1878. Despite the fact they had constructed a fortified hut with huge logs for walls and an armoured door made of sheet metal to protect them in an ambush, they remained on edge. The Mansfield police party consisted of Sergeant Michael Kennedy and Constables Thomas McIntyre, Michael Scanlan (of Mooroopna) and Thomas Lonigan (of Violet Town). They set up camp on the banks of Stringybark Creek, less than a mile from Dan Kelly’s hut. The following day Kennedy and Scanlan headed off to scout for the brothers, leaving McIntyre and Lonigan to tend the camp. McIntyre shot some parrots with a shotgun Kennedy had left him for the task of hunting something for supper. He returned to camp and began cooking bread. Unknown to them, the sound of McIntyre shooting had been heard and Ned Kelly decided to bail up the police. He and Dan were joined by Joe Byrne, a young man from the Woolshed Valley who had recently been involved in stock theft with Ned, and Steve Hart, a jockey from Wangaratta. Ned claimed his intention was to rob the police of their food and weapons. In the afternoon of 26 October, 1878, the Kelly Gang emerged from the bush and ordered McIntyre and Lonigan to bail up. McIntyre did as instructed but Lonigan ran and was shot by Ned with a quartered bullet. A piece of shrapnel pierced Lonigan’s eye and entered his brain, killing him. Ned insisted that Lonigan had gotten behind a log and was about to shoot him. McIntyre would refute this, stating that there was not enough time for Lonigan to have done so. The bushrangers raided the camp, gathering what they could. Dan Kelly insisted McIntyre be handcuffed but Ned refused. He ordered McIntyre to tell the other police to surrender when they returned or be shot. Joe Byrne drank tea and smoked with McIntyre as they waited. When Kennedy and Scanlan returned the gang hid and McIntyre attempted to get the police to surrender. Very suddenly shots were fired. Ned shot Scanlan in the back as his horse tried to run away. Kennedy jumped out of the saddle and began shooting with his pistol. McIntyre escaped on Kennedy’s horse and rode into the bush. Kennedy attempted to follow McIntyre and shot Dan Kelly in the shoulder. Ned pursued Kennedy and they fired at each other in a running gunfight. Kennedy was wounded and fell a considerable distance from the camp. Ned finished him off by shooting him in the chest at close range. He would claim it was a mercy killing. The bushrangers then looted from the corpses and took everything they needed from the camp before burning the tent. Constable McIntyre, meanwhile, had been badly injured as he escaped and hid in a wombat hole overnight. The following day he walked to a farm and raised the alarm. Almost immediately parliament passed the Felons Apprehension Act, which gave them the power to declare people “outlaws”. This was based on the legislation of the same name passed in New South Wales in response to bushrangers such as Ben Hall and Dan Morgan. It meant that the outlaws were not protected by the law and could be murdered without provocation and the killer would not only be exempt from any repercussions, they would receive the reward money. Ned Kelly, Dan Kelly and their two accomplices (Joe Byrne and Steve Hart had not yet been identified) were officially declared outlaws in the colony of Victoria. £1000 was put on Ned’s capture, another £1000 was offered for the others. The assistant commissioner of police, Charles Hope Nicolson, was assigned to lead the hunt for the gang. On 9 December, 1878, the Kelly Gang re-emerged. They stuck up Younghusband’s Station at Faithfull’s Creek and imprisoned the staff in a storeroom. That evening a hawker arrived to camp at the station and he was bailed up as well. The outlaws took new outfits from the hawkers wagon and spruced themselves up with perfume. Later, Ned held a Q&A session in the shed where he answered all the questions his prisoners had about his life and crimes. The next morning, Dan guarded the prisoners while the other gang members destroyed the telegraph lines. A hunting party was also captured and added to the prisoners in the shed. In the afternoon of 10 December, Ned, Dan and Steve rode to Euroa to rob the bank. Dan guarded the back door as Steve went into the manager’s homestead via the kitchen. Here he was recognised by one of the servants who had been a schoolmate of his. He locked her in the drawing room with the rest of the manager’s family before heading into the bank. Meanwhile, Ned had tried to get in the front door with a dodgy cheque he had made the superintendent of Younghusband’s Station write out. When the bank clerk tried to tell him they were closed, he burst in and bailed the staff up and ordered them to give him all the money. Once the till was emptied he ordered them to open the safe but they needed the manager’s key. Ned and Steve bailed up the manager, Robert Scott, and after much hassle, including sending Scott’s wife to get the key from the study, the safe was emptied too. The outlaws then took the staff and the Scotts with them back to the station where Joe had been guarding the prisoners, and had even captured the linesman sent to repair the broken telegraph wires. The gang stayed until night time and then left, ordering the prisoners to wait until they were gone before leaving themselves. The gang escaped with over £1500 on gold and money. In response the reward was raised to £4000 and Assistant Commissioner Nicolson was replaced by Superintendent Francis Augustus Hare. With all four gang members now officially named, it was harder for them to move around, so they got Joe Byrne’s best friend Aaron Sherritt to keep the police distracted by giving them false information. In early 1879 he informed Superintendent Hare that the Kelly Gang would be going to Goulburn. The police immediately headed for Goulburn, but the outlaws were actually heading for Jerilderie, further west. They split up and Ned and Joe went to the Woolpack Inn to get information about Jerilderie. They soon rejoined Dan and Steve and headed into the town. At midnight on 7 February, 1879, the Kelly Gang woke the Jerilderie police up and captured them. They locked the police in their own lock-up cell and planned their next heist. The next day Ned and Joe disguised themselves as police reinforcements and went through the town with one of the constables. They made note of where everything was. Later, Joe and Dan traced the telegraph lines and got their horses shod. The next day Dan guarded the wife of the town’s Sergeant as she decorated the town hall for mass. The gang then began to round the townsfolk up and imprisoned them in the Royal Hotel. Joe went into the bank via the back door and bailed up the staff. Ned and Steve soon appeared. They robbed the till, but again had to get the manager’s key for the safe. Steve was sent to find the manager and caught him having a bath. Eventually the safe was opened and emptied. Ned began destroying records of the bank’s debtors and the bank staff were added to the prisoners in the hotel. Ned and Joe had written a letter that was to be published in the local newspaper, but the local news editor had run out of town once he realised the Kelly Gang were robbing the bank. Ned gave the letter to one of the bankers to be passed onto the press. The gang soon headed off with £2000 pounds of stolen money and gold. This caused the New South Wales government to contribute another £4000 to the reward. For months the gang seemed to disappear. During this time Aaron Sherritt kept the police distracted by hosting watch parties at the Byrne selection every night. Sub-Inspector Stanhope O’Connor was sent from Queensland with a party of native police. The native police were feared for their incredible tracking abilities and their discipline. During the latter months of 1879, Superintendent Hare took ill and was replaced by Assistant Commissioner Nicolson. Nicolson stopped the watch parties and relied on a syndicate of police informants to keep track of the Kelly Gang. Unfortunately a lot of information the police received was either outdated, false or cases of mistaken identity. The media criticised the police for their apparent ineptitude. At this time the outlaws had begun to collect steel plates, mostly plough mouldboards, in order to craft bulletproof armour. Ned Kelly would claim his original intention was to wear the armour during bank robberies as the banks were now all guarded by armed soldiers. Each gang member had their own suit, but mystery still surrounds who made the armour. Many believe it was made by blacksmiths or by the gang themselves. The gang had also been very reliant on their sympathisers for fresh horses, food, shelter and information. The proceeds from the bank robberies had all gone to their supporters. The most prominent sympathisers were Tom Lloyd, Wild Wright, Paddy Byrne, Ettie Hart and the Kelly sisters. Aaron Sherritt was a sympathiser too, but many of the gang’s other supporters thought he was working for the police and had told the gang to murder him. Sherritt’s family had actually been working as police informants, his brother Jack Sherritt in particular, but Aaron had remained a supporter of his closest friend. Nevertheless, the rumours were persistent and Joe Byrne and Dan Kelly frequently tested the Sherritts by giving them useless information to see if it reached the police. When Superintendent Hare returned as head of the pursuit, he re-employed Aaron to take watch parties to spy on Mrs. Byrne. When the threats against Aaron became worrisome, Detective Michael Ward, one of the heads of the hunt based in Beechworth, had arranged for Aaron to be guarded day and night by police. Meanwhile, Ned Kelly had decided to escalate the conflict with the police and take out as many of them in a single go as possible. He planned to lure them out on a special train and derail it. A commotion at Aaron Sherritt’s hut would cause the police, who were based in Benalla, to go by train to Beechworth and resume the hunt with a fresh trail. In order to get to Beechworth they had to pass through Glenrowan, where the train line would be broken on a treacherous bend, causing the train to fly off the tracks. The intention seems to have been to murder the police on board in order to force the government to stop pursuing the gang out of fear. On 26 June, 1880, Dan Kelly and Joe Byrne bailed up a German neighbour of Aaron Sherritt named Anton Wick. They took him to Sherritt’s hut and used Wick to lure Aaron to the back door. When Aaron opened the door Joe murdered him, shooting him twice with a shotgun. Aaron died instantly. The four police constables that had been assigned to protect Aaron cowered and hid in the bedroom. Joe and Dan tried to force the police out of the bedroom for two hours before giving up and riding off to join Ned and Steve at Glenrowan. At Glenrowan, Ned and Steve bailed up a team of quarrymen and some plate-layers to pull up a section of the train track. Ned also captured Ann Jones, proprietor of The Glenrowan Inn, and her daughter Jane. The prisoners were taken to the gatehouse where Joe and Dan arrived at around five in the morning. At daybreak the prisoners were split into two groups: women and children were kept in the gatehouse to be guarded by Steve, everyone else was taken to The Glenrowan Inn. Throughout the day more prisoners were captured as Ned waited for the police. To keep the prisoners occupied there were sporting games held at the inn, card games were played inside, drinks flowed freely and there was even a dance in the bar room. Still, there was no sign of police. As it was a Sunday, no civilian trains would be running and Ned expected the police to arrive as soon as they heard the news of what had happened at Aaron’s hut. What Ned had not discovered was that the news of Aaron’s murder did not reach the police in Benalla until after lunchtime. The police took a long time to make any arrangements but as dusk approached, arrangements were made for a special police train to be sent to Beechworth. That evening Ned decided to bail up the local policeman, Constable Bracken. Thomas Curnow, the schoolteacher, had been trying to convince Ned he was on his side all day and Ned finally agreed to let Curnow take his sick wife home when they went to capture Bracken. As soon as he got home, Curnow gathered materials to help him stop the train. He took a candle and a red scarf and rode off to the train line. Back at the inn there was more dancing and after midnight Dan Kelly told everyone to head home. However, Ann Jones stopped them from leaving so Ned could give a speech. As Ned was talking the police train finally arrived and stopped at the station. Curnow had used the lit candle behind the red scarf as a danger signal and warned the train about the damaged line. The Kelly Gang donned their armour and prepared for battle. Constable Bracken escaped and ran to the train station where he informed Superintendent Hare that the gang were in The Glenrowan Inn. The police headed to the inn and a battle commenced. In the initial exchange Superintendent Hare’s wrist was smashed by a shot, Joe Byrne was shot in the calf, and Ned Kelly was shot in the foot and his left elbow was smashed. As the battle continued, the prisoners tried to escape. Jane Jones led a group of women and children to safety after she had been hit in the head by a police bullet and her little brother had also been mortally wounded by police fire. Over the next few hours, Ned escaped into the bush, most of the women and children escaped even though the police continued to try and shoot them, and Joe Byrne was killed by a police bullet to the groin. Police reinforcements continued to arrive throughout the early hours of the morning and just before sunrise Ned Kelly reappeared behind the police lines. Ned fought the police for almost half an hour before Sergeant Steele blasted his unprotected knee. He was captured alive but badly wounded. Dan and Steve remained in the inn. At ten o’clock the rest of the prisoners were let out. By this time people from all around had descended upon Glenrowan to watch the siege. At three in the afternoon the police decided to burn the inn down to flush Dan and Steve out. They had previously ordered a cannon to be sent from Melbourne to blown the inn up but it had not yet arrived. As the inn was set on fire a Catholic priest, Matthew Gibney, ran inside to rescue anyone that was still in there. Joe Byrne’s corpse was dragged out and the dead bodies of Dan and Steve were found in the bedroom but could not be retrieved before the fire took hold. Another civilian shot by police, Martin Cherry, was rescued from the fire but only lived long enough to be given the last rites. After the fire had stopped, Dan’s and Steve’s bodies were retrieved. They were charred beyond recognition. The onlookers crowded around to get a good look at the dead bodies and to grab any souvenirs they could. Photographers captured images of many of the scenes. Ned Kelly was taken to Benalla, where Joe Byrne’s corpse was strung up against a door of the police lock-up to be photographed. Ned was then sent to Melbourne Gaol to be treated for his wounds but was not expected to survive. Meanwhile, Dan and Steve were buried in unmarked graves to prevent the police taking the bodies away from the families. Months after Glenrowan there were still bullets and bits of shot being removed from Ned’s hands, feet and limbs. When he was deemed fit, he was sent to Beechworth for a committal hearing. Authorities were worried that having a trial in Beechworth would mean there was a strong likelihood of there being sympathisers in the jury so in order to have the best chance at convicting him, he was transferred back to Melbourne for his murder trial. The trial in the Supreme Court was quick and Ned Kelly was found guilty of murdering Constable Thomas Lonigan and sentenced to death by Sir Redmond Barry, the judge that had sentenced his mother to gaol in 1878. While he was held in Melbourne Gaol to await his execution, his sympathisers tried to get a reprieve. Petitions with tens of thousands of signatures were gathered and there were protests and riots in the streets of Melbourne. Kate Kelly met with prominent politicians to beg for mercy but the Executive Council were unmoved and the sentence was upheld. Ned dictated several letters from his cell in order to make his version of events heard. As he was unable to write due to his injuries another prisoner was made to write for him. On 11 November, 1880, Ned Kelly was hanged in Melbourne Gaol. Thousands of people gathered outside the prison and Ellen Kelly worked in the prison laundry within earshot of the gallows. After his execution, his body was taken to the dead house, his head was shaved and a cast made, then his body was removed to be dissected by university students. The remains were buried in the gaol. The Kelly Gang was not prolific by a far stretch. They did fewer robberies than the Hall Gang; they murdered less people than Jimmy Governor; they were not at large as long as Captain Thunderbolt; and there were not as many members as The Ribbon Gang. But what distinguished the Kelly Gang was that there was a political element to their story that was unprecedented, and a sophistication to their operations that surpassed similar feats from the “golden era” of bushrangers. Most people believe bushranging ended with the Kelly Gang, but in fact bushranging continued well into the 1920s before it began to evaporate. Certainly the armour is a powerful piece of iconography and it encapsulates a lot of what makes the Kelly story so unique. In almost 100 years of bushranging, starting with Black Caesar in 1788, nobody had thought to protect themselves from bullets. Ned Kelly mixed the best bits of old fashioned bushranging with a fresh, more methodical approach: to prevent being shot they made armour; because mail coaches were not lucrative targets they robbed banks; they destroyed telegraph lines to prevent information reaching the police quickly; to gain sympathy they gave speeches and wrote letters to the press and politicians; to prove they were not cold blooded murderers they performed intricate heists with no bloodshed. They were bushrangers that didn’t act like typical bushrangers and that made them a cut above the rest. Because the Kelly Gang came from the selector class and so many people identified with them, they became representatives of people in a way not seen since Jack Donohoe became the hero of the convict class. They came to represent everything one group of people tried to suppress, at the same time as being everything the other group wanted to be, which struck a chord and captured the imagination. Even now, they capture that same spirit because a lot of the class conflict in the modern day is merely a mutation of what it was then and stems from the same things. People will always be able to find something in the Kelly Gang they either love or hate because they have transcended history and become part of the cultural tapestry. Since the advent of film, outlaws have been a mainstay, however no outlaws seem to have had such an interesting history on film as Australia’s bushrangers. Starting in the early 1900s, Bushranger films fast became audience favourites with the thrilling tales of the most notorious rogues brought to life in a way that was new and exciting as well as accessible to audiences. However, authorities at the time were extremely worried that they glorified the criminal exploits of these men and encouraged youths to become criminals and in 1911 a ban was placed on bushranger films that wasn’t lifted until around the time of the Second World War. The romance of the Australian bushrangers was so popular amongst American audiences that during the ban it was film makers in the USA that made bushranger films. Sadly nearly all of these films are lost in part or in entirety due to poor conservation or outright destruction (it turns out that celluloid makes a great substitute for coals if you’re running low on fuel). Efforts continue to locate these films for their historical and artistic significance, but very few wins have been achieved. Nearly every bushranger film is conserved by the NFSA (National Sound and Film Archive) who are staffed by experts in all areas of restoration and preservation. The bulk of the surviving silent films were released by the NFSA as a video (on VHS no less) titled Bail Up! Bushrangers on film Bushranging in North Queensland (1904) – No details available. Produced by the Salvation Army. The Kelly Gang (1906) – Confusingly, this short feature opened in Hobart on the same day as the Tait feature The Story of the Kelly Gang opened in Melbourne. The version was produced by Dan Barry and Robert Hollyford and only fragments exist now including a fanciful account of the murder of Aaron Sherritt. The Kelly Gang force a woodcutter to dance before shooting him (Source: NFSA) The Story of the Kelly Gang (1906) – Ned Kelly/The Kelly Gang. Recognised as the world’s first full-length feature film. It ran at just over an hour at a time when films were typically ten to fifteen minutes long. Only around 20 minutes has been preserved and restored by the NFSA, though searches for other prints are ongoing. Robbery Under Arms (1907) – Captain Starlight. Rolf Boldrewood adaptation by Charles McMahon, the first in a long line of adaptations to come. [Fiction] Robbery Under Arms (1907) – Captain Starlight. Rolf Boldrewood adaptation by John and Nevin Tait [Fiction] The Girl Who Joined the Bushrangers (1909) – British production by Lewin Fitzhamon starring Chrissie White as a girl who joins a gang of bushrangers to steal her father’s cattle so that her lover, a policeman, my heroically recapture them. The Story of the Kelly Gang aka The Kelly Gang of Outlaws aka Bail Up! (1910) – Not a lot is known about this film other than it was exhibited in Sydney at the Bijou in March 1910, screening twice daily from 12 – 23 March. It was shown once in Melbourne at the Cyclorama in April 1910, then in Adelaide at the Arcadia and Port Adelaide Town Hall in September that same year. It capped off the year with another set of shows in Sydney. The following year it toured to Brisbane and New Zealand, billed as a new and up to date version of the story told in the Tait film. Ned Kelly at Creegan’s Shanty (Source: NFSA) Thunderbolt (1910) – Frederick Ward aka Captain Thunderbolt. Dir. John Gavin. Only a portion of this film remains. At around twenty minutes, it’s long enough to demonstrate a very slight grasp on history. This was Gavin’s directorial debut and he boasted that the film was four reels long. Moonlite (1910) – Andrew Scott aka Captain Moonlite. Dir. John Gavin. Chasing the success of their film about Thunderbolt, the creative team tackled Captain Moonlite with the director taking the lead role on screen. This film has been lost in its entirety. The Life and Times of John Vane, the Notorious Australian Bushranger (1910) – John Vane, Mickey Bourke, Ben Hall, Johnny Gilbert. A Tale of the Australian Bush aka Ben Hall, The Notorious Bushranger (1911) – Ben Hall, Johnny Gilbert. Dir. John Gavin. Captain Midnight, the Bush King aka The Bushranger’s Bride (1911) – Edgar Dalimore aka Captain Midnight [Fiction] Attack on the Gold Escort aka Captain Midnight, King of the Bushrangers aka Attack of the Gold Escort aka Captain Starlight’s Attack on the Gold Escort (1911) – No details available. Probably a recut version of Captain Midnight the Bush King. [Fiction] Captain Starlight, or Gentleman of the Road (1911) – Captain Starlight. Rolf Boldrewood adaptation. Taken from stage-play adapted from Boldrewood’s novel The Lady Outlaw aka By His Excellency’s Command aka By His Excellency’s Command, a Tale of a Lady Outlaw (1911) – “Dorothy” [Fiction] Dan Morgan (1911) – “Mad Dan” Morgan. This lost film is the only film about Morgan to be made apart from Mad Dog Morgan. Ben Hall and his Gang (1911) – Ben Hall, Johnny Gilbert, John Vane, John O’Meally, John Dunn Bushranger’s Ransom, or A Ride For Life (1911) – Ben Hall, Johnny Gilbert, John O’Meally, John Vane, Mickey Bourke Frank Gardiner, the King of the Road (1911) – Frank Gardiner. Dir. John Gavin. This lost film by John Gavin continued his traditional approach to bushranger films. It didn’t concern itself with sticking to the facts and used the character of Gardiner to play out a series of dramatic set-pieces. Bushranger Ban is instituted Moondyne (1913) – Joseph Bolitho Jones aka Moondyne Joe. Starring George Bryant, Roy Redgrave and Godfrey Cass, this film is based on a novel about Moondyne Joe by John Boyle O’Reilly. It focuses on Moondyne Joe escaping prison and befriending Aboriginals. Trooper Campbell (1914) – Dir. Raymond Longford. Starring film star Lottie Lyall and based on a poem by Henry Lawson, Trooper Campbell must try and save a friend’s son from a life of crime or the indignity of the gallows. Trooper Campbell is bailed up at a cutting beyond Blackman’s Run. (Source: NFSA) The Kelly Gang (1920) – Ned Kelly/The Kelly Gang. Dir. Harry Southwell. Starring Godfrey Cass as Ned Kelly, this film tries to take a strongly pro-police stance to get around the ban on bushranger films, setting a precedent for future films about outlaws. It was primarily filmed in Coburg, Victoria. Robbery Under Arms (1920) – Captain Starlight. Dir. Kenneth Brampton. Another Rolf Boldrewood adaptation. The bulk of funding for this one was obtained from mining magnate Pearson Tewksbury. [Fiction] The Shadow of Lightning Ridge (1920) – “The Shadow”. Dir. Wilfred Lucas. Starring Australian boxer Snowy Baker, this fictional tale is a romance about a young Australian who returns from university to seek revenge against a corrupt squatter named Sir Edward Marriot. [Fiction] The Gentleman Bushranger (1921) – Richard Lavender. Dir. Beaumont Smith. As bushranger films were banned in this time Beaumont Smith made his story about a man “falsely accused” of being a bushranger to avoid the ban. It featured a comedic (ie. Racially insensitive) Chinese character – a cook named Ah Wom Bat – to lighten proceedings. [Fiction] When the Kellys Were Out aka The True History of the Kelly Gang (1923) – Ned Kelly/The Kelly Gang. Dir. Harry Southwell. The final performance of Godfrey Cass as Ned Kelly. Due to the “Bushranger Ban” the film has a heavily “pro-police” stance, and tries to focus heavily on the deaths of police at Stringybark Creek. Filmed in the Burragong Valley, it was initially banned in New South Wales but was released in Melbourne in 1923. It was released in England as The True Story of the Kelly Gang and supposedly was described as the greatest Australian film ever made by performer Pat Hanna. This film is yet another that has mostly been lost to time though portions of it still exist. Trooper O’Brien (1922) – Dir. John Gavin. Starring the director as Trooper O’Brien, the film uses footage from The Kelly Gang (1920) and Robbery Under Arms (1920) to tell the tale of a police officer assigned to the goldfields as a sergeant who is killed by bushrangers. Also features a very unconvincing use of blackface on one of the child actors. [Fiction] The Bushranger (1928) – No details available. American production. [Fiction] When the Kellys Rode (1934) – Ned Kelly/The Kelly Gang. Another Harry Southwell production, this time starring Hay Simpson as Ned Kelly. Stingaree (1934) – Stingaree. Dir. William A. Wellman. An E. W. Hornung adaptation starring Richard Dix and Irene Dunne. This American production was designed to satiate the taste for bushranger stories that the Americans were hungry for. This romantic tale focuses mostly on the love story between Stingaree and Hilda Bouverie. [Fiction] Captain Fury (1939) – Captain Michael Fury. Dir. Hal Roach. American Production starring Brian Aherne as fictional bushranger Captain Fury. It follows the story of an escaped Irish convict who raises a gang of bandits to seek justice against a corrupt landlord. Directed by the renowned comedy producer Hal Roach, whose other credits include scores of silent shorts, The Little Rascals and One Million BC the film was Academy Award nominated for best art direction by Charles D. Hall. The full film is available to be watched on YouTube. [Fiction] Bushranger Ban is lifted A Message to Kelly (1947) – Ned Kelly/The Kelly Gang. Dir. Rupert Kathner. This short film was used as a means of procuring investment in a full-length feature. The footage was shown to community groups in Benalla who were trying to get the production shut down in order to get their support. The plan succeeded. The Glenrowan Affair (1951) – Ned Kelly/The Kelly Gang. Dir. Rupert Kathner. Successfully procuring the means to make his Ned Kelly epic, Kathner directed and acted in the film, which starred Carlton footballer Bob Chitty as Ned. The film relies heavily on oral history and myths to form its depiction and uses the myth of Dan Kelly escaping from the burning inn at Glenrowan as a jumping off point. There was much consternation as it was one of the first Australian films in many years to be exhibited internationally. Captain Thunderbolt (1953) – Frederick Ward aka Captain Thunderbolt. Dir. Cecil Holmes. All that remains of this film is a thrilling trailer showing a handsome, clean shaven Thunderbolt played by Grant Taylor on his daring escapes. Clearly very heavily influenced by Hollywood Westerns, this film appears to focus more on derring-do than any attempt at historical accuracy. It apparently was very very popular in the United States where it was released two years after its Australian release. It also features a young Bud Tingwell as Alan Blake. Robbery Under Arms (1957) – Captain Starlight. Dir. Jack Lee. Yet another Rolf Boldrewood adaptation, this time starring Peter Finch and Maureen Swanson. [Fiction] Man in Iron (1960) – Ned Kelly. Unproduced Tim Burstall feature. Burstall, whose film credits include Alvin Purple and The Last of the Knucklemen, tried for years to make his Ned Kelly film. A photograph of his assistant in Ned Kelly’s armour, superimposed on a nature shot from Stringybark Creek was gifted by Burstall to Eltham High School, his former school. Ned Kelly: Australian Paintings by Sidney Nolan (1960) – Ned Kelly. Dir. Tim Burstall. A short art documentary. Not strictly about bushrangers but it does focus heavily on the story of the Kelly Gang. [Documentary] Ned Kelly (1970) – Ned Kelly/The Kelly Gang. Dir. Tony Richardson. Starring Mick Jagger in the title role and based on a screenplay by Ian Jones, this film is a musical romp with a very foreign perspective on the tale that did not win a sympathetic audience locally. Ben Hall (1975) – Ben Hall, Frank Gardiner, Johnny Gilbert, John Piesley. This TV series was a joint effort by the ABC, BBC and 20th Century Fox and starred English actor Jon Finch (best known as Roman Polanski’s Macbeth), Jack Charles and John Orcsik. Cash and Company (1975) – Sam Cash and Joe Brady. This series, set during the Gold Rush, follows two desperadoes on their adventures as they try to evade the forces of law and order at the hands of Lieutenant Keogh. [Fiction] Tandarra (1976) – Joe Brady and Ryler. A spin-off of Cash and Company, this series replaced Sam Cash and focused mainly on farm life rather than outlawry. [Fiction] Mad Dog Morgan (1976) – “Mad Dan” Morgan. Dir. Philippe Mora. Starring Dennis Hopper with an Irish accent, this film tries to explore colonial Australia and the character of Dan Morgan. Very popular overseas as a “Tromasterpiece”, it is renowned for its violent imagery. The Bushranger (1976) – Written by Margaret Pomeranz. No further details available. TV Movie [Fiction] The Trial of Ned Kelly (1977) – Ned Kelly/The Kelly Gang. Dir. John Gauci. Featuring John Waters as Ned Kelly, this TV movie examines Ned Kelly through the narrative of his trial. The Chant of Jimmie Blacksmith (1978) – Jimmie Blacksmith (inspired by Jimmy Governor) Dir. Fred Schepisi. Adapted from the novel of the same name that was based heavily on the story of Jimmy Governor, The Chant of Jimmie Blacksmith shows the oppression suffered by the title character pushing him to breaking point whereupon he commits a hideous murder and goes on the run. [Fiction] The Last Outlaw (1980) – Dir. George Miller. This TV mini-series is well loved by many Ned Kelly buffs for its adherence to the actual story rather than inventing events or characters. Starring John Jarratt and Sigrid Thornton, and sporting a screenplay by Ian Jones and Bronwyn Binns (whose previous series Against the Wind was a huge success), it was released in conjunction with the 100th anniversary of the Glenrowan siege and Ned’s execution. Reckless Kelly (1993) – Ned Kelly. Dir. Yahoo Serious. Serious followed up his hit Young Einstein with this whacky interpretation of Ned Kelly as a way of critiquing Hollywood’s obsession with guns and violence as well as advocating for gun control but is better known for its use of Yothu Yindi on the soundtrack and Ned Kelly teaching his dog to say “Cornflakes”. [Fiction] Robbery Under Arms (1985) – Captain Starlight. Dir. Donald Crombie and Ken Hannam. Rolf Boldrewood adaptation by Donald Crombie and Ken Hannah. This adaptation of Boldrewood’s story stars Sam Neill and has the distinction of being both a feature film and a TV mini-series. After its theatrical run, the film was re-edited to become a multi-part TV special. [Fiction] Ned Kelly (2003) – Ned Kelly/The Kelly Gang. Dir. Gregor Jordan. Riding on the coat-tails of the renewed hype around Ned Kelly because of the success of Peter Carey’s novel True History of the Kelly Gang, Jordan’s film stars Heath Ledger, Orlando Bloom, Naomi Watts and Geoffrey Rush. Based on Robert Drew’s novel Our Sunshine, it takes significant liberties with historical fact. Ned (2003) – Ned Kelly. Dir. Abe Forsythe. This film tries to pick apart the myth around Ned Kelly and lampoon the obsession with the outlaw by creating a Ned Kelly that is a hopeless loser who gains popularity because he wears a bucket on his head. Forsythe, who also stars in the film, first pitched this idea in his year ten English class. [Fiction] Outlawed: The Real Ned Kelly (2003) – Dir. Mark Lewis. In the wake of such a resurgence in interest in Ned Kelly, it was only natural that production companies would take a crack at documentaries on the subject. Full of moody, dramatic re-enactments and interviews, Outlawed: The Real Ned Kelly tries to question whether Ned Kelly was really a hero or a villain. [Documentary] One of the moody re-enactment scenes in Outlawed: The Real Ned Kelly. (Source: Windfall Films) Besieged: The Ned Kelly Story (2004) – Dir. Barrie Dowdall & Gregory Miller. Trundling out a year after the majority of the hype had died down, this documentary had dramatic re-enactments starring Peter Fenton as Ned Kelly. Fenton also composed the music for the documentary. Not as slick as the previous year’s effort, it perhaps does a better job of airing both sides of the “hero or villain” debate. [Documentary] (Source: Umbrella Entertainment) The Proposition (2005) – Burns Brothers. Dir. John Hillcoat. This brutal, bloody tale tells the story of the Burns brothers, Western Australian outlaws, and how the police force Charlie Burns to turn in his brother. Written by Nick Cave, this film is completely fiction but plays with the tropes of Westerns and bushrangers. Renowned for its unflinching exploration of the dark side of human nature in colonial Australia, it highlights violence and racism as well as exploring the effects of isolation both geographically and socially. [Fiction] Hell’s Gates (2007) – Alexander Pearce. Dir. Jonathan auf der Heide. Short film created to help raise finances for Van Diemen’s Land feature. Focuses on Pearce and his companions’ escape from Sarah Island up until their first murder. The Last Confession of Alexander Pearce (2008) – Alexander Pearce. Dir. Michael James Rowland. The first of two historical feature films based on cannibal Bolter Pearce. Examines the story of Pearce as he approaches his execution and seeks divine forgiveness. Dying Breed (2008) – Dir. Jody Dwyer. Australian horror film using the reputation of Alexander Pearce as a gimmick. In this incarnation Pearce is an escaped convict cannibal nicknamed “The Pieman” whose descendants live in seclusion and are discovered by a group of young people trying to find evidence of Tasmanian Tigers. [Fiction] Van Diemens Land (2009) – Alexander Pearce. Dir. Jonathan auf der Heide. After successfully procuring funds to expand Hell’s Gates into a feature, Van Diemen’s Land is a shocking, gritty account of the exploits of Alexander Pearce and his accomplices as they try to traverse the wilds of Tasmania. Ned Kelly Uncovered (2009) – Dir. Alex West. Tony Robinson of Time Team and Blackadder fame hosts this documentary made during the archaeological dig at Glenrowan. [Documentary] Moonlite (2011) – Andrew Scott aka Captain Moonlite. Dir. Rohan Spong – unreleased. This independent film featured Barry Crocker and Tasma Walton and a whole lot of green screens. Not much is known about it other than it would have had the actors superimposed into scenery rather than using actual sets. Unfortunately production ground to a halt due to a lack of funds. Wild Boys (2011) – Jack Keenan [Fiction] This was a fun, action-adventure series that, while not historically accurate, tried to legitimise the idea of bushrangers as “Australian cowboys”. It starred Daniel MacPherson. The Outlaw Michael Howe (2013) – Michael Howe. Dir. Brendan Cowell. This interpretation of Howe’s story is mostly accurate but heavily rewrites key aspects including Howe’s death and features Damon Herriman as Howe and Rarriwuy Hick as Mary Cockerill. The Legend of Ben Hall (2016) – Ben Hall, Johnny Gilbert, John Dunn. Dir. Matthew Holmes. This independent film focused heavily on historical accuracy and was funded primarily through crowd funding. Starring a cast of previously unknown actors, it is intended to launch a “Legends Anthology” including films about Frank Gardiner, John Vane and Ned Kelly. Stringybark (2019) – The Kelly Gang. Dir. Ben Head. This independent, crowdfunded feature depicts the police killings at Stringybark Creek from the perspective of the doomed officers. After a debut at the Lorne Film Festival it is slated for a 2020 official release. True History of the Kelly Gang (2019) – The Kelly Gang; Harry Power. Dir. Justin Kurzel. This quasi-modern, fantasy interpretation of the Ned Kelly story is inspired by Peter Carey’s novel of the same name and depicts the gang as dress-wearing renegades. After its 2019 Toronto International Film Festival debut, it languished for months before a limited theatrical run in January 2020 followed by it’s premiere on the streaming service Stan on Australia Day 2020. Further Reading: The Picture that Will Live Forever: The Story of the Kelly Gang By Ina Bertrand, William D. Routt The Australian screen : a pictorial history of Australian film making by Eric Reade. A century of Australian cinema edited by James Sabine for the Australian Film Institute. Australian film, 1900-1977 : a guide to feature film production by Andrew Pike and Ross Cooper. The story of the Kelly Gang film 1906-1907 by Jack Cranston. Further Viewing: To Shoot a Mad Dog (1975) – Dir. David Elfick. The making of Mad Dog Morgan. Stand and Deliver: Making The Legend of Ben Hall (2017) – Dir. Edward Tresize. The making of The Legend of Ben Hall.
6420	dbpedia	2	13	https://www.amazon.com/Robbery-Under-Arms/dp/B00F99HTYM	en	Amazon.com			[ "https://images-na.ssl-images-amazon.com/captcha/dddfleoy/Captcha_cjlwpjghce.jpg", "https://fls-na.amazon.com/1/oc-csi/1/OP/requestId=BTK29XH5CKQ2T1G3R18H&js=0" ]	[]	[]	[ "" ]	null	[]	null		en			null	Enter the characters you see below Sorry, we just need to make sure you're not a robot. For best results, please make sure your browser is accepting cookies.
6420	dbpedia	1	11	https://archive.org/details/Robbery_Under_Arms	en	Robbery Under Arms : Kenneth Brampton : Free Download, Borrow, and Streaming : Internet Archive	https://archive.org/down…_Arms_000060.jpg	https://archive.org/down…_Arms_000060.jpg	[ "https://archive.org/services/img/etree", "https://archive.org/services/img/librivoxaudio", "https://archive.org/services/img/metropolitanmuseumofart-gallery", "https://archive.org/services/img/clevelandart", "https://archive.org/services/img/internetarcade", "https://archive.org/services/img/consolelivingroom", "https://archive.org/images/book-lend.png", "https://archive.org/images/widgetOL.png", "https://archive.org/services/img/tv", "https://archive.org/services/img/911", "https://archive.org/images/cc/cc.png", "https://archive.org/images/cc/by.png", "https://archive.org/images/cc/nc.png", "https://archive.org/images/cc/nd.png", "https://archive.org/services/img/TheVideoCellarCollection", "https://archive.org/services/img/feature_films", "https://archive.org/services/img/moviesandfilms", "https://archive.org/services/img/silent_films", "https://athena.archive.org/0.gif?kind=track_js&track_js_case=control&cache_bust=1842113481", "https://athena.archive.org/0.gif?kind=track_js&track_js_case=disabled&cache_bust=1305163156" ]	[]	[]	[ "" ]	null	[]	null	This 1920 silent film was made by Kenneth Brampton, who wrote, produced, directed and starred in it. The story concerns a real life bushranger (outlaw) named...	en	https://archive.org/images/glogo.jpg	Internet Archive	https://archive.org/details/Robbery_Under_Arms	Search the history of over 866 billion web pages on the Internet. Search the Wayback Machine Search icon An illustration of a magnifying glass. Save Page Now Capture a web page as it appears now for use as a trusted citation in the future. Please enter a valid web address
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"https://i0.wp.com/aguidetoaustralianbushranging.com/wp-content/uploads/2017/08/besieged-the-ned-kelly-story.jpg?resize=297%2C423&ssl=1", "https://i0.wp.com/aguidetoaustralianbushranging.com/wp-content/uploads/2017/08/v1-bjs4ndq2ntc7ajsxnzqyndsxmjawozc2ods1nzy.jpg?resize=497%2C373&ssl=1", "https://i0.wp.com/aguidetoaustralianbushranging.com/wp-content/uploads/2017/08/ned-kelly-uncovered.jpg?resize=299%2C420&ssl=1", "https://i0.wp.com/aguidetoaustralianbushranging.com/wp-content/uploads/2018/03/moonlite01.jpg?resize=493%2C272&ssl=1" ]	[]	[]	[ "" ]	null	[]	2021-09-17T00:00:00+10:00	Posts about Robbery Under Arms written by AJFPhelan56	en	https://i0.wp.com/aguide…it=32%2C32&ssl=1	A Guide to Australian Bushranging	https://aguidetoaustralianbushranging.com/tag/robbery-under-arms/	Austral-Asiatic Review, Tasmanian and Australian Advertiser (Hobart Town, Tas. : 1837 – 1844), Friday 15 September 1843, page 4 TRIAL OF KAVENAGH. Contrary to general expectation, it being now after two o’clock, Laurence Kavenagh was ordered to be placed at the bar, to take his trial for the robbery of the Launceston coach at Epping Forest. After some little delay, he was accordingly ushered into the dock, and a fresh jury was called, the other jurors being discharged altogether. Laurence Kavenagh was capitally charged, under the colonial Act of Council, with robbing James Hewitt on the 3d of July last, being at the time armed with a certain offensive weapon, to wit, a gun — with puting [sic] the said James Hewitt in bodily fear, and stealing from him a watch of the value of 50s., and seven one pound promissory notes. To this information the prisoner pleaded Not Guilty; in a very cool manner, and addressed the Court, requesting to have counsel assigned for his defence. He had no ways and means, he said, of employing one. His Honor said that he had no power to appoint a counsel for the prisoner. He had read the depositions, and he did not see anything in them to justify him in doing so. It must not go abroad that, in all capital cases, a counsel was to be appointed. At Port Arthur, his Honor knew that, in all cases of murder, it was supposed that the Court would assign counsel to the prisoner; this was a common notion there. His Honor did not see he could appoint a counsel in the prisoner’s case, unless upon petition. The Attorney-General observed, that at home the Judge asked the counsel to assist a prisoner in his defence, if the Judge thought it was a case which required the aid of counsel. The learned gentleman stated, that on looking over the depositions in the recent case of the two boys who were charged with the murder of their overseer at Port Arthur, he had felt it his duty, as Crown prosecutor, to suggest the appointment of counsel, as he saw that points of law were likely to arise; but there was nothing, in the present case, to warrant such an appointment. His Honor told the prisoner, that he did not think he should be justified in putting the public to the expense of assigning counsel to him. It would do him no good, nor the public either. In cases where points of law were likely to arise, or in which there was any difficulty, his Honor would always appoint counsel; but here there was nothing complex or ambiguous in the evidence, and it would be of no service to the prisoner. The prisoner — As you think proper, your Honor. The Attorney-General, after a short address, in which he explained the law of the case, under the Colonial Act, proceeded to call his witnesses. James Hewitt, coachman to Mrs. Cox — Had seen prisoner at the bar before, on the 3rd of July, in Epping Forest, witness was driving the coach; Mr. Darke was with him on the box; it was about a quarter-past ten in the morning; there were three men came up, and desired them to stop; they were armed with guns; the prisoner at the bar was one of the men; he had a gun of some description; they came up in front of the horses, and desired witness to stand, and said they did not want to molest any one, only to rob them; they told them not to be afraid; the three men had their guns pointed from their shoulders; witness could not tell which of the three men told him to stop; witness stopped his horses, because he expected they would have shot at the horses, or something of that sort; the arms were presented at witness; the passengers were Miss Hilton, Mr. Darke, and Mr. Jacobs, who with Mrs. Cox, was inside; witness was ordered off the box; he came down, because they presented their arms at him; they robbed him of his watch; they asked him for what he had got, and witness told them they had better take it themselves, and then they would be sure of it; witness let them take his watch, to save further bother; witness expected that if he had not let them take the watch quietly, they would have taken it by force; he was afraid to refuse; they took £7 in notes, and a watch; the watch from his fob, and the notes from his breeches pocket; witness had no doubt the prisoner at the bar was one of those persons. By his Honor. — The prisoner stood guard at the side of the road, when witness first saw him; this was after he (witness) got off the box; they made no threat, but told witness to stand, which he instantly did. Mr. John Charles Darke was passenger on the Launceston coach in Epping Forest, on the 3rd of July; Hewitt was driving it; a man made his appearance in front of the coach, armed with a double-barrelled gun; the prisoner was that man; when he got to the horses heads, he desired the coachman to stop, when two other men came out of the bush; one of the other men desired them to get down; the prisoner told them to stay where they were, until he had ascertained who were in the coach; Hewitt got down from the box; witness saw one of the men take something from Hewitt, which witness thought was money; the double-barrelled gun appeared to be presented at witness and Hewitt, on the box. The prisoner at the bar said, “I dare you to stir; don’t stir, or I will shoot you.” His gun was then pointed to witness and Hewitt; the gun was under his arm, not to his shoulder; witness had never seen the prisoner before, nor either of the other two persons; witness had not the slightest doubt that the prisoner was one of the men; he knew him the moment he saw him in the jail; he (witness) never looked through a hole in his cell, to identify Kavenagh. By the prisoner. — You were carrying the gun with the butt-end to your arm pit; I never came to look through the cell; the gun was a double-barrelled gun; I am quite sure of that; when I heard that one of the bushrangers was wounded, I thought there were strong doubts whether they were the party that robbed the coach, and I went to the gaol to ask Mr. Capon about it, as I was about to leave the colony. By His Honor. — Mr. Price addressed the prisoner as Kavenagh, but this was after I had recognized him; I recognized him going up the stairs, before he was brought into the room. By the Attorney-General. — The moment I saw him I knew him, as one of the men who robbed the Coach, but did not know his name till Mr. Price addressed him. Prisoner. — Pray Sir, did you come free to the Colony? Witness. — I did come free into the Colony. By His Honor. — I knew him by his face, his figure, and his voice. By a Juror, (Mr. Carter). — He had not the same dress on when he robbed the Coach as he has on now; he had on a drab coat. Mrs. Mary Ann Cox corroborated the testimony of the other witnesses, as to the stopping of the Coach in Epping Forest, by the three men, the prisoner at the bar as one of the persons who stopped it; she was quite positive he was one of the men. This being the case for the prosecution, his Honor intimated to the prisoner that this was the time for him to make his defence. The prisoner bowed, and spoke as follows:— I have seen a good many scenes of misery in my time; but what I saw at Port Arthur beat all. There is one circumstance that I feel bound to mention. I was driven to a place of worship by the lash of the law. My own prayer-book was taken out of my hand by the Superintendent, and I was forbidden to read it under pain of severe punishment. I do not blame the Superintendent; it was not his fault. But I put it to any conscientious Protestant in this Court, whether he would like to be driven to a Catholic place of worship, or punished for going there! All men are not of one mind at Port Arthur. There are some men who forget that they have been men. I have not forgot that. I flew from Port Arthur on this account, at the hazard of that life I am now about to forfeit. While I was in the bush, I would rather have been shot than have fallen into the hands of the Government. But I fell into a mistake; for since I have been in custody, I have been treated well (with emphasis), and I am very much obliged to the gentlemen for their kindness and attention. Gentlemen, after I went into the bush, and when I was under arms, I committed no act of violence or cruelty, and did nothing but what became a man. I did no violence to anybody. Stains of blood we always avoided — both me and my companions; and if I have been unfortunate, and done wrong, thanks be to God I have no stain of blood upon my hands! If I abstained from violence, it was not because I expected any mercy while standing at a bar like this. I did not surrender through any exportation of mercy, but through a feeling that I had in my own breast, having met with an accident. I would have pleaded guilty to this charge, only I was accused of having used violence, and violence I never used to any one; but if I came against armed men, I would stand against them the best way I could; but as to using violence against an unarmed man, or an unarmed party, I would not be guilty of so cowardly an act. I have nothing more to say, your Honor. I have no witnesses. His Honor addressed the Jury; he explained in his usual lucid manner, the nature of the charge against the “poor man” at the bar, and the fatal penalty attached to its commission. Upon the evidence little was said, as it was explicit, plain, and incontrovertible. The defence set up by the prisoner, his Honor observed, was being forcibly driven to a place of worship contrary to the tenets of his own religion, and this was the only defence; but it touched not the duty of the jury, neither had they any evidence of such a fact; yet if that was the case, it was most detestable and cruel tyranny, and an instance of bigotry against which his Honor, for one, would most resolutely set his face. Why the prisoner should have stated this circumstance, his Honor did not know, unless it was to excite the compassion of the jury; but their duty was plain and straightforward, and must be performed without favour or affection. The jury retired for about twenty minutes, and then returned a verdict of Guilty. The prisoner was then remanded, his Honor deferring his sentence, but affording him no hope that the capital part would be abandoned. The many outrages committed by the prisoner and his companions, and the anxiety and terror which they had caused in so many families, rendered an example necessary. His Honor was glad to see the prisoner in a state of mind so favourable to the reception of that religious instruction and consolation which would be abundantly afforded him. He earnestly hoped that such a state of mind was sincere; and although his Honor could not deny that the prisoner had used no violence, yet no mercy could be extended to him on that account. The trial lasted but a very short time, and the prisoner throughout preserved a demeanour cool, firm, and collected; there was nothing of the bravo about him, and he appeared fully aware of his situation; he expected no mercy — and he asked for none; and he delivered his defence in a style of natural but simple eloquence which was extremely affecting. He related the cruel treatment which he had received at Port Arthur, with an expression of indignant feeling, which to our minds carried a conviction of its truth, while he avowed his abhorrence of bloodshed, with a fervor which evinced his sincerity. He was dressed in a long dark great coat, and had his left arm in a sling; he appeared, otherwise, in good health. He is rather a good looking man, with an expression of vivacity and intelligence on a fair countenance. We need scarcely add, that the Court was crowded throughout the whole day. — Colonial Times, September 12. T. A. Browne was the real name of colonial era author Rolf Boldrewood. Boldrewood wrote many popular tales of frontier life and bushrangers, drawing heavily on his own experiences and on popular news stories as inspiration. The central character of Boldrewood’s magnum opus, Robbery Under Arms, is Dick Marston; a young stockman who becomes wrapped up in the exploits of the dashing Captain Starlight. The theft of a thousand cattle by Captain Starlight and his gang is one of the major set pieces in “Robbery Under Arms”, and like with most events and characters in Rolf Boldrewood’s writing, was based on an actual event. Henry Redford was a Queensland cattle duffer and part-time bushranger who performed one of the most daring heists in Australian colonial history. In 1870 he stole 1000 cattle from Bowen Downs Station near Longreach and moved them overland through the Strzelecki Desert to South Australia for sale, netting £5000. It was a daring accomplishment unrivalled by even experienced stockmen. It wasn’t until 1872 that Readford was arrested and tried for the crime. A sympathetic (or impressed) jury found him not guilty. The tale is recounted in the news article below. (Images from “Robbery Under Arms”, 1920) Western Grazier (Wilcannia, NSW : 1896 – 1951), Friday 26 May 1944, page 4 The Greatest Cattle Stealing Case In Our History STORY OF HENRY REDFORD The greatest cattle stealing swindle of all time in Australian history was way back in 1870— that of Henry Redford, stockman and his associates. “Thank God, gentlemen, the verdict is yours, not mine,” said the Judge, and smiting the bench with his gavel, he left the courtroom. In the year 1860 explorers William Landsborough and Nat Buchanan, after tracing the Fitzroy and the Belyando Rivers west of Rockhampton, decided to go land-seeking still further west in the country traversed three years previously by A. C Gregory. They travelled 150 miles beyond the Belyando, and came to good country near a mountain, which subsequently they named Mount Cornish. After the usual formalities, they obtained a lease of thousands of square miles of the wonderful rolling downs country in this neighborhood; and they formed two stations — one, Mount Cornish, a cattle station, and the other, Bowen Downs, a sheep station. In due course the proprietors of these two stations formed themselves into the Landsborough Company, and their brand, L.C.5, became known in all the saleyards of Australia. Two more part owners came into the company, namely, Morehead and Young, but in the slump In the middle ‘sixties, just prior to the discovery of Gympie gold, the three original pioneers, Buchanan, Landsborough and Cornish, were obliged to sell out their interests very cheaply, and Morehead and Young were left in possession. Thus, but the luck of the game, those who found the country were deprived of the rich harvest in later years. In November, 1867, Bill Butler, over seer of Bowen Downs Station, made a 400-mile journey eastward to Gracemere Station, near Rockhampton, to buy from the Norwegian pioneer family, the Archers (formerly of Durundur) a stud bull. Bill selected a great white bull (named Whitey), an imported animal, who was pure white, and of remarkable appearance. This animal was branded A on the near and off rumps (Archer’s brand), so Bill branded him also with an S, for extra identification. He drove the bull home to Bowen Downs, and Whitey was liberated amongst the cows and heifers of Morehead and Young. Just as Whitey was settling down to domestic felicity a villian [sic] appeared on the scene, and Whitey’s wanderings recommenced. The villain was named Henry Redford, a stockman, with two mates and large ideas. Redford and Company lurked in a concealed gully on the Thompson River, near Mount Cornish, where they built stockyards and gradually accumulated a herd of over a thousand L.C.5. cattle, including many hundred cows and heifers who belonged to Whltey’s harem. No suspicion was attached to the comings and goings of Redford and his mates, Doudney and Brooke, who were employed by a teamster named Forrester, of Tambo. The stockyard builders had formed the tremendous plan of lifting a thousand cattle and droving them a thousand miles to South Australia, where they expected to sell them for £5,000. THE BIG PLAN They planned the biggest cattle steal in the world’s history. Never in the wilds of Texas were a thousand head rustled at one go. We do these things on a proper scale in Australia, even though Australia’s boys prefer to read stories of Zane Grey’s Wild West instead of our Wilder West. When the mob in the hidden stockyards were ready to start on their trans continental amble, Whitey refused to be separated from his sweethearts and wives. To avoid raising too big a dust, the cattle were divided into three mobs, and were slowly droved down the Thompson River, day after day and week after week, leaving Bowen Downs further in the rear. The plan of the ‘lifters’ was to abandon the cattle and take to the bush, should they ever be pursued. Anxiously they watched the horizon behind them for signs of pursuit, but, in that land of great distance, great mobs and great carelessness, their absence remained unnoticed. After three weeks the bellowing mob reached the junction where the Barcoo joins the Thompson country, completely uninhabitated and following the track blazed by E. B. Kennedy In 1847. They were 200 miles south of Bowen Downs, 200 miles west of Tambo Police barracks, and 200 miles north-west of Bulloo Barracks at Thargomindah which were in the charge of the intrepid Inspector J. M. Gilmour, who was even then searching the country west of Cooper’s Creek for bones presumed to be the remains of explorer Leichhardt, missing since 1847. DOWN THE COOPER’S The three herds were now joined into one big bellowing mob, and the daring duffers, following a very careful itinerary, drove them slowly down Cooper’s Creek towards the South Australian border at Oontoo. No human being was there to question the thieves, who were as bold as the brass they hoped to make from the sale. These were the days of slow police communication and there was nothing to fear except pursuit by black trackers from Bowen Downs. Every time a mob of emus galloped behind the duffers to the north, Red ford and his co-pirates imagined that they saw Inspector Gilmour or his equally famous offsider, Trooper Ludovic, with the two Bulloo black-trackers, Tiger and Tommy. But no Tigers or Tommies appeared, and as the season was good, the lowing kine wound quickly down the lea — in other words down Cooper’s Creek —till they came to the stockade of Burke and Wills Camp 65, which had been the focus of the drama that had thrilled and horrified a continent ten years previously. Now, who will deny that Redford and his mates were game? For despite the tragedy of Burke and Wills, there Aussie duffers formed a plan to drive their mob down Gregory’s old path along StrzeIecki Creek towards Mount Hopeless, where Burke had been baffled. Redford was a Hawkesbury River native — one of that tough breed, descendants of convicts, outlaws, free settlers, soldiers and aborigines, who had fed on bacon and corn and ridden their shaggy ponies up and down the gullies sinces [sic] the days of Governor Bligh. These men are the original hillbillies of Australia, distillers of moonshine, rough as bags, broad in the shoulders, narrow in the waist, long in the head, and with small hands and feet. Redford, who by now had changed his name to Collins, was of the same Hawkesbury river breed as Postman Peat, who carried Her Majesty’s Mails on horseback from Peat’s punt, along Peat’s Ridge, to Newcastle, twice a week for 50 years, wet or dry. Redford had the same do-or-die spirit, as now he tailed his purloined mob over the border into South Australia at Oontoo, in the district of the Three Corners of Death . STURT’S DESERT COUNTRY Ahead, of them the Strzelecki Creek meandered southwards in a series of waterholes, some dry and some full, and some fresh and some salt, through a desert country inhabited by the notorious Tinga Tingana blacks. This was Sturt’s Stony Desert Country, and the cattle lowed and mooed as they sensed what was ahead of them. Whitey bravely led on, but several small mobs broke away and headed back to the north, to become a prey for dingoes and Tinga Tinganas. The route lay through Nappamerrie, Innamincka and Burley Burley water holes, after which the Strzelecki Creek did the disappearing trick and bobbed up again in a series of soaks a few miles apart until the duffers and their mob came to Murtie Murtie waterhole, 70 miles below Innamincka. The trio were well equipped with shooting irons, and were able to vary their diet of everlasting beef with the black duck which were abundant in the lagoons and swamps of the disappearing Strzelecki. That experienced traveller, Whitey, who had now inspected the scenery from England to Rockhampton and thence most points westward to Bowen Downs, vowed that he had never seen anything like the parrakeelia and maneroo weed of the Strzelecki. Now the Tinga Tingana waterhole was reached, headquarters of the dreaded tribe of that euphonious name, but the natives made no attempt to bar Whitey’s progress. On he went via Yerungarrowie and Goora Goora waterhole, until finally Whitey and Redford and their thousand beefy companions sighted the roof of a slab humpy! They had come to Artacoona Well the furthest outpost of polite society in South Australia, inhabited by the Walke Brothers, who named their station Wallelderdine. Bowen Downs eight hundred miles to the north-east. The robbers felt safe from pursuit, but their problem was how to dispose of the booty without being pinched. Walke’s Wallelderdine Station was the fringe of South Australian settlement, and word would soon spread about the passage of such a big mob down the Strzelecki. The simple-minded Walke Brothers could scarcely believe their eyes as they saw the cloud of dust on the northern horizon of their desert-bounded station, which betokened the arrival of Whitey and his attendants, come all the way from Queensland through the graveyard of Burke and Wills. Redford, alias Collins, announced that he was a Queensland grazier, travelling a mob belonging to himself and his brother overland to the saleyards at Port Augusta. WHITEY SOLD They asked the Walkes for provisions and clothing from the station stores, offering in exchange two prime L.C.5 cows, but the Walke Brothers had cast covetous eyes on Whitey. that deep-thewed wanderer of the waste lands. Little did the Walkes realise that Henry Redford, in the stillness of the night, by the Strzelecki’s brackish sand holes, had already decided to sell this pedigreed champion whose value was more than £500, anonymously to the first bidder in preference to shooting him before reaching the more settled districts. In exchange for three pairs of moleskin trousers, 150 lbs. of flour, 7 lbs. of tea, cream-of-tartar and baking soda, and some plug tobacco, Whitey changed hands. This transaction was Harry Redford’s only mistake. It also proved a bad deal for the Walkes. Refreshed by a feed of damper, the three musketeers of Mount Cornish next drove their bull-less herd in the direction of Mount Hopeless, passing Mulligan Spring — so named because the blacks’ name for It was Mullachan. Mount Hopeless and Mullachan were both out-stations of Blanchewater, which specialised in breeding Indian Army remounts (walers), of which there were 3,000 head on the station. As the mob passed through the dried mud of Lake Crossing, between Lakes Blanche and Callabonna, their hooves padded over the spot where a few years later the skeleton of a diprotodon was found by scientists and amazed the whole world. At length they reached Mount Hopeless Station, which had been pioneered by John Baker in 1858, and went on to the homestead at Blanche water. John Baker was absent, but his manager, Mr. Mules, opened his eyes at such a huge mob appearing from the desert. Now Hawkesbury Henry had had enough of cattle duffing, flies and heat, and his only desire was to convert the herd into cash, split the divvy with his pals and leave the quart pots of the Strzelecki for the flesh pots of the Torrens. So he made a proposition. SOLD FOR FORTUNE Mr. Mules jumped at the chance of buying the mob, which it had never entered his head to believe were duffed, for, in all Australian history, cattle duffers had never lifted more than a few head at a time. So the deed was done, and the duffers departed for Adelaide to cash their draft of £5,000. The scene changes to the courtroom at Roma in Queensland, 300 miles west of Brisbane. There, on the 11th day of February, 1873, before Judge Blakaney on circuit, the case of Regina v. Redford is called. The prisoner, Henry Redford, Is indicted that he in March, 1870, at Bowen Downs Station, feloniously did steal 100 bullocks, 100 cows, 100 heifers, 100 steers and one bull, the property of Morehead and Young. Sounds a bit paltry, considering that the mob was 1,000 in addition to Whitey. Mr. Pring, Q.C., prosecuted for the Crown, and plain Mr. Paul defended the prisoner. JURY EMPANELLED Forty-eight jurymen were empanelled, but after strenuous and prolonged objections by both sides, only seven good men and true remained in the box. The prisoner produced no evidence. Mr. Pring, Q.C., then addressed the jury. He said that the prisoner’s guilt was beyond all doubt, that the evidence could not be answered, and that it only remained for the jury to give a verdict which would put a stop to the abominable habit of cattle-duffing in Western Queensland for all times. (No applause from the public gallery, which was crowded with cattle-duffers. Seven red faces In the jury box, which was also crowded with cattle-duffers). Mr. Paul, counsel for the prisoner, next addressed the jury, which listened to him with bated breath. He ridiculed the evidence given by the lunatic McPherson, and asked that the Court should direct the jury to put such evidence out of their minds. “This informer” he said “is trying to escape the penalties of his own crimes by giving evidence against his quondam mate.” Continuing Mr. Paul pointed out eloquently that the prisoner had been held under arrest for 12 months without a trial and had suffered great hardships through being refused bail. At the conclusion of Mr. Paul’s address, which had lasted for an hour, the jury looked sorrowful. The Judge, in his summing up, instructed the jury not to be led away by the specious though clever address by counsel for the prisoner. He instructed them to dismiss from their minds the hardships said to have been endured during the 12 months Redford was conined [sic] awaiting trial. These remarks were uttered, no doubt, with a view to making the prisoner appear a martyr. The Jury then retired at 9 p.m., the case having lasted since 10 a.m. that day. NOT GUILTY The jury returned to court at 10 p.m., after an hour’s retirement. “What is your verdict, gentlemen?” asked the Judge’s associate. “Not guilty!” said the foreman in a still, small voice. (Sensation In the Court). “What did you say?” thundered the Judge. “Not guilty,” replied the foreman, guiltily. After a pause His Honor said: “I will new discharge the prisoner, but before doing so, I wish to remark that I thank God, gentlemen of the jury, that the verdict is yours, not mine,” and smiting the bench with his gavel, His Honor retired in a huff and a hurry. The sequel came a few months later after His Honor’s return to Brisbane. The Government of Free and Easy Land uttered the following terrible malediction against Roma: PROCLAMATION Wednesday, 5th April, 1873. By the Most Honorable George Augustus Constantine, Marquis of Normanby, etc., Governor and Commander-in-Chief of the Colony of Queensland. “Whereas it is now deemed expedient to withdraw for the time hereafter mentioned from the District Court of Roma, the criminal jurisdiction of such Court, now before I, George Augustus Constantine, Marquis or Normanby, Earl of Mulgrave, all in the County of York, in the Peerage of the United Kingdom; the Baron Mulgrave of New Ross, in the County of Wexford, in the Peerage of Ireland; a member or Her Majesty’s most honorable Privy Council, Governor and Commander-in-Chief of the Colony of Queensland and its dependencies DECLARE and ORDER that the criminal jurisdiction possessed by the Court at Roma shall be with drawn therefrom for the term of two years.” Thus by bell, book and candle, on this Black Wednesday, the Honorable George Augustus Constantine (you know the rest) formally blacklisted, reprimanded stigmatised, chided, castigated, admonished. lectured, reproved, condemned, execrated and generally anathematised the Roma Jury Panel which had found Henry Redford not guilty! So ends the true story of Henry Redford, alias Starlight, the hero of Rolfe Boldrewood’s fictitious, false and fantastic fable, “Robbery Under Arms.” Redford was still alive when that book was published, and had been adjudged “not guilty,” so Boldrewood had to beware of the laws of libel. I have now told the full and true story for the first time, as Redford died in 1903 in the Northern Territory, and all the actors of the drama, including the seven jurymen and the Great White Bull himself, have long since passed away. It is said that the Walke Brothers went broke through neglecting their own business while engaged on Her Majesty’s business at Roma. It is also undeniable that John Baker, of Mount Hopeless, was under no obligation to return the 1,000 head which his manager, Mules, had bought from ‘Henry Collins’; for, as Redford was adjudged ‘Not Guilty,’ the receipt given to Mules was valid. What became of the £5,000 only the lawyers and Henry Redford know. — ‘Man’ Few figures in history reach the notoriety and cultural impact of the Kelly Gang. As so much is easily available on the subject already, here is an easily digestible summary of the so-called Kelly Outbreak. For more detailed information, there is a swathe of articles available on A Guide to Australian Bushranging that examine elements of the history in more depth. The story of the Kelly Gang begins on 15 April, 1878. Constable Alexander Fitzpatrick was sent by Sergeant Whelan at Benalla to take charge of the police station at Greta. Greta was well-known to police in the district as members of the Kelly, Quinn and Lloyd families (all related) had selections there. These families were under particularly strict scrutiny by the police due to their recidivism and suspected involvement in crimes such as stock theft. In fact, Constable Fitzpatrick had heard there was a warrant out for the arrest of Dan Kelly, the seventeen year-old son of the notorious Ellen Kelly, for his suspected involvement in horse stealing. He made it known to Whelan that he intended to arrest Dan en route to Greta police station. Despite popular understanding, Fitzpatrick was not required by law to carry a copy of a warrant with him. When Fitzpatrick arrived at the Kelly selection, Dan was not at home so he spoke with Ellen Kelly (who was nursing a newborn), then rode to their neighbour, William “Brickey” Williamson, and questioned him about whether he had a permit for the logs he was splitting. He lingered until dusk and returned to the Kelly selection in case Dan had returned rather than riding to Greta to take charge of the station as ordered. Dan Kelly answered the door and Fitzpatrick made his intentions known. Dan agreed to go quietly with Fitzpatrick on condition that he could finish his dinner first as he had been riding all day. He denied having stolen any horses and it would later be revealed that he had been in gaol when the animals in question were stolen, corroborating his assertions. What happened next is not known for sure due to conflicting evidence. What seems to have been the case, according to popular understanding, is that Fitzpatrick possibly made an unwanted sexual advance on fifteen year-old Kate Kelly and a fight broke out. Fitzpatrick claimed that Ellen Kelly hit him in the head with a coal shovel and Ned Kelly entered the house and shot him in the wrist, accompanied by Brickey Williamson and Ellen Kelly’s son-in-law Bill Skillion who were both brandishing revolvers. Ned Kelly would claim he was never there and Ellen would indicate that Fitzpatrick was drunk and had fought with Ned and Dan. Another version of the story states that Fitzpatrick injured his arm on a door latch and claimed it was a bullet wound, cutting himself to make it look like he had removed a bullet. Regardless, Fitzpatrick returned to Benalla and lodged a report. The following day Ellen Kelly, Brickey Williamson and Bill Skillion were arrested and charged with aiding an attempted murder. Ned and Dan Kelly had gone into hiding at Dan Kelly’s hut in the bush, and a £100 reward was posted for the capture of Ned Kelly for attempted murder. While the brothers were hiding in the Wombat Ranges Ellen Kelly, Brickey Williamson and Bill Skillion were sentenced. Ellen Kelly received three years hard labour, the two men were given six years each. Days later a search party was sent from Mansfield to find the Kelly brothers. Word soon reached the bushrangers that they were being hunted and they tracked the police as they ventured into the bush from Mansfield on 25 October, 1878. Despite the fact they had constructed a fortified hut with huge logs for walls and an armoured door made of sheet metal to protect them in an ambush, they remained on edge. The Mansfield police party consisted of Sergeant Michael Kennedy and Constables Thomas McIntyre, Michael Scanlan (of Mooroopna) and Thomas Lonigan (of Violet Town). They set up camp on the banks of Stringybark Creek, less than a mile from Dan Kelly’s hut. The following day Kennedy and Scanlan headed off to scout for the brothers, leaving McIntyre and Lonigan to tend the camp. McIntyre shot some parrots with a shotgun Kennedy had left him for the task of hunting something for supper. He returned to camp and began cooking bread. Unknown to them, the sound of McIntyre shooting had been heard and Ned Kelly decided to bail up the police. He and Dan were joined by Joe Byrne, a young man from the Woolshed Valley who had recently been involved in stock theft with Ned, and Steve Hart, a jockey from Wangaratta. Ned claimed his intention was to rob the police of their food and weapons. In the afternoon of 26 October, 1878, the Kelly Gang emerged from the bush and ordered McIntyre and Lonigan to bail up. McIntyre did as instructed but Lonigan ran and was shot by Ned with a quartered bullet. A piece of shrapnel pierced Lonigan’s eye and entered his brain, killing him. Ned insisted that Lonigan had gotten behind a log and was about to shoot him. McIntyre would refute this, stating that there was not enough time for Lonigan to have done so. The bushrangers raided the camp, gathering what they could. Dan Kelly insisted McIntyre be handcuffed but Ned refused. He ordered McIntyre to tell the other police to surrender when they returned or be shot. Joe Byrne drank tea and smoked with McIntyre as they waited. When Kennedy and Scanlan returned the gang hid and McIntyre attempted to get the police to surrender. Very suddenly shots were fired. Ned shot Scanlan in the back as his horse tried to run away. Kennedy jumped out of the saddle and began shooting with his pistol. McIntyre escaped on Kennedy’s horse and rode into the bush. Kennedy attempted to follow McIntyre and shot Dan Kelly in the shoulder. Ned pursued Kennedy and they fired at each other in a running gunfight. Kennedy was wounded and fell a considerable distance from the camp. Ned finished him off by shooting him in the chest at close range. He would claim it was a mercy killing. The bushrangers then looted from the corpses and took everything they needed from the camp before burning the tent. Constable McIntyre, meanwhile, had been badly injured as he escaped and hid in a wombat hole overnight. The following day he walked to a farm and raised the alarm. Almost immediately parliament passed the Felons Apprehension Act, which gave them the power to declare people “outlaws”. This was based on the legislation of the same name passed in New South Wales in response to bushrangers such as Ben Hall and Dan Morgan. It meant that the outlaws were not protected by the law and could be murdered without provocation and the killer would not only be exempt from any repercussions, they would receive the reward money. Ned Kelly, Dan Kelly and their two accomplices (Joe Byrne and Steve Hart had not yet been identified) were officially declared outlaws in the colony of Victoria. £1000 was put on Ned’s capture, another £1000 was offered for the others. The assistant commissioner of police, Charles Hope Nicolson, was assigned to lead the hunt for the gang. On 9 December, 1878, the Kelly Gang re-emerged. They stuck up Younghusband’s Station at Faithfull’s Creek and imprisoned the staff in a storeroom. That evening a hawker arrived to camp at the station and he was bailed up as well. The outlaws took new outfits from the hawkers wagon and spruced themselves up with perfume. Later, Ned held a Q&A session in the shed where he answered all the questions his prisoners had about his life and crimes. The next morning, Dan guarded the prisoners while the other gang members destroyed the telegraph lines. A hunting party was also captured and added to the prisoners in the shed. In the afternoon of 10 December, Ned, Dan and Steve rode to Euroa to rob the bank. Dan guarded the back door as Steve went into the manager’s homestead via the kitchen. Here he was recognised by one of the servants who had been a schoolmate of his. He locked her in the drawing room with the rest of the manager’s family before heading into the bank. Meanwhile, Ned had tried to get in the front door with a dodgy cheque he had made the superintendent of Younghusband’s Station write out. When the bank clerk tried to tell him they were closed, he burst in and bailed the staff up and ordered them to give him all the money. Once the till was emptied he ordered them to open the safe but they needed the manager’s key. Ned and Steve bailed up the manager, Robert Scott, and after much hassle, including sending Scott’s wife to get the key from the study, the safe was emptied too. The outlaws then took the staff and the Scotts with them back to the station where Joe had been guarding the prisoners, and had even captured the linesman sent to repair the broken telegraph wires. The gang stayed until night time and then left, ordering the prisoners to wait until they were gone before leaving themselves. The gang escaped with over £1500 on gold and money. In response the reward was raised to £4000 and Assistant Commissioner Nicolson was replaced by Superintendent Francis Augustus Hare. With all four gang members now officially named, it was harder for them to move around, so they got Joe Byrne’s best friend Aaron Sherritt to keep the police distracted by giving them false information. In early 1879 he informed Superintendent Hare that the Kelly Gang would be going to Goulburn. The police immediately headed for Goulburn, but the outlaws were actually heading for Jerilderie, further west. They split up and Ned and Joe went to the Woolpack Inn to get information about Jerilderie. They soon rejoined Dan and Steve and headed into the town. At midnight on 7 February, 1879, the Kelly Gang woke the Jerilderie police up and captured them. They locked the police in their own lock-up cell and planned their next heist. The next day Ned and Joe disguised themselves as police reinforcements and went through the town with one of the constables. They made note of where everything was. Later, Joe and Dan traced the telegraph lines and got their horses shod. The next day Dan guarded the wife of the town’s Sergeant as she decorated the town hall for mass. The gang then began to round the townsfolk up and imprisoned them in the Royal Hotel. Joe went into the bank via the back door and bailed up the staff. Ned and Steve soon appeared. They robbed the till, but again had to get the manager’s key for the safe. Steve was sent to find the manager and caught him having a bath. Eventually the safe was opened and emptied. Ned began destroying records of the bank’s debtors and the bank staff were added to the prisoners in the hotel. Ned and Joe had written a letter that was to be published in the local newspaper, but the local news editor had run out of town once he realised the Kelly Gang were robbing the bank. Ned gave the letter to one of the bankers to be passed onto the press. The gang soon headed off with £2000 pounds of stolen money and gold. This caused the New South Wales government to contribute another £4000 to the reward. For months the gang seemed to disappear. During this time Aaron Sherritt kept the police distracted by hosting watch parties at the Byrne selection every night. Sub-Inspector Stanhope O’Connor was sent from Queensland with a party of native police. The native police were feared for their incredible tracking abilities and their discipline. During the latter months of 1879, Superintendent Hare took ill and was replaced by Assistant Commissioner Nicolson. Nicolson stopped the watch parties and relied on a syndicate of police informants to keep track of the Kelly Gang. Unfortunately a lot of information the police received was either outdated, false or cases of mistaken identity. The media criticised the police for their apparent ineptitude. At this time the outlaws had begun to collect steel plates, mostly plough mouldboards, in order to craft bulletproof armour. Ned Kelly would claim his original intention was to wear the armour during bank robberies as the banks were now all guarded by armed soldiers. Each gang member had their own suit, but mystery still surrounds who made the armour. Many believe it was made by blacksmiths or by the gang themselves. The gang had also been very reliant on their sympathisers for fresh horses, food, shelter and information. The proceeds from the bank robberies had all gone to their supporters. The most prominent sympathisers were Tom Lloyd, Wild Wright, Paddy Byrne, Ettie Hart and the Kelly sisters. Aaron Sherritt was a sympathiser too, but many of the gang’s other supporters thought he was working for the police and had told the gang to murder him. Sherritt’s family had actually been working as police informants, his brother Jack Sherritt in particular, but Aaron had remained a supporter of his closest friend. Nevertheless, the rumours were persistent and Joe Byrne and Dan Kelly frequently tested the Sherritts by giving them useless information to see if it reached the police. When Superintendent Hare returned as head of the pursuit, he re-employed Aaron to take watch parties to spy on Mrs. Byrne. When the threats against Aaron became worrisome, Detective Michael Ward, one of the heads of the hunt based in Beechworth, had arranged for Aaron to be guarded day and night by police. Meanwhile, Ned Kelly had decided to escalate the conflict with the police and take out as many of them in a single go as possible. He planned to lure them out on a special train and derail it. A commotion at Aaron Sherritt’s hut would cause the police, who were based in Benalla, to go by train to Beechworth and resume the hunt with a fresh trail. In order to get to Beechworth they had to pass through Glenrowan, where the train line would be broken on a treacherous bend, causing the train to fly off the tracks. The intention seems to have been to murder the police on board in order to force the government to stop pursuing the gang out of fear. On 26 June, 1880, Dan Kelly and Joe Byrne bailed up a German neighbour of Aaron Sherritt named Anton Wick. They took him to Sherritt’s hut and used Wick to lure Aaron to the back door. When Aaron opened the door Joe murdered him, shooting him twice with a shotgun. Aaron died instantly. The four police constables that had been assigned to protect Aaron cowered and hid in the bedroom. Joe and Dan tried to force the police out of the bedroom for two hours before giving up and riding off to join Ned and Steve at Glenrowan. At Glenrowan, Ned and Steve bailed up a team of quarrymen and some plate-layers to pull up a section of the train track. Ned also captured Ann Jones, proprietor of The Glenrowan Inn, and her daughter Jane. The prisoners were taken to the gatehouse where Joe and Dan arrived at around five in the morning. At daybreak the prisoners were split into two groups: women and children were kept in the gatehouse to be guarded by Steve, everyone else was taken to The Glenrowan Inn. Throughout the day more prisoners were captured as Ned waited for the police. To keep the prisoners occupied there were sporting games held at the inn, card games were played inside, drinks flowed freely and there was even a dance in the bar room. Still, there was no sign of police. As it was a Sunday, no civilian trains would be running and Ned expected the police to arrive as soon as they heard the news of what had happened at Aaron’s hut. What Ned had not discovered was that the news of Aaron’s murder did not reach the police in Benalla until after lunchtime. The police took a long time to make any arrangements but as dusk approached, arrangements were made for a special police train to be sent to Beechworth. That evening Ned decided to bail up the local policeman, Constable Bracken. Thomas Curnow, the schoolteacher, had been trying to convince Ned he was on his side all day and Ned finally agreed to let Curnow take his sick wife home when they went to capture Bracken. As soon as he got home, Curnow gathered materials to help him stop the train. He took a candle and a red scarf and rode off to the train line. Back at the inn there was more dancing and after midnight Dan Kelly told everyone to head home. However, Ann Jones stopped them from leaving so Ned could give a speech. As Ned was talking the police train finally arrived and stopped at the station. Curnow had used the lit candle behind the red scarf as a danger signal and warned the train about the damaged line. The Kelly Gang donned their armour and prepared for battle. Constable Bracken escaped and ran to the train station where he informed Superintendent Hare that the gang were in The Glenrowan Inn. The police headed to the inn and a battle commenced. In the initial exchange Superintendent Hare’s wrist was smashed by a shot, Joe Byrne was shot in the calf, and Ned Kelly was shot in the foot and his left elbow was smashed. As the battle continued, the prisoners tried to escape. Jane Jones led a group of women and children to safety after she had been hit in the head by a police bullet and her little brother had also been mortally wounded by police fire. Over the next few hours, Ned escaped into the bush, most of the women and children escaped even though the police continued to try and shoot them, and Joe Byrne was killed by a police bullet to the groin. Police reinforcements continued to arrive throughout the early hours of the morning and just before sunrise Ned Kelly reappeared behind the police lines. Ned fought the police for almost half an hour before Sergeant Steele blasted his unprotected knee. He was captured alive but badly wounded. Dan and Steve remained in the inn. At ten o’clock the rest of the prisoners were let out. By this time people from all around had descended upon Glenrowan to watch the siege. At three in the afternoon the police decided to burn the inn down to flush Dan and Steve out. They had previously ordered a cannon to be sent from Melbourne to blown the inn up but it had not yet arrived. As the inn was set on fire a Catholic priest, Matthew Gibney, ran inside to rescue anyone that was still in there. Joe Byrne’s corpse was dragged out and the dead bodies of Dan and Steve were found in the bedroom but could not be retrieved before the fire took hold. Another civilian shot by police, Martin Cherry, was rescued from the fire but only lived long enough to be given the last rites. After the fire had stopped, Dan’s and Steve’s bodies were retrieved. They were charred beyond recognition. The onlookers crowded around to get a good look at the dead bodies and to grab any souvenirs they could. Photographers captured images of many of the scenes. Ned Kelly was taken to Benalla, where Joe Byrne’s corpse was strung up against a door of the police lock-up to be photographed. Ned was then sent to Melbourne Gaol to be treated for his wounds but was not expected to survive. Meanwhile, Dan and Steve were buried in unmarked graves to prevent the police taking the bodies away from the families. Months after Glenrowan there were still bullets and bits of shot being removed from Ned’s hands, feet and limbs. When he was deemed fit, he was sent to Beechworth for a committal hearing. Authorities were worried that having a trial in Beechworth would mean there was a strong likelihood of there being sympathisers in the jury so in order to have the best chance at convicting him, he was transferred back to Melbourne for his murder trial. The trial in the Supreme Court was quick and Ned Kelly was found guilty of murdering Constable Thomas Lonigan and sentenced to death by Sir Redmond Barry, the judge that had sentenced his mother to gaol in 1878. While he was held in Melbourne Gaol to await his execution, his sympathisers tried to get a reprieve. Petitions with tens of thousands of signatures were gathered and there were protests and riots in the streets of Melbourne. Kate Kelly met with prominent politicians to beg for mercy but the Executive Council were unmoved and the sentence was upheld. Ned dictated several letters from his cell in order to make his version of events heard. As he was unable to write due to his injuries another prisoner was made to write for him. On 11 November, 1880, Ned Kelly was hanged in Melbourne Gaol. Thousands of people gathered outside the prison and Ellen Kelly worked in the prison laundry within earshot of the gallows. After his execution, his body was taken to the dead house, his head was shaved and a cast made, then his body was removed to be dissected by university students. The remains were buried in the gaol. The Kelly Gang was not prolific by a far stretch. They did fewer robberies than the Hall Gang; they murdered less people than Jimmy Governor; they were not at large as long as Captain Thunderbolt; and there were not as many members as The Ribbon Gang. But what distinguished the Kelly Gang was that there was a political element to their story that was unprecedented, and a sophistication to their operations that surpassed similar feats from the “golden era” of bushrangers. Most people believe bushranging ended with the Kelly Gang, but in fact bushranging continued well into the 1920s before it began to evaporate. Certainly the armour is a powerful piece of iconography and it encapsulates a lot of what makes the Kelly story so unique. In almost 100 years of bushranging, starting with Black Caesar in 1788, nobody had thought to protect themselves from bullets. Ned Kelly mixed the best bits of old fashioned bushranging with a fresh, more methodical approach: to prevent being shot they made armour; because mail coaches were not lucrative targets they robbed banks; they destroyed telegraph lines to prevent information reaching the police quickly; to gain sympathy they gave speeches and wrote letters to the press and politicians; to prove they were not cold blooded murderers they performed intricate heists with no bloodshed. They were bushrangers that didn’t act like typical bushrangers and that made them a cut above the rest. Because the Kelly Gang came from the selector class and so many people identified with them, they became representatives of people in a way not seen since Jack Donohoe became the hero of the convict class. They came to represent everything one group of people tried to suppress, at the same time as being everything the other group wanted to be, which struck a chord and captured the imagination. Even now, they capture that same spirit because a lot of the class conflict in the modern day is merely a mutation of what it was then and stems from the same things. People will always be able to find something in the Kelly Gang they either love or hate because they have transcended history and become part of the cultural tapestry. Since the advent of film, outlaws have been a mainstay, however no outlaws seem to have had such an interesting history on film as Australia’s bushrangers. Starting in the early 1900s, Bushranger films fast became audience favourites with the thrilling tales of the most notorious rogues brought to life in a way that was new and exciting as well as accessible to audiences. However, authorities at the time were extremely worried that they glorified the criminal exploits of these men and encouraged youths to become criminals and in 1911 a ban was placed on bushranger films that wasn’t lifted until around the time of the Second World War. The romance of the Australian bushrangers was so popular amongst American audiences that during the ban it was film makers in the USA that made bushranger films. Sadly nearly all of these films are lost in part or in entirety due to poor conservation or outright destruction (it turns out that celluloid makes a great substitute for coals if you’re running low on fuel). Efforts continue to locate these films for their historical and artistic significance, but very few wins have been achieved. Nearly every bushranger film is conserved by the NFSA (National Sound and Film Archive) who are staffed by experts in all areas of restoration and preservation. The bulk of the surviving silent films were released by the NFSA as a video (on VHS no less) titled Bail Up! Bushrangers on film Bushranging in North Queensland (1904) – No details available. Produced by the Salvation Army. The Kelly Gang (1906) – Confusingly, this short feature opened in Hobart on the same day as the Tait feature The Story of the Kelly Gang opened in Melbourne. The version was produced by Dan Barry and Robert Hollyford and only fragments exist now including a fanciful account of the murder of Aaron Sherritt. The Kelly Gang force a woodcutter to dance before shooting him (Source: NFSA) The Story of the Kelly Gang (1906) – Ned Kelly/The Kelly Gang. Recognised as the world’s first full-length feature film. It ran at just over an hour at a time when films were typically ten to fifteen minutes long. Only around 20 minutes has been preserved and restored by the NFSA, though searches for other prints are ongoing. Robbery Under Arms (1907) – Captain Starlight. Rolf Boldrewood adaptation by Charles McMahon, the first in a long line of adaptations to come. [Fiction] Robbery Under Arms (1907) – Captain Starlight. Rolf Boldrewood adaptation by John and Nevin Tait [Fiction] The Girl Who Joined the Bushrangers (1909) – British production by Lewin Fitzhamon starring Chrissie White as a girl who joins a gang of bushrangers to steal her father’s cattle so that her lover, a policeman, my heroically recapture them. The Story of the Kelly Gang aka The Kelly Gang of Outlaws aka Bail Up! (1910) – Not a lot is known about this film other than it was exhibited in Sydney at the Bijou in March 1910, screening twice daily from 12 – 23 March. It was shown once in Melbourne at the Cyclorama in April 1910, then in Adelaide at the Arcadia and Port Adelaide Town Hall in September that same year. It capped off the year with another set of shows in Sydney. The following year it toured to Brisbane and New Zealand, billed as a new and up to date version of the story told in the Tait film. Ned Kelly at Creegan’s Shanty (Source: NFSA) Thunderbolt (1910) – Frederick Ward aka Captain Thunderbolt. Dir. John Gavin. Only a portion of this film remains. At around twenty minutes, it’s long enough to demonstrate a very slight grasp on history. This was Gavin’s directorial debut and he boasted that the film was four reels long. Moonlite (1910) – Andrew Scott aka Captain Moonlite. Dir. John Gavin. Chasing the success of their film about Thunderbolt, the creative team tackled Captain Moonlite with the director taking the lead role on screen. This film has been lost in its entirety. The Life and Times of John Vane, the Notorious Australian Bushranger (1910) – John Vane, Mickey Bourke, Ben Hall, Johnny Gilbert. A Tale of the Australian Bush aka Ben Hall, The Notorious Bushranger (1911) – Ben Hall, Johnny Gilbert. Dir. John Gavin. Captain Midnight, the Bush King aka The Bushranger’s Bride (1911) – Edgar Dalimore aka Captain Midnight [Fiction] Attack on the Gold Escort aka Captain Midnight, King of the Bushrangers aka Attack of the Gold Escort aka Captain Starlight’s Attack on the Gold Escort (1911) – No details available. Probably a recut version of Captain Midnight the Bush King. [Fiction] Captain Starlight, or Gentleman of the Road (1911) – Captain Starlight. Rolf Boldrewood adaptation. Taken from stage-play adapted from Boldrewood’s novel The Lady Outlaw aka By His Excellency’s Command aka By His Excellency’s Command, a Tale of a Lady Outlaw (1911) – “Dorothy” [Fiction] Dan Morgan (1911) – “Mad Dan” Morgan. This lost film is the only film about Morgan to be made apart from Mad Dog Morgan. Ben Hall and his Gang (1911) – Ben Hall, Johnny Gilbert, John Vane, John O’Meally, John Dunn Bushranger’s Ransom, or A Ride For Life (1911) – Ben Hall, Johnny Gilbert, John O’Meally, John Vane, Mickey Bourke Frank Gardiner, the King of the Road (1911) – Frank Gardiner. Dir. John Gavin. This lost film by John Gavin continued his traditional approach to bushranger films. It didn’t concern itself with sticking to the facts and used the character of Gardiner to play out a series of dramatic set-pieces. Bushranger Ban is instituted Moondyne (1913) – Joseph Bolitho Jones aka Moondyne Joe. Starring George Bryant, Roy Redgrave and Godfrey Cass, this film is based on a novel about Moondyne Joe by John Boyle O’Reilly. It focuses on Moondyne Joe escaping prison and befriending Aboriginals. Trooper Campbell (1914) – Dir. Raymond Longford. Starring film star Lottie Lyall and based on a poem by Henry Lawson, Trooper Campbell must try and save a friend’s son from a life of crime or the indignity of the gallows. Trooper Campbell is bailed up at a cutting beyond Blackman’s Run. (Source: NFSA) The Kelly Gang (1920) – Ned Kelly/The Kelly Gang. Dir. Harry Southwell. Starring Godfrey Cass as Ned Kelly, this film tries to take a strongly pro-police stance to get around the ban on bushranger films, setting a precedent for future films about outlaws. It was primarily filmed in Coburg, Victoria. Robbery Under Arms (1920) – Captain Starlight. Dir. Kenneth Brampton. Another Rolf Boldrewood adaptation. The bulk of funding for this one was obtained from mining magnate Pearson Tewksbury. [Fiction] The Shadow of Lightning Ridge (1920) – “The Shadow”. Dir. Wilfred Lucas. Starring Australian boxer Snowy Baker, this fictional tale is a romance about a young Australian who returns from university to seek revenge against a corrupt squatter named Sir Edward Marriot. [Fiction] The Gentleman Bushranger (1921) – Richard Lavender. Dir. Beaumont Smith. As bushranger films were banned in this time Beaumont Smith made his story about a man “falsely accused” of being a bushranger to avoid the ban. It featured a comedic (ie. Racially insensitive) Chinese character – a cook named Ah Wom Bat – to lighten proceedings. [Fiction] When the Kellys Were Out aka The True History of the Kelly Gang (1923) – Ned Kelly/The Kelly Gang. Dir. Harry Southwell. The final performance of Godfrey Cass as Ned Kelly. Due to the “Bushranger Ban” the film has a heavily “pro-police” stance, and tries to focus heavily on the deaths of police at Stringybark Creek. Filmed in the Burragong Valley, it was initially banned in New South Wales but was released in Melbourne in 1923. It was released in England as The True Story of the Kelly Gang and supposedly was described as the greatest Australian film ever made by performer Pat Hanna. This film is yet another that has mostly been lost to time though portions of it still exist. Trooper O’Brien (1922) – Dir. John Gavin. Starring the director as Trooper O’Brien, the film uses footage from The Kelly Gang (1920) and Robbery Under Arms (1920) to tell the tale of a police officer assigned to the goldfields as a sergeant who is killed by bushrangers. Also features a very unconvincing use of blackface on one of the child actors. [Fiction] The Bushranger (1928) – No details available. American production. [Fiction] When the Kellys Rode (1934) – Ned Kelly/The Kelly Gang. Another Harry Southwell production, this time starring Hay Simpson as Ned Kelly. Stingaree (1934) – Stingaree. Dir. William A. Wellman. An E. W. Hornung adaptation starring Richard Dix and Irene Dunne. This American production was designed to satiate the taste for bushranger stories that the Americans were hungry for. This romantic tale focuses mostly on the love story between Stingaree and Hilda Bouverie. [Fiction] Captain Fury (1939) – Captain Michael Fury. Dir. Hal Roach. American Production starring Brian Aherne as fictional bushranger Captain Fury. It follows the story of an escaped Irish convict who raises a gang of bandits to seek justice against a corrupt landlord. Directed by the renowned comedy producer Hal Roach, whose other credits include scores of silent shorts, The Little Rascals and One Million BC the film was Academy Award nominated for best art direction by Charles D. Hall. The full film is available to be watched on YouTube. [Fiction] Bushranger Ban is lifted A Message to Kelly (1947) – Ned Kelly/The Kelly Gang. Dir. Rupert Kathner. This short film was used as a means of procuring investment in a full-length feature. The footage was shown to community groups in Benalla who were trying to get the production shut down in order to get their support. The plan succeeded. The Glenrowan Affair (1951) – Ned Kelly/The Kelly Gang. Dir. Rupert Kathner. Successfully procuring the means to make his Ned Kelly epic, Kathner directed and acted in the film, which starred Carlton footballer Bob Chitty as Ned. The film relies heavily on oral history and myths to form its depiction and uses the myth of Dan Kelly escaping from the burning inn at Glenrowan as a jumping off point. There was much consternation as it was one of the first Australian films in many years to be exhibited internationally. Captain Thunderbolt (1953) – Frederick Ward aka Captain Thunderbolt. Dir. Cecil Holmes. All that remains of this film is a thrilling trailer showing a handsome, clean shaven Thunderbolt played by Grant Taylor on his daring escapes. Clearly very heavily influenced by Hollywood Westerns, this film appears to focus more on derring-do than any attempt at historical accuracy. It apparently was very very popular in the United States where it was released two years after its Australian release. It also features a young Bud Tingwell as Alan Blake. Robbery Under Arms (1957) – Captain Starlight. Dir. Jack Lee. Yet another Rolf Boldrewood adaptation, this time starring Peter Finch and Maureen Swanson. [Fiction] Man in Iron (1960) – Ned Kelly. Unproduced Tim Burstall feature. Burstall, whose film credits include Alvin Purple and The Last of the Knucklemen, tried for years to make his Ned Kelly film. A photograph of his assistant in Ned Kelly’s armour, superimposed on a nature shot from Stringybark Creek was gifted by Burstall to Eltham High School, his former school. Ned Kelly: Australian Paintings by Sidney Nolan (1960) – Ned Kelly. Dir. Tim Burstall. A short art documentary. Not strictly about bushrangers but it does focus heavily on the story of the Kelly Gang. [Documentary] Ned Kelly (1970) – Ned Kelly/The Kelly Gang. Dir. Tony Richardson. Starring Mick Jagger in the title role and based on a screenplay by Ian Jones, this film is a musical romp with a very foreign perspective on the tale that did not win a sympathetic audience locally. Ben Hall (1975) – Ben Hall, Frank Gardiner, Johnny Gilbert, John Piesley. This TV series was a joint effort by the ABC, BBC and 20th Century Fox and starred English actor Jon Finch (best known as Roman Polanski’s Macbeth), Jack Charles and John Orcsik. Cash and Company (1975) – Sam Cash and Joe Brady. This series, set during the Gold Rush, follows two desperadoes on their adventures as they try to evade the forces of law and order at the hands of Lieutenant Keogh. [Fiction] Tandarra (1976) – Joe Brady and Ryler. A spin-off of Cash and Company, this series replaced Sam Cash and focused mainly on farm life rather than outlawry. [Fiction] Mad Dog Morgan (1976) – “Mad Dan” Morgan. Dir. Philippe Mora. Starring Dennis Hopper with an Irish accent, this film tries to explore colonial Australia and the character of Dan Morgan. Very popular overseas as a “Tromasterpiece”, it is renowned for its violent imagery. The Bushranger (1976) – Written by Margaret Pomeranz. No further details available. TV Movie [Fiction] The Trial of Ned Kelly (1977) – Ned Kelly/The Kelly Gang. Dir. John Gauci. Featuring John Waters as Ned Kelly, this TV movie examines Ned Kelly through the narrative of his trial. The Chant of Jimmie Blacksmith (1978) – Jimmie Blacksmith (inspired by Jimmy Governor) Dir. Fred Schepisi. Adapted from the novel of the same name that was based heavily on the story of Jimmy Governor, The Chant of Jimmie Blacksmith shows the oppression suffered by the title character pushing him to breaking point whereupon he commits a hideous murder and goes on the run. [Fiction] The Last Outlaw (1980) – Dir. George Miller. This TV mini-series is well loved by many Ned Kelly buffs for its adherence to the actual story rather than inventing events or characters. Starring John Jarratt and Sigrid Thornton, and sporting a screenplay by Ian Jones and Bronwyn Binns (whose previous series Against the Wind was a huge success), it was released in conjunction with the 100th anniversary of the Glenrowan siege and Ned’s execution. Reckless Kelly (1993) – Ned Kelly. Dir. Yahoo Serious. Serious followed up his hit Young Einstein with this whacky interpretation of Ned Kelly as a way of critiquing Hollywood’s obsession with guns and violence as well as advocating for gun control but is better known for its use of Yothu Yindi on the soundtrack and Ned Kelly teaching his dog to say “Cornflakes”. [Fiction] Robbery Under Arms (1985) – Captain Starlight. Dir. Donald Crombie and Ken Hannam. Rolf Boldrewood adaptation by Donald Crombie and Ken Hannah. This adaptation of Boldrewood’s story stars Sam Neill and has the distinction of being both a feature film and a TV mini-series. After its theatrical run, the film was re-edited to become a multi-part TV special. [Fiction] Ned Kelly (2003) – Ned Kelly/The Kelly Gang. Dir. Gregor Jordan. Riding on the coat-tails of the renewed hype around Ned Kelly because of the success of Peter Carey’s novel True History of the Kelly Gang, Jordan’s film stars Heath Ledger, Orlando Bloom, Naomi Watts and Geoffrey Rush. Based on Robert Drew’s novel Our Sunshine, it takes significant liberties with historical fact. Ned (2003) – Ned Kelly. Dir. Abe Forsythe. This film tries to pick apart the myth around Ned Kelly and lampoon the obsession with the outlaw by creating a Ned Kelly that is a hopeless loser who gains popularity because he wears a bucket on his head. Forsythe, who also stars in the film, first pitched this idea in his year ten English class. [Fiction] Outlawed: The Real Ned Kelly (2003) – Dir. Mark Lewis. In the wake of such a resurgence in interest in Ned Kelly, it was only natural that production companies would take a crack at documentaries on the subject. Full of moody, dramatic re-enactments and interviews, Outlawed: The Real Ned Kelly tries to question whether Ned Kelly was really a hero or a villain. [Documentary] One of the moody re-enactment scenes in Outlawed: The Real Ned Kelly. (Source: Windfall Films) Besieged: The Ned Kelly Story (2004) – Dir. Barrie Dowdall & Gregory Miller. Trundling out a year after the majority of the hype had died down, this documentary had dramatic re-enactments starring Peter Fenton as Ned Kelly. Fenton also composed the music for the documentary. Not as slick as the previous year’s effort, it perhaps does a better job of airing both sides of the “hero or villain” debate. [Documentary] (Source: Umbrella Entertainment) The Proposition (2005) – Burns Brothers. Dir. John Hillcoat. This brutal, bloody tale tells the story of the Burns brothers, Western Australian outlaws, and how the police force Charlie Burns to turn in his brother. Written by Nick Cave, this film is completely fiction but plays with the tropes of Westerns and bushrangers. Renowned for its unflinching exploration of the dark side of human nature in colonial Australia, it highlights violence and racism as well as exploring the effects of isolation both geographically and socially. [Fiction] Hell’s Gates (2007) – Alexander Pearce. Dir. Jonathan auf der Heide. Short film created to help raise finances for Van Diemen’s Land feature. Focuses on Pearce and his companions’ escape from Sarah Island up until their first murder. The Last Confession of Alexander Pearce (2008) – Alexander Pearce. Dir. Michael James Rowland. The first of two historical feature films based on cannibal Bolter Pearce. Examines the story of Pearce as he approaches his execution and seeks divine forgiveness. Dying Breed (2008) – Dir. Jody Dwyer. Australian horror film using the reputation of Alexander Pearce as a gimmick. In this incarnation Pearce is an escaped convict cannibal nicknamed “The Pieman” whose descendants live in seclusion and are discovered by a group of young people trying to find evidence of Tasmanian Tigers. [Fiction] Van Diemens Land (2009) – Alexander Pearce. Dir. Jonathan auf der Heide. After successfully procuring funds to expand Hell’s Gates into a feature, Van Diemen’s Land is a shocking, gritty account of the exploits of Alexander Pearce and his accomplices as they try to traverse the wilds of Tasmania. Ned Kelly Uncovered (2009) – Dir. Alex West. Tony Robinson of Time Team and Blackadder fame hosts this documentary made during the archaeological dig at Glenrowan. [Documentary] Moonlite (2011) – Andrew Scott aka Captain Moonlite. Dir. Rohan Spong – unreleased. This independent film featured Barry Crocker and Tasma Walton and a whole lot of green screens. Not much is known about it other than it would have had the actors superimposed into scenery rather than using actual sets. Unfortunately production ground to a halt due to a lack of funds. Wild Boys (2011) – Jack Keenan [Fiction] This was a fun, action-adventure series that, while not historically accurate, tried to legitimise the idea of bushrangers as “Australian cowboys”. It starred Daniel MacPherson. The Outlaw Michael Howe (2013) – Michael Howe. Dir. Brendan Cowell. This interpretation of Howe’s story is mostly accurate but heavily rewrites key aspects including Howe’s death and features Damon Herriman as Howe and Rarriwuy Hick as Mary Cockerill. The Legend of Ben Hall (2016) – Ben Hall, Johnny Gilbert, John Dunn. Dir. Matthew Holmes. This independent film focused heavily on historical accuracy and was funded primarily through crowd funding. Starring a cast of previously unknown actors, it is intended to launch a “Legends Anthology” including films about Frank Gardiner, John Vane and Ned Kelly. Stringybark (2019) – The Kelly Gang. Dir. Ben Head. This independent, crowdfunded feature depicts the police killings at Stringybark Creek from the perspective of the doomed officers. After a debut at the Lorne Film Festival it is slated for a 2020 official release. True History of the Kelly Gang (2019) – The Kelly Gang; Harry Power. Dir. Justin Kurzel. This quasi-modern, fantasy interpretation of the Ned Kelly story is inspired by Peter Carey’s novel of the same name and depicts the gang as dress-wearing renegades. After its 2019 Toronto International Film Festival debut, it languished for months before a limited theatrical run in January 2020 followed by it’s premiere on the streaming service Stan on Australia Day 2020. Further Reading: The Picture that Will Live Forever: The Story of the Kelly Gang By Ina Bertrand, William D. Routt The Australian screen : a pictorial history of Australian film making by Eric Reade. A century of Australian cinema edited by James Sabine for the Australian Film Institute. Australian film, 1900-1977 : a guide to feature film production by Andrew Pike and Ross Cooper. The story of the Kelly Gang film 1906-1907 by Jack Cranston. Further Viewing: To Shoot a Mad Dog (1975) – Dir. David Elfick. The making of Mad Dog Morgan. Stand and Deliver: Making The Legend of Ben Hall (2017) – Dir. Edward Tresize. The making of The Legend of Ben Hall.
6420	dbpedia	1	4	https://www.rottentomatoes.com/m/robbery_under_arms	en	Robbery Under Arms	https://resizing.flixste…0150_p_v7_aa.jpg	https://resizing.flixste…0150_p_v7_aa.jpg	[ "https://images.fandango.com/cms/assets/97c33f00-313f-11ee-9aaf-6762c75465cf--newsletter.png", "https://images.fandango.com/cms/assets/97c33f00-313f-11ee-9aaf-6762c75465cf--newsletter.png", "https://www.rottentomatoes.com/assets/pizza-pie/images/rtlogo.9b892cff3fd.png", "https://images.fandango.com/cms/assets/266533e0-7afb-11ed-83f2-4f600722b564--privacyoptions.svg", "https://images.fandango.com/cms/assets/266533e0-7afb-11ed-83f2-4f600722b564--privacyoptions.svg" ]	[]	[]	[ "" ]	null	[]	null	Two brothers (Steven Vidler, Christopher Cummins) join their father in Captain Starlight's (Sam Neill) bushranger gang in 19th-century Australia.	en	https://www.rottentomatoes.com/assets/pizza-pie/images/favicon.ico	Rotten Tomatoes	https://www.rottentomatoes.com/m/robbery_under_arms	Let's keep in touch! > Sign up for the Rotten Tomatoes newsletter to get weekly updates on: Upcoming Movies and TV shows Rotten Tomatoes Podcast Media News + More Sign me up No thanks
6420	dbpedia	1	50	https://anzlitlovers.com/2009/09/06/robbery-under-arms-1882-by-rolf-boldrewood/	en	ANZ LitLovers LitBlog	https://anzlitlovers.wor…y-under-arms.jpg	https://anzlitlovers.wor…y-under-arms.jpg	[ "https://anzlitlovers.com/wp-content/uploads/2009/08/robbery-under-arms.jpg?w=500", "https://anzlitlovers.com/wp-content/uploads/2009/08/rolf-boldrewood.jpg?w=500", "https://anzlitlovers.com/wp-content/uploads/2009/09/robbery-under-arms-film.jpg?w=102&h=150", "https://anzlitlovers.com/wp-content/uploads/2022/12/lisa-avatar.jpg?w=48", "https://anzlitlovers.com/wp-content/uploads/2022/12/lisa-avatar.jpg?w=48", "https://0.gravatar.com/avatar/092ccb993611b7fcefb5fd2797b6e7061e58f04ed8e4bb707d8ad4feec513ffc?s=32&d=https%3A%2F%2F0.gravatar.com%2Favatar%2Fad516503a11cd5ca435acc9bb6523536%3Fs%3D32&r=PG", "https://0.gravatar.com/avatar/67e1be464face206f93eec1387ee4480cd03f4d16768499382e5baf033bc903a?s=32&d=https%3A%2F%2F0.gravatar.com%2Favatar%2Fad516503a11cd5ca435acc9bb6523536%3Fs%3D32&r=PG", "https://0.gravatar.com/avatar/092ccb993611b7fcefb5fd2797b6e7061e58f04ed8e4bb707d8ad4feec513ffc?s=32&d=https%3A%2F%2F0.gravatar.com%2Favatar%2Fad516503a11cd5ca435acc9bb6523536%3Fs%3D32&r=PG", "https://1.gravatar.com/avatar/df2b6337f56ebc5db948944b25f4cbb62880e7a6ad9eb636b4f2b6a7f62f85a4?s=32&d=https%3A%2F%2F1.gravatar.com%2Favatar%2Fad516503a11cd5ca435acc9bb6523536%3Fs%3D32&r=PG", "https://0.gravatar.com/avatar/092ccb993611b7fcefb5fd2797b6e7061e58f04ed8e4bb707d8ad4feec513ffc?s=32&d=https%3A%2F%2F0.gravatar.com%2Favatar%2Fad516503a11cd5ca435acc9bb6523536%3Fs%3D32&r=PG", "https://2.gravatar.com/avatar/22c2f54f56e2699247df4012113b8331a8af2729e2a2265230007b34cea4681e?s=32&d=https%3A%2F%2F2.gravatar.com%2Favatar%2Fad516503a11cd5ca435acc9bb6523536%3Fs%3D32&r=PG", "https://0.gravatar.com/avatar/092ccb993611b7fcefb5fd2797b6e7061e58f04ed8e4bb707d8ad4feec513ffc?s=32&d=https%3A%2F%2F0.gravatar.com%2Favatar%2Fad516503a11cd5ca435acc9bb6523536%3Fs%3D32&r=PG", "https://2.gravatar.com/avatar/22c2f54f56e2699247df4012113b8331a8af2729e2a2265230007b34cea4681e?s=32&d=https%3A%2F%2F2.gravatar.com%2Favatar%2Fad516503a11cd5ca435acc9bb6523536%3Fs%3D32&r=PG", "https://0.gravatar.com/avatar/092ccb993611b7fcefb5fd2797b6e7061e58f04ed8e4bb707d8ad4feec513ffc?s=32&d=https%3A%2F%2F0.gravatar.com%2Favatar%2Fad516503a11cd5ca435acc9bb6523536%3Fs%3D32&r=PG", "https://2.gravatar.com/avatar/22c2f54f56e2699247df4012113b8331a8af2729e2a2265230007b34cea4681e?s=32&d=https%3A%2F%2F2.gravatar.com%2Favatar%2Fad516503a11cd5ca435acc9bb6523536%3Fs%3D32&r=PG", "https://s-ssl.wordpress.com/wp-includes/images/rss.png?m=1354137473i", "https://anzlitlovers.files.wordpress.com/2016/06/best-aust-blogs-2012.jpg?w=150", "https://anzlitlovers.files.wordpress.com/2012/06/pandora_logo.jpg", "https://anzlitlovers.files.wordpress.com/2024/01/nzlit_map.jpg?w=500", "https://anzlitlovers.com/wp-content/uploads/2022/12/lisa-avatar.jpg?w=50", "https://anzlitlovers.com/wp-content/uploads/2022/12/lisa-avatar.jpg?w=50", "https://pixel.wp.com/b.gif?v=noscript" ]	[]	[]	[ "" ]	null	[]	2009-09-06T00:00:00	Robbery Under Arms, described by author Rolf Boldrewood as ' Australian romance' , was written in 1888 and I'm reading it as an all Australian classic for the Classics Challenge. My copy for reading comes thanks to Project Gutenberg Australia. It reads surprisingly well for its age. It's interesting, right from the start. Dick Marston, 29 years old,…	en	https://anzlitlovers.com…-avatar.jpg?w=32	ANZ LitLovers LitBlog	https://anzlitlovers.com/2009/09/06/robbery-under-arms-1882-by-rolf-boldrewood/	Robbery Under Arms, described by author Rolf Boldrewood as ‘ Australian romance’ , was written in 1888 and I’m reading it as an all Australian classic for the Classics Challenge. My copy for reading comes thanks to Project Gutenberg Australia. It reads surprisingly well for its age. It’s interesting, right from the start. Dick Marston, 29 years old, is due to die in 29 days, for shooting a policeman and robbery under arms. Why should I curse the day? Why do I lie here, groaning; yes, crying like a child, and beating my head against the stone floor? I am not mad, though I am shut up in a cell. No. Better for me if I was. But it’s all up now; there’s no get away this time; and I, Dick Marston, as strong as a bullock, as active as a rock-wallaby, chock-full of life and spirits and health, have been tried for bush-ranging — robbery under arms they call it — and though the blood runs through my veins like the water in the mountain creeks, and every bit of bone and sinew is as sound as the day I was born, I must die on the gallows this day month. (Chapter 1) He likens his plight to bullocks awaiting slaughter, with the crucial difference that he knows his fate beforehand. This has always seemed to me to be one of the most appalling aspects of capital punishment to which I am implacably opposed, in all circumstances. Would he have felt his regrets had he not been sentenced to death? C19th literature is often didactic, and Dick – while more than a little proud of his exploits – recognises the folly of the choices he made. There’s no saying it isn’t; no, nor thinking what a fool, what a blind, stupid, thundering idiot a fellow’s been, to laugh at the steady working life that would have helped him up, bit by bit, to a good farm, a good wife, and innocent little kids about him, like that chap, George Storefield, that came to see me last week. He was real rightdown sorry for me, I could tell, though Jim and I used to laugh at him, and call him a regular old crawler of a milker’s calf in the old days. The tears came into his eyes reg’lar like a woman as he gave my hand a squeeze and turned his head away. (Chapter 1) Yet even when he is told to prepare to meet his maker, he’s not willing to repent: Prepare! How was a man like me to prepare? I’d done everything I’d a mind to for years and years. Some good things — some bad — mostly bad. How was I to repent? Just to say I was sorry for them. I wasn’t that particular sorry either — that was the worst of it. A deal of the old life was dashed good fun, and I’d not say, if I had the chance, that I wouldn’t do just the same over again. (Chapter 51) Reading is no solace for Dick, for he would ‘run [his] head against the wall, or do something like a madman’ at descriptions of places and people he would never see again, and the authorities had to take the books away. A kindly gaoler lets him have some paper to record his story instead, in circumstances entirely different to McIvor in Rules for Old Men Waiting but with the same sense of time running out. What follows, however, shows little sense of repentance or empathy with those he had wronged. Dick’s thesis for his life of crime is that it was his fate, and once embroiled, it was impossible to escape. His father Ben Marston was a poacher transported from England, and with his emigrant wife set up a small farm. He seems to have been industrious at first, but hardship got the better of him, and he is determined on revenge – for it broke his mother’s heart when he was transported. (This attitute prefigures Dick’s: crime and the associated broken hearts are the fault of the authorities, not the individual who committed the crime. ) The Marston marriage was a ‘mixed’ one in the days when there was tension between Catholics and Protestant, but Dick doesn’t think that one form of religion or another has anything to do with a propensity for crime. He knows both Protestants and Catholics who were hung for murder. He thinks he was fated to the life he has led. What chance the boys had to make a better life died when their teacher Mr Howard was found dead in his bed one morning. Before long they had joined their father in cattle-duffing, much to the dismay of their mother. They, along with the Dalys and the Jacksons, become the talk of the district, though the Storefields see the good in him when Dick rescues their child from drowning. Mrs Storefield promises to be ‘a friend and a mother to you as long as I live, even if you turn out bad’ and George offers the boys steady work, though Dick sneers at this. He’s more interested in having ‘fun’ and brother Jim, out of loyalty rejects the offer too. There is a crucial moment when Dick’s sister Aileen almost ‘turns him’ over this – she even offers to convert to Protestantism if he will stand up to his father and go straight – but Jim comes rushing in with exciting news of cattle in the distance, the moment passes and his course is set. (Chapter 3) Their first major crime was to join the notorious ‘Starlight’ in the theft of a huge mob of calves from the local squatters. Once they lead the cattle down a perilous hidden track to Terrible Hollow there’s no turning back, even for Jim who’s beginning to think he would rather lead an honest life. Just knowing about the location is perilous: a man was killed when he talked of telling. But when a colt foaled from one of Mr Maxwell’s stolen thoroughbreds is offered as a lure, impulsive Jim can’t resist, even though that instantly recognisable horse is risky. Dick is more astute about the company he now keeps: he sees a lock of woman’s hair and a bloodstained dress, and knows that the ‘name of Terrible Hollow might not have been given to this lonely, wonderful glen for nothing’. (Chapter 6) Dick feels no sense of repentance, but neither does he blame anyone but himself, although he recognises his father’s role in his folly. (Even Starlight wonders why Ben Marston has involved his sons in such a risky endeavour.) But Dick seems to think that there is a kind of inevitability in his actions, as if they are predetermined by fate or heredity. Some people can work away day after day, and year after year, like a bullock in a team or a horse in a chaff-cutting machine. It’s all the better for them if they can, though I suppose they never enjoy themselves except in a cold-blooded sort of way. But there’s other men that can’t do that sort of thing, and it’s no use talking. They must have life and liberty and a free range. There’s some birds, and animals too, that either pine in a cage or kill themselves, and I suppose it’s the same way with some men. They can’t stand the cage of what’s called honest labour, which means working for some one else for twenty or thirty years, never having a day to yourself, or doing anything you like, and saving up a trifle for your old age when you can’t enjoy it. I don’t wonder youngsters break traces and gallop off like a colt out of a team. (Chapter 9) and later on But after all I’ve a notion that men and women grow up as they are intended to from the beginning. All the same as a tree from seed. You may twist it this road or that, make it a bit bigger or smaller according to the soil or the way it’s pruned and cut down when it’s young, but you won’t alter the nature of that tree or the fruit that it bears. (chapter 33) Whereas Jim, the youngest, had ‘that kind of big, frolicsome, loving way with him, like a Newfoundland pup about half-grown,’ Dick grows sulky and sullen, with a resentment against rich squatters that is exacerbated by the coming drought and the hardships it portends. There are many who try to set him straight, from George Storefield to Herbert Falkland, but once the boys get involved in gambling at the shearing, they have little choice when their father sends five pounds and instructions to be on the lookout for him. Jim’s horse symbolises both the noose around their necks and a chance of redemption … it raises suspicions at the shearing shed, but it’s on that horse that Jim rescues Herbert Falkland’s daughter on a runaway mare and their gratitude offers hope of a new start. Then the summons comes from the boys’ father, and although they hesitate, torn between wanting to continue with honest work and the prospect of a good cheque at Christmas, they toss a coin to determine their fate, and their doom is inevitable. The heist is completed, and the men go their separate ways, the boys hiding out in Adelaide first, and then Melbourne where they have a jolly good time with their newfound riches and ‘fall for’ their landlady’s daughters. Before long, however news gets into the papers and they leave for home in a panic. There they learn that Starlight is in New Zealand, and that they themselves have little to fear from the police. Once again the contrast between a steady life and the life they lead is obvious: Dick is miffed to see that George has expanded his farm and improved his house while despite the money they’ve got from their part in the crime, their own property has deteriorated. As ever Dick is wracked by doubts about the path he has chosen, not out of any sense of morality but because it impacts on his family and their sense of safety and security – even to the extent that Aileen dare not accept the love of George out of shame. This love is not enough to make them give up the game, but time and again it is love of their mother and sister that makes the boys risk capture… Despite the ambiguity of Dick’s remorse, it is hard not to feel for him in gaol… What I suffered in that first time no tongue can tell. I can’t bear now to think of it and put it down. The solitary part of it was enough to drive any man mad that had been used to a free life. Day after day, night after night, the same and the same and the same over again. Then the dark cells. I got into them for a bit. I wasn’t always as cool as I might be — more times that mad with myself that I could have smashed my own skull against the wall, let alone any one else’s. There was one of the warders I took a dislike to from the first, and he to me, I don’t doubt. I thought he was rough and surly. He thought I wanted to have my own way, and he made it up to take it out of me, and run me every way he could. We had a goodish spell of fighting over it, but he gave in at last. Not but what I’d had a lot to bear, and took a deal of punishment before he jacked up. I needn’t have had it. It was all my own obstinacy and a sort of dogged feeling that made me feel I couldn’t give in. I believe it done me good, though. I do really think I should have gone mad else, thinking of the dreadful long months and years that lay before me without a chance of getting out. Sometimes I’d take a low fit and refuse my food, and very near give up living altogether. The least bit more, and I’d have died outright.(Chapter 19) His sentence is only five years, but he can’t bear it and so takes the first opportunity to escape. It’s not giving anything away to tell you this, because he tells us in the first chapter that he has killed a policeman. In fact he does quite a bit of foreshadowing of events which all adds to the tension of the tale. There are racist remarks made here and there (and not just about indigenous people) which grate on a modern sensibility. Whether Boldrewood used them intentionally as his characters would have or in irony or whether it was his normal view of the world I am not sure. Warrigal the Aboriginal is a nasty piece of work, but so are the others. He is loyal to his friend and mentor Starlight, and his mean streak seems no worse than anyone else’s. The characterisation of the most of the women betrays the book’s period too, for they are idealised into near-sainthood, especially Aileen who is intelligent, educated and hard-working, but always good. This gets to be a bit tiresome after a while, especially when we see her exclaim ‘Why, oh why, didn’t we all die when we were little children!’ (Chapter 21) as if she is responsible for her brothers’ crimes. (Kate Morrison, on the other hand, is a real termagant.) It’s interesting to see that while Boldrewood is clearly interested in exploring ideas about remorse, repentance and regret, modern adaptations for film and TV seem to project this story as an adventure. The ABC Shop trailer describes it as ‘the classic tale of Australia’s most colourful outlaw!’ – and a lavish adventure tale set in the rugged Australian outback. Ben Masterton has metamorphosed into a ‘bush larrikin’ and the boys have apparently lost their doubts to become ‘two adventure-hungry sons’ .[1] I haven’t seen these films, but I wonder if they also portray the boys’ dawning realisation that Terrible Hollow is a false Eden, and that the men become bored, drinking too much of Father’s brandy and abandoning their prudent plans to lie low. I suspect that the films focus on the excitement of the gold rush and the opportunities it brought for bushrangers when the rules of normal life were suspended. Boldrewood, writing about the diggings at Turon near Bathurst some years after Eureka in 1854, comments on unrest over mining licences, and his character rejoices in the general lawlessness, the huge influx of prospectors who make it easier for him to hide from the police and the authorities’ fear of losing control. The Government was afraid of there being tremendous fights and riots at the diggings, because there was all sorts of people there, English and French, Spaniards and Italians, natives and Americans, Greeks and Germans, Swedes and negroes, every sort and kind of man from every country in the world seemed to come after a bit. But they needn’t have been frightened at the diggers. As far as we saw they were the sensiblest lot of working men we ever laid eyes on; not at all inclined to make a row for nothing — quite the other way. But the shutting off of public-houses led to sly grog tents, where they made the digger pay a pound a bottle for his grog, and didn’t keep it very good either. (Chapter 24) Starlight, the leader of the gang, it seems, is the father figure that Dick would like to have. He admires Starlight’s cleverness in planning raids, his bravado as an impostor selling other men’s horses, and his courtesy with women. He takes pride in being part of this successful gang, likes making a fool of the hapless police, and enjoys the notoriety of being involved in the biggest bank robbery in the district. It’s is Starlight’s opinion that matters – not his father’s – when the idea of Melbourne, now also rich with gold from the diggings, is first mooted. Ben Marston is against it, because the Hollow is secure, but Dick is restless, and wants to be somewhere where he can spend his money. It is Dick’s admiration for Starlight as much as any other kind of jealousy that makes Ben Marston take risks that put the gang in peril, as if in a macabre competition to be the more brazen of the two. The risks pile up when the boys – making money in a honest way at the diggings on the Turon and hobnobbing with all and sundry because new police don’t know them – are recognised by Kate Morrison, an old flame from Melbourne. In the same way that they fear Warrigal’s animosity, they fear betrayal by Kate, for she has good reason to be angry with them. But Jeannie has come up from Melbourne too and before long she and Jim have had a grand wedding and settle down in a little cottage. Old dreams of living a settled life blinding Dick and Jim to the reality that they are still wanted men. Indeed, Dick compares himself and his brother most favourably to some of the ruffians on the diggings, overlooking the fact that the gang has caused terror and heartbreak in every robbery. He blames temptation for their behaviour: We were not what might be called highly respectable people ourselves — still, men like us are only half-and-half bad, like a good many more in this world. They’re partly tempted into doing wrong by opportunity, and kept back by circumstances from getting into the straight track afterwards. But on every goldfield there’s scores and scores of men that always hurry off there like crows and eagles to a carcass to see what they can rend and tear and fatten upon. They ain’t very particular whether it’s the living or the dead, so as they can gorge their fill. There was a good many of this lot at the Turon, and though the diggers gave them a wide berth, and helped to run them down when they’d committed any crime, they couldn’t be kept out of sight and society altogether. (Chapter 29) And all the while George Storefield who they used to mock as a dull fellow has been making steady progress up the social ladder. He’s now sitting as a magistrate and is best mates with the Commissioner… Betrayal, and constant fear of it, is part of the life of a criminal. On the one hand Dick tells us that he has plenty of friends who will help him avoid the authorities, but women give him trouble – not least of all Kate when she discovers that Dick’s heart lies with Gracey Storefield. (Chapter 30) Love doesn’t serve them any better, though, because it’s Jim’s love of his woman that makes him take one risk too many, and it’s Dick’s love for his brother that leads to the fatal shot. The escalation in violence after that is inevitable, and there’s a hollowness about Dick’s claim that the gang did its best for the wounded after the holdup of the gold coach. From this point on – though they were as much imprisoned at the Hollow as they would have been in gaol, it’s hard to feel much sympathy for any of them, especially when Dick likens their life of crime to a war, as if there were some kind of honour about it. We were all sorry for Sergeant Hawkins, and would have been better pleased if he’d been only wounded like the others. But these sorts of things couldn’t be helped. It was the fortune of war; his luck this time, ours next. (Chapter 35) Is this Boldrewood’s point of view too? Ours is a country that has lionised Ned Kelly as a kind of hero, as if the murder of policemen can be legitimised by faults in a justice system or inequity of some other kind. It bothers me when I hear children at school say that Ned Kelly was a good man because he stole from the rich to give to the poor, as if he were an antipodean Robin Hood… Although there is loyalty within in the gang, Ben Marston’s jealousy of Starlight is toxic, and his crimes shock even the gang, especially when they realise they’ll be blamed for it. Nevertheless, the lure of a normal life – attending Bella Barnes’ wedding and a day at the races – brings them out of hiding, albeit in disguise. The plot begins to strain credulity a bit as they get away with one ruse after another, everybody behaves in a very gentlemanly way, they are welcomed wherever they go as if they were just lads undertaking larks and even Gracie Storefield agrees to marry Dick if only they have ‘ a chance, a reasonable chance, of living peaceably and happily’. (Chapter 47) Perhaps Boldrewood was a campaigner for penal reform? The denouement seems to suggest so. His character Aileen puts it thus: Oh! how dreadful it seems to think that when once a man has sinned in some ways in this world there’s no turning back — no hope — no mercy — only long bitter years of prison life — worse than death; or, if anything can be worse, a felon’s death; a doom dark and terrible, dishonouring to those that die and to those that live. Robbery Under Arms is a beaut read that stands the test of time. I really enjoyed this book! Author: Rolf Boldrewood Title: Robbery Under Arms First published in serialised form by The Sydney Mail between July 1882 and August 1883, then in three volumes in London in 1888. It was abridged into a single volume in 1889 as part of Macmillan‘s one-volume Colonial Library series. (Source: Wikipedia). Source: Project Gutenberg Australia.
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My copy for reading comes thanks to Project Gutenberg Australia. It reads surprisingly well for its age. It's interesting, right from the start. Dick Marston, 29 years old,…	en	https://anzlitlovers.com…-avatar.jpg?w=32	ANZ LitLovers LitBlog	https://anzlitlovers.com/2009/09/06/robbery-under-arms-1882-by-rolf-boldrewood/	Robbery Under Arms, described by author Rolf Boldrewood as ‘ Australian romance’ , was written in 1888 and I’m reading it as an all Australian classic for the Classics Challenge. My copy for reading comes thanks to Project Gutenberg Australia. It reads surprisingly well for its age. It’s interesting, right from the start. Dick Marston, 29 years old, is due to die in 29 days, for shooting a policeman and robbery under arms. Why should I curse the day? Why do I lie here, groaning; yes, crying like a child, and beating my head against the stone floor? I am not mad, though I am shut up in a cell. No. Better for me if I was. But it’s all up now; there’s no get away this time; and I, Dick Marston, as strong as a bullock, as active as a rock-wallaby, chock-full of life and spirits and health, have been tried for bush-ranging — robbery under arms they call it — and though the blood runs through my veins like the water in the mountain creeks, and every bit of bone and sinew is as sound as the day I was born, I must die on the gallows this day month. (Chapter 1) He likens his plight to bullocks awaiting slaughter, with the crucial difference that he knows his fate beforehand. This has always seemed to me to be one of the most appalling aspects of capital punishment to which I am implacably opposed, in all circumstances. Would he have felt his regrets had he not been sentenced to death? C19th literature is often didactic, and Dick – while more than a little proud of his exploits – recognises the folly of the choices he made. There’s no saying it isn’t; no, nor thinking what a fool, what a blind, stupid, thundering idiot a fellow’s been, to laugh at the steady working life that would have helped him up, bit by bit, to a good farm, a good wife, and innocent little kids about him, like that chap, George Storefield, that came to see me last week. He was real rightdown sorry for me, I could tell, though Jim and I used to laugh at him, and call him a regular old crawler of a milker’s calf in the old days. The tears came into his eyes reg’lar like a woman as he gave my hand a squeeze and turned his head away. (Chapter 1) Yet even when he is told to prepare to meet his maker, he’s not willing to repent: Prepare! How was a man like me to prepare? I’d done everything I’d a mind to for years and years. Some good things — some bad — mostly bad. How was I to repent? Just to say I was sorry for them. I wasn’t that particular sorry either — that was the worst of it. A deal of the old life was dashed good fun, and I’d not say, if I had the chance, that I wouldn’t do just the same over again. (Chapter 51) Reading is no solace for Dick, for he would ‘run [his] head against the wall, or do something like a madman’ at descriptions of places and people he would never see again, and the authorities had to take the books away. A kindly gaoler lets him have some paper to record his story instead, in circumstances entirely different to McIvor in Rules for Old Men Waiting but with the same sense of time running out. What follows, however, shows little sense of repentance or empathy with those he had wronged. Dick’s thesis for his life of crime is that it was his fate, and once embroiled, it was impossible to escape. His father Ben Marston was a poacher transported from England, and with his emigrant wife set up a small farm. He seems to have been industrious at first, but hardship got the better of him, and he is determined on revenge – for it broke his mother’s heart when he was transported. (This attitute prefigures Dick’s: crime and the associated broken hearts are the fault of the authorities, not the individual who committed the crime. ) The Marston marriage was a ‘mixed’ one in the days when there was tension between Catholics and Protestant, but Dick doesn’t think that one form of religion or another has anything to do with a propensity for crime. He knows both Protestants and Catholics who were hung for murder. He thinks he was fated to the life he has led. What chance the boys had to make a better life died when their teacher Mr Howard was found dead in his bed one morning. Before long they had joined their father in cattle-duffing, much to the dismay of their mother. They, along with the Dalys and the Jacksons, become the talk of the district, though the Storefields see the good in him when Dick rescues their child from drowning. Mrs Storefield promises to be ‘a friend and a mother to you as long as I live, even if you turn out bad’ and George offers the boys steady work, though Dick sneers at this. He’s more interested in having ‘fun’ and brother Jim, out of loyalty rejects the offer too. There is a crucial moment when Dick’s sister Aileen almost ‘turns him’ over this – she even offers to convert to Protestantism if he will stand up to his father and go straight – but Jim comes rushing in with exciting news of cattle in the distance, the moment passes and his course is set. (Chapter 3) Their first major crime was to join the notorious ‘Starlight’ in the theft of a huge mob of calves from the local squatters. Once they lead the cattle down a perilous hidden track to Terrible Hollow there’s no turning back, even for Jim who’s beginning to think he would rather lead an honest life. Just knowing about the location is perilous: a man was killed when he talked of telling. But when a colt foaled from one of Mr Maxwell’s stolen thoroughbreds is offered as a lure, impulsive Jim can’t resist, even though that instantly recognisable horse is risky. Dick is more astute about the company he now keeps: he sees a lock of woman’s hair and a bloodstained dress, and knows that the ‘name of Terrible Hollow might not have been given to this lonely, wonderful glen for nothing’. (Chapter 6) Dick feels no sense of repentance, but neither does he blame anyone but himself, although he recognises his father’s role in his folly. (Even Starlight wonders why Ben Marston has involved his sons in such a risky endeavour.) But Dick seems to think that there is a kind of inevitability in his actions, as if they are predetermined by fate or heredity. Some people can work away day after day, and year after year, like a bullock in a team or a horse in a chaff-cutting machine. It’s all the better for them if they can, though I suppose they never enjoy themselves except in a cold-blooded sort of way. But there’s other men that can’t do that sort of thing, and it’s no use talking. They must have life and liberty and a free range. There’s some birds, and animals too, that either pine in a cage or kill themselves, and I suppose it’s the same way with some men. They can’t stand the cage of what’s called honest labour, which means working for some one else for twenty or thirty years, never having a day to yourself, or doing anything you like, and saving up a trifle for your old age when you can’t enjoy it. I don’t wonder youngsters break traces and gallop off like a colt out of a team. (Chapter 9) and later on But after all I’ve a notion that men and women grow up as they are intended to from the beginning. All the same as a tree from seed. You may twist it this road or that, make it a bit bigger or smaller according to the soil or the way it’s pruned and cut down when it’s young, but you won’t alter the nature of that tree or the fruit that it bears. (chapter 33) Whereas Jim, the youngest, had ‘that kind of big, frolicsome, loving way with him, like a Newfoundland pup about half-grown,’ Dick grows sulky and sullen, with a resentment against rich squatters that is exacerbated by the coming drought and the hardships it portends. There are many who try to set him straight, from George Storefield to Herbert Falkland, but once the boys get involved in gambling at the shearing, they have little choice when their father sends five pounds and instructions to be on the lookout for him. Jim’s horse symbolises both the noose around their necks and a chance of redemption … it raises suspicions at the shearing shed, but it’s on that horse that Jim rescues Herbert Falkland’s daughter on a runaway mare and their gratitude offers hope of a new start. Then the summons comes from the boys’ father, and although they hesitate, torn between wanting to continue with honest work and the prospect of a good cheque at Christmas, they toss a coin to determine their fate, and their doom is inevitable. The heist is completed, and the men go their separate ways, the boys hiding out in Adelaide first, and then Melbourne where they have a jolly good time with their newfound riches and ‘fall for’ their landlady’s daughters. Before long, however news gets into the papers and they leave for home in a panic. There they learn that Starlight is in New Zealand, and that they themselves have little to fear from the police. Once again the contrast between a steady life and the life they lead is obvious: Dick is miffed to see that George has expanded his farm and improved his house while despite the money they’ve got from their part in the crime, their own property has deteriorated. As ever Dick is wracked by doubts about the path he has chosen, not out of any sense of morality but because it impacts on his family and their sense of safety and security – even to the extent that Aileen dare not accept the love of George out of shame. This love is not enough to make them give up the game, but time and again it is love of their mother and sister that makes the boys risk capture… Despite the ambiguity of Dick’s remorse, it is hard not to feel for him in gaol… What I suffered in that first time no tongue can tell. I can’t bear now to think of it and put it down. The solitary part of it was enough to drive any man mad that had been used to a free life. Day after day, night after night, the same and the same and the same over again. Then the dark cells. I got into them for a bit. I wasn’t always as cool as I might be — more times that mad with myself that I could have smashed my own skull against the wall, let alone any one else’s. There was one of the warders I took a dislike to from the first, and he to me, I don’t doubt. I thought he was rough and surly. He thought I wanted to have my own way, and he made it up to take it out of me, and run me every way he could. We had a goodish spell of fighting over it, but he gave in at last. Not but what I’d had a lot to bear, and took a deal of punishment before he jacked up. I needn’t have had it. It was all my own obstinacy and a sort of dogged feeling that made me feel I couldn’t give in. I believe it done me good, though. I do really think I should have gone mad else, thinking of the dreadful long months and years that lay before me without a chance of getting out. Sometimes I’d take a low fit and refuse my food, and very near give up living altogether. The least bit more, and I’d have died outright.(Chapter 19) His sentence is only five years, but he can’t bear it and so takes the first opportunity to escape. It’s not giving anything away to tell you this, because he tells us in the first chapter that he has killed a policeman. In fact he does quite a bit of foreshadowing of events which all adds to the tension of the tale. There are racist remarks made here and there (and not just about indigenous people) which grate on a modern sensibility. Whether Boldrewood used them intentionally as his characters would have or in irony or whether it was his normal view of the world I am not sure. Warrigal the Aboriginal is a nasty piece of work, but so are the others. He is loyal to his friend and mentor Starlight, and his mean streak seems no worse than anyone else’s. The characterisation of the most of the women betrays the book’s period too, for they are idealised into near-sainthood, especially Aileen who is intelligent, educated and hard-working, but always good. This gets to be a bit tiresome after a while, especially when we see her exclaim ‘Why, oh why, didn’t we all die when we were little children!’ (Chapter 21) as if she is responsible for her brothers’ crimes. (Kate Morrison, on the other hand, is a real termagant.) It’s interesting to see that while Boldrewood is clearly interested in exploring ideas about remorse, repentance and regret, modern adaptations for film and TV seem to project this story as an adventure. The ABC Shop trailer describes it as ‘the classic tale of Australia’s most colourful outlaw!’ – and a lavish adventure tale set in the rugged Australian outback. Ben Masterton has metamorphosed into a ‘bush larrikin’ and the boys have apparently lost their doubts to become ‘two adventure-hungry sons’ .[1] I haven’t seen these films, but I wonder if they also portray the boys’ dawning realisation that Terrible Hollow is a false Eden, and that the men become bored, drinking too much of Father’s brandy and abandoning their prudent plans to lie low. I suspect that the films focus on the excitement of the gold rush and the opportunities it brought for bushrangers when the rules of normal life were suspended. Boldrewood, writing about the diggings at Turon near Bathurst some years after Eureka in 1854, comments on unrest over mining licences, and his character rejoices in the general lawlessness, the huge influx of prospectors who make it easier for him to hide from the police and the authorities’ fear of losing control. The Government was afraid of there being tremendous fights and riots at the diggings, because there was all sorts of people there, English and French, Spaniards and Italians, natives and Americans, Greeks and Germans, Swedes and negroes, every sort and kind of man from every country in the world seemed to come after a bit. But they needn’t have been frightened at the diggers. As far as we saw they were the sensiblest lot of working men we ever laid eyes on; not at all inclined to make a row for nothing — quite the other way. But the shutting off of public-houses led to sly grog tents, where they made the digger pay a pound a bottle for his grog, and didn’t keep it very good either. (Chapter 24) Starlight, the leader of the gang, it seems, is the father figure that Dick would like to have. He admires Starlight’s cleverness in planning raids, his bravado as an impostor selling other men’s horses, and his courtesy with women. He takes pride in being part of this successful gang, likes making a fool of the hapless police, and enjoys the notoriety of being involved in the biggest bank robbery in the district. It’s is Starlight’s opinion that matters – not his father’s – when the idea of Melbourne, now also rich with gold from the diggings, is first mooted. Ben Marston is against it, because the Hollow is secure, but Dick is restless, and wants to be somewhere where he can spend his money. It is Dick’s admiration for Starlight as much as any other kind of jealousy that makes Ben Marston take risks that put the gang in peril, as if in a macabre competition to be the more brazen of the two. The risks pile up when the boys – making money in a honest way at the diggings on the Turon and hobnobbing with all and sundry because new police don’t know them – are recognised by Kate Morrison, an old flame from Melbourne. In the same way that they fear Warrigal’s animosity, they fear betrayal by Kate, for she has good reason to be angry with them. But Jeannie has come up from Melbourne too and before long she and Jim have had a grand wedding and settle down in a little cottage. Old dreams of living a settled life blinding Dick and Jim to the reality that they are still wanted men. Indeed, Dick compares himself and his brother most favourably to some of the ruffians on the diggings, overlooking the fact that the gang has caused terror and heartbreak in every robbery. He blames temptation for their behaviour: We were not what might be called highly respectable people ourselves — still, men like us are only half-and-half bad, like a good many more in this world. They’re partly tempted into doing wrong by opportunity, and kept back by circumstances from getting into the straight track afterwards. But on every goldfield there’s scores and scores of men that always hurry off there like crows and eagles to a carcass to see what they can rend and tear and fatten upon. They ain’t very particular whether it’s the living or the dead, so as they can gorge their fill. There was a good many of this lot at the Turon, and though the diggers gave them a wide berth, and helped to run them down when they’d committed any crime, they couldn’t be kept out of sight and society altogether. (Chapter 29) And all the while George Storefield who they used to mock as a dull fellow has been making steady progress up the social ladder. He’s now sitting as a magistrate and is best mates with the Commissioner… Betrayal, and constant fear of it, is part of the life of a criminal. On the one hand Dick tells us that he has plenty of friends who will help him avoid the authorities, but women give him trouble – not least of all Kate when she discovers that Dick’s heart lies with Gracey Storefield. (Chapter 30) Love doesn’t serve them any better, though, because it’s Jim’s love of his woman that makes him take one risk too many, and it’s Dick’s love for his brother that leads to the fatal shot. The escalation in violence after that is inevitable, and there’s a hollowness about Dick’s claim that the gang did its best for the wounded after the holdup of the gold coach. From this point on – though they were as much imprisoned at the Hollow as they would have been in gaol, it’s hard to feel much sympathy for any of them, especially when Dick likens their life of crime to a war, as if there were some kind of honour about it. We were all sorry for Sergeant Hawkins, and would have been better pleased if he’d been only wounded like the others. But these sorts of things couldn’t be helped. It was the fortune of war; his luck this time, ours next. (Chapter 35) Is this Boldrewood’s point of view too? Ours is a country that has lionised Ned Kelly as a kind of hero, as if the murder of policemen can be legitimised by faults in a justice system or inequity of some other kind. It bothers me when I hear children at school say that Ned Kelly was a good man because he stole from the rich to give to the poor, as if he were an antipodean Robin Hood… Although there is loyalty within in the gang, Ben Marston’s jealousy of Starlight is toxic, and his crimes shock even the gang, especially when they realise they’ll be blamed for it. Nevertheless, the lure of a normal life – attending Bella Barnes’ wedding and a day at the races – brings them out of hiding, albeit in disguise. The plot begins to strain credulity a bit as they get away with one ruse after another, everybody behaves in a very gentlemanly way, they are welcomed wherever they go as if they were just lads undertaking larks and even Gracie Storefield agrees to marry Dick if only they have ‘ a chance, a reasonable chance, of living peaceably and happily’. (Chapter 47) Perhaps Boldrewood was a campaigner for penal reform? The denouement seems to suggest so. His character Aileen puts it thus: Oh! how dreadful it seems to think that when once a man has sinned in some ways in this world there’s no turning back — no hope — no mercy — only long bitter years of prison life — worse than death; or, if anything can be worse, a felon’s death; a doom dark and terrible, dishonouring to those that die and to those that live. Robbery Under Arms is a beaut read that stands the test of time. I really enjoyed this book! Author: Rolf Boldrewood Title: Robbery Under Arms First published in serialised form by The Sydney Mail between July 1882 and August 1883, then in three volumes in London in 1888. It was abridged into a single volume in 1889 as part of Macmillan‘s one-volume Colonial Library series. (Source: Wikipedia). Source: Project Gutenberg Australia.
6420	dbpedia	1	27	https://www.target.com/p/robbery-under-arms-mint-editions-bushrangers-convicts-and-escaped-criminal-fiction-by-rolf-boldrewood/-/A-91770048	en	Robbery Under Arms - (Mint Editions (Bushrangers, Convicts, and Escaped Criminal Fiction)) by Rolf Boldrewood	https://target.scene7.com/is/image/Target/GUEST_a6a8b3aa-04b7-4f81-9a26-f2691184dd0a	https://target.scene7.com/is/image/Target/GUEST_a6a8b3aa-04b7-4f81-9a26-f2691184dd0a	[ "https://target.scene7.com/is/image/Target/GUEST_a6a8b3aa-04b7-4f81-9a26-f2691184dd0a?wid=800&hei=800&qlt=80&fmt=pjpeg" ]	[]	[]	[ "Robbery Under Arms - (Mint Editions (Bushrangers", "Convicts", "and Escaped Criminal Fiction)) by Rolf Boldrewood" ]	null	[]	null	Shop Robbery Under Arms - (Mint Editions (Bushrangers, Convicts, and Escaped Criminal Fiction)) by Rolf Boldrewood at Target. Choose from Same Day Delivery, Drive Up or Order Pickup. Free standard shipping with $35 orders.	en	https://assets.targetimg1.com/static/images/favicon.ico		https://www.target.com/p/robbery-under-arms-mint-editions-bushrangers-convicts-and-escaped-criminal-fiction-by-rolf-boldrewood/-/A-91770048	Book Synopsis Robbery Under Arms (1888) is a novel by Rolf Boldrewood, the pseudonym of Australian novelist Thomas Browne. A squatter for nearly twenty-five years, he came to know the ways of life on the outskirts of civilization, which allowed him to lead a peaceful, uncomplicated, and inexpensive existence. Originally serialized in Australian weekly magazines, Browne's work as Rolf Bolfrewood is an incomparable record of colonial Australia, where outlaws and speculators lived side by side on land stolen from the continent's Aboriginal peoples. Robbery Under Arms has been adapted several times for film and theater. "My name's Dick Marston, Sydney-side native. I'm twenty-nine years old, six feet in my stocking soles, and thirteen stone weight. Pretty strong and active with it, so they say. I don't want to blow-not here, any road-but it takes a good man to put me on my back, or stand up to me with the gloves, or the naked mauleys." Imprisoned for his crimes, Dick Marston prepares to be executed. With one month to live, he sits down to write the story of his life as an Australian bushranger. Alongside Captain Starlight, an English nobleman turned outlaw, he participated in a string of cattle thefts and armed robberies that would bring him enough gold and infamy to last a lifetime. Action-packed and fast-paced, Robbery Under Arms is a brilliant adventure novel from one of nineteenth century Australia's most popular writers of fiction. This edition of Rolf Boldrewood's Robbery Under Arms is a classic work of Australian literature reimagined for modern readers. Since our inception in 2020, Mint Editions has kept sustainability and innovation at the forefront of our mission. Each and every Mint Edition title gets a fresh, professionally typeset manuscript and a dazzling new cover, all while maintaining the integrity of the original book. With thousands of titles in our collection, we aim to spotlight diverse public domain works to help them find modern audiences. Mint Editions celebrates a breadth of literary works, curated from both canonical and overlooked classics from writers around the globe. From the Back Cover
6420	dbpedia	2	25	https://www.wikiwand.com/en/Robbery_Under_Arms_(1907_MacMahon_film)	en	Robbery Under Arms (1907 MacMahon film)	https://wikiwandv2-19431…s/icon-32x32.png	https://wikiwandv2-19431…s/icon-32x32.png	[]	[]	[]	[ "" ]	null	[]	null	Robbery Under Arms is a 1907 Australian silent western/drama film based on the 1888 novel by Rolf Boldrewood about two brothers and their relationship with the bushranger Captain Starlight. It was the first film version of the novel and the third Australian feature ever made.	en	https://wikiwandv2-19431…icon-180x180.png	Wikiwand	https://www.wikiwand.com/en/Robbery_Under_Arms_(1907_MacMahon_film)	1907 film / From Wikipedia, the free encyclopedia Dear Wikiwand AI, let's keep it short by simply answering these key questions: Can you list the top facts and stats about Robbery Under Arms (1907 MacMahon film)? Summarize this article for a 10 year old SHOW ALL QUESTIONS
6420	dbpedia	0	1	https://www.imdb.com/title/tt0089925/	en	Bandit aus gutem Haus (TV Movie 1985)	https://m.media-amazon.c…Mjpg_UX1000_.jpg	https://m.media-amazon.c…Mjpg_UX1000_.jpg	[ "https://fls-na.amazon.com/1/batch/1/OP/A1EVAM02EL8SFB:137-4479259-2798611:ZCH4AJDRGH56EB6HMV1T$uedata=s:%2Fuedata%2Fuedata%3Fstaticb%26id%3DZCH4AJDRGH56EB6HMV1T:0", "https://m.media-amazon.com/images/M/MV5BMTMzOTU1NjE5OV5BMl5BanBnXkFtZTcwMTYxODA4MQ@@._V1_QL75_UY281_CR6,0,190,281_.jpg", "https://m.media-amazon.com/images/M/MV5BMDEyMmJjNmQtZWUyMS00Y2I1LTg3Y2YtMWYwYTUzMmFkMWEzXkEyXkFqcGdeQXVyMTk2MjUxNjA@._V1_QL75_UX339_.jpg", "https://m.media-amazon.com/images/M/MV5BMDY1ZjhhYTYtMTQ4My00YjNhLWE4MzUtZDg2NjA3MWNhYTdjXkEyXkFqcGdeQXVyMTk2MjUxNjA@._V1_QL75_UX262_.jpg", "https://m.media-amazon.com/images/M/MV5BNWE1YTVmODctMjQ0MS00NTc2LWI5NmYtNzgzYTliZTVhOGQ4XkEyXkFqcGdeQXVyMTk2MjUxNjA@._V1_QL75_UX310_.jpg", "https://m.media-amazon.com/images/M/MV5BZTg2MTYyMTAtNzhiNy00NzJkLWIzM2UtNmQyZDAwMjFhMDBmXkEyXkFqcGdeQXVyMTk2MjUxNjA@._V1_QL75_UX288_.jpg", "https://m.media-amazon.com/images/M/MV5BYmI0ZWEwYzUtNWNhZi00OTZiLWE5NmYtNGNjOTZkOTYzNmE1XkEyXkFqcGdeQXVyMTk2MjUxNjA@._V1_QL75_UX297_.jpg", "https://m.media-amazon.com/images/M/MV5BOTVkZWZlZjAtYTVmZC00MmMzLWE1YTEtYTU1MThiZGU2MzNlXkEyXkFqcGc@._V1_QL75_UX240_.jpg", "https://m.media-amazon.com/images/M/MV5BZGM3NjAzZTYtZDZiNS00YjgxLThkZTUtNzBhNWVkN2RhZjgyXkEyXkFqcGc@._V1_QL75_UX155_.jpg", "https://m.media-amazon.com/images/M/MV5BMjUyMTU0MzA0MF5BMl5BanBnXkFtZTgwNTA4MTQ4NjM@._V1_QL75_UX140_CR0,12,140,140_.jpg", "https://m.media-amazon.com/images/M/MV5BYmQxMDZmNjgtYWE5Yy00ZGRhLThlMGMtZWVhY2Y5MDNhYTNkXkEyXkFqcGc@._V1_QL75_UY140_CR35,0,140,140_.jpg", "https://m.media-amazon.com/images/M/MV5BMjI0YmZhMDUtMzM2ZC00YjRmLTg1ZTAtZDk4ZmI0OTA0Mzg2XkEyXkFqcGdeQXVyMzcyNDg4NA@@._V1_QL75_UX140_CR0,12,140,140_.jpg", "https://m.media-amazon.com/images/M/MV5BNjlhNjkwMTAtYzU3OC00MDFhLWI0MDUtMTI3YzdjMjRjNWUzXkEyXkFqcGdeQXVyNzU0OTYwNjg@._V1_QL75_UX140_CR0,0,140,140_.jpg", "https://m.media-amazon.com/images/M/MV5BZTZmZjg5ZjUtZmQ5YS00MWE2LTk2ZmYtYjNkNjg5ZDQxMTJkXkEyXkFqcGc@._V1_QL75_UY140_CR33,0,140,140_.jpg", "https://m.media-amazon.com/images/M/MV5BMTk4MDk0NTI1MF5BMl5BanBnXkFtZTgwMzA3MjQwMzE@._V1_QL75_UY140_CR8,0,140,140_.jpg", "https://m.media-amazon.com/images/M/MV5BY2IyNWM0YjEtN2U5OC00ZmY1LTkwNmMtYTk0NDE0YTVmNGEyXkEyXkFqcGdeQXVyMjQwMDg0Ng@@._V1_QL75_UX140_CR0,12,140,140_.jpg", "https://m.media-amazon.com/images/M/MV5BMzI0ZTBiNjctZTA5Yy00ZmM1LWIyZTMtOTg5ZGQwNmMwMTNiXkEyXkFqcGc@._V1_QL75_UX140_CR0,0,140,140_.jpg", "https://m.media-amazon.com/images/M/MV5BODhlNTRkZTUtNjVjOS00MTliLWJiYWMtYmU5ODE2OWQ3MWEwXkEyXkFqcGc@._V1_QL75_UY140_CR60,0,140,140_.jpg", "https://m.media-amazon.com/images/M/MV5BMzJjNWYxMDYtMTI5MS00NjNjLThkNmUtN2U5MDAxZDNkYTg3XkEyXkFqcGdeQXVyMTUyNjc3NDQ4._V1_QL75_UX140_CR0,1,140,207_.jpg", "https://m.media-amazon.com/images/M/MV5BODMzNzQ5MTIzOF5BMl5BanBnXkFtZTgwNjY2MTM0OTE@._V1_QL75_UY207_CR8,0,140,207_.jpg", "https://m.media-amazon.com/images/M/MV5BN2RjOTBhMDMtNDljMS00ZjcwLWE1MjktOGY0ODQzZWY5MmYwXkEyXkFqcGdeQXVyMDM3ODU0Nw@@._V1_QL75_UY207_CR34,0,140,207_.jpg", "https://m.media-amazon.com/images/M/MV5BNjQzMDRiNzUtZWFjMy00OTc0LTg3ZmUtM2MxNWEwYWVkNmE2XkEyXkFqcGc@._V1_QL75_UX140_CR0,21,140,207_.jpg", "https://m.media-amazon.com/images/M/MV5BMzM5MjYxNDUtZGYzMS00OTI0LTgzMTQtZGIwN2FmYTE0MjIzXkEyXkFqcGdeQXVyMTUzMDUzNTI3._V1_QL75_UX140_CR0,1,140,207_.jpg", "https://m.media-amazon.com/images/M/MV5BMjA5OTk1Nzg3MF5BMl5BanBnXkFtZTcwNTE5OTUxMQ@@._V1_QL75_UY207_CR2,0,140,207_.jpg", "https://m.media-amazon.com/images/M/MV5BNjA3NGVmMWMtMzQwOS00YmNkLWE0YzctZjY4MDY0OWVkNDc4XkEyXkFqcGc@._V1_QL75_UX140_CR0,3,140,207_.jpg", "https://m.media-amazon.com/images/M/MV5BMjEzNzM5MDM1Ml5BMl5BanBnXkFtZTcwMDMwMTYyMQ@@._V1_QL75_UY207_CR2,0,140,207_.jpg", "https://m.media-amazon.com/images/M/MV5BMTVhNWM1YTktNTIwNi00Y2U5LWJkNzItODYxY2VlZjdkN2Y5XkEyXkFqcGdeQXVyMTY1MTcxMzc@._V1_QL75_UY207_CR12,0,140,207_.jpg", "https://m.media-amazon.com/images/M/MV5BZjM2YTdkYzYtOTc4NS00OTZiLTg3MmEtZWJkNmE0YWM1MTg4XkEyXkFqcGdeQXVyNTE1NjY5Mg@@._V1_QL75_UY207_CR4,0,140,207_.jpg", "https://m.media-amazon.com/images/M/MV5BMWZhOWVjYzAtOGQwNi00MTNhLWJhYTctMGZiNjkwMTExM2I4L2ltYWdlXkEyXkFqcGdeQXVyNjQzNDI3NzY@._V1_QL75_UY207_CR3,0,140,207_.jpg", "https://m.media-amazon.com/images/M/MV5BMTMyNDNhMWYtMTU4OS00NzRkLWJkNTgtODdhM2M5ODgxMTg5XkEyXkFqcGdeQXVyNzc5MjA3OA@@._V1_QL75_UX140_CR0,3,140,207_.jpg", "https://m.media-amazon.com/images/M/MV5BMTMzOTU1NjE5OV5BMl5BanBnXkFtZTcwMTYxODA4MQ@@._V1_QL75_UY133_CR3,0,90,133_.jpg", "https://m.media-amazon.com/images/G/01/IMDb/Mobile/DesktopQRCode-png.png", "https://fls-na.amazon.com/1/batch/1/OP/A1EVAM02EL8SFB:137-4479259-2798611:ZCH4AJDRGH56EB6HMV1T$uedata=s:%2Fuedata%2Fuedata%3Fnoscript%26id%3DZCH4AJDRGH56EB6HMV1T:0" ]	[]	[]	[ "Reviews", "Showtimes", "DVDs", "Photos", "User Ratings", "Synopsis", "Trailers", "Credits" ]	null	[]	1985-03-28T00:00:00	Bandit aus gutem Haus: Directed by Donald Crombie, Ken Hannam. With Sam Neill, Steven Vidler, Christopher Cummins, Liz Newman. Fourth adaptation and first made for television of the classic Australian bushranger novel "Robbery Under Arms" by Rolf Boldrewood. Made by the South Australian Film Corporation during the mini-series boom of the 1980s and lensed in the Flinders Ranges, it stars Sam Neill as the infamous Captain Starlight.	en	https://m.media-amazon.c…B1582158068_.png	IMDb	https://www.imdb.com/title/tt0089925/	I never have been a big fan of westerns, but this movie quickly became a favorite! The fact that it is presented from the point-of-view of the "bad" guy, creates an interesting perspective. I do enjoy this movie immensely, and this is partly why. By the end of the film, I found myself sympathizing with the "bad" characters, despite the fact that they were thieves and cheaters. The plot was simple, but didn't need more. I did find some parts of the film unique. This is refreshing in a time when movies are so often alike. If you are looking for a movie that's good fun, and solidly acted, this is the movie for you! Even if you don't like westerns!
6420	dbpedia	2	64	https://www.everand.com/book/554228226/Robbery-Under-Arms	en	Robbery Under Arms by Rolf Boldrewood, Mint Editions (Ebook)	https://imgv2-1-f.scribdassets.com/img/word_document/554228226/original/f889f1f18b/1723829633?v=1	https://imgv2-1-f.scribdassets.com/img/word_document/554228226/original/f889f1f18b/1723829633?v=1	[ "https://s-f.scribdassets.com/webpack/assets/images/content_preview/everand_subscription_banner/evarand_eng_desktop_1x.f0d8b73f.png", "https://imgv2-2-f.scribdassets.com/img/audiobook_square/486608794/76x76/0fc91b7408/1723593560?v=1", "https://imgv2-2-f.scribdassets.com/img/audiobook_square/237882614/76x76/3806dcfe03/1723417553?v=1", "https://imgv2-2-f.scribdassets.com/img/audiobook_square/315849956/76x76/65195be232/1723486096?v=1", "https://imgv2-2-f.scribdassets.com/img/audiobook_square/331780429/76x76/41f9356efb/1723651161?v=1", "https://imgv2-1-f.scribdassets.com/img/audiobook_square/390806353/76x76/67f5931007/1723502356?v=1", "https://imgv2-1-f.scribdassets.com/img/audiobook_square/237829567/76x76/fd3b2bee1b/1723482649?v=1", "https://imgv2-1-f.scribdassets.com/img/audiobook_square/446816495/76x76/f79188eb33/1723519456?v=1", "https://imgv2-2-f.scribdassets.com/img/audiobook_square/390618673/76x76/80556b2868/1723415885?v=1" ]	[]	[]	[ "" ]	null	[ "Rolf Boldrewood" ]	2021-11-16T00:00:00	Read Robbery Under Arms by Rolf Boldrewood,Mint Editions with a free trial. Read millions of eBooks and audiobooks on the web, iPad, iPhone and Android.	en	https://s-f.scribdassets.com/everand.ico?5bf378a0d?v=5	Everand	https://www.everand.com/book/554228226/Robbery-Under-Arms	Chapter 1 My name’s Dick Marston, Sydney-side native. I’m twenty-nine years old, six feet in my stocking soles, and thirteen stone weight. Pretty strong and active with it, so they say. I don’t want to blow—not here, any road—but it takes a good man to put me on my back, or stand up to me with the gloves, or the naked mauleys. I can ride anything—anything that ever was lapped in horsehide—swim like a musk-duck, and track like a Myall blackfellow. Most things that a man can do I’m up to, and that’s all about it. As I lift myself now I can feel the muscle swell on my arm like a cricket ball, in spite of the—well, in spite of everything. The morning sun comes shining through the window bars; and ever since he was up have I been cursing the daylight, cursing myself, and them that brought me into the world. Did I curse mother, and the hour I was born into this miserable life? Why should I curse the day? Why do I lie here, groaning; yes, crying like a child, and beating my head against the stone floor? I am not mad, though I am shut up in a cell. No. Better for me if I was. But it’s all up now; there’s no get away this time; and I, Dick Marston, as strong as a bullock, as active as a rock-wallaby, chock-full of life and spirits and health, have been tried for bush-ranging—robbery under arms they call it—and though the blood runs through my veins like the water in the mountain creeks, and every bit of bone and sinew is as sound as the day I was born, I must die on the gallows this day month. Die—die—yes, die; be strung up like a dog, as they say. I’m blessed if ever I did know of a dog being hanged, though, if it comes to that, a shot or a bait generally makes an end of ’em in this country. Ha, ha! Did I laugh? What a rum thing it is that a man should have a laugh in him when he’s only got twenty-nine days more to live—a day for every year of my life. Well, laughing or crying, this is what it has come to at last. All the drinking and recklessness; the flash talk and the idle ways; the merry cross-country rides that we used to have, night or day, it made no odds to us; every man well mounted, as like as not on a racehorse in training taken out of his stable within the week; the sharp brushes with the police, when now and then a man was wounded on each side, but no one killed. That came later on, worse luck. The jolly sprees we used to have in the bush townships, where we chucked our money about like gentlemen, where all the girls had a smile and a kind word for a lot of game upstanding chaps, that acted like men, if they did keep the road a little lively. Our bush telegraphs were safe to let us know when the traps were closing in on us, and then—why the coach would be stuck up a hundred miles away, in a different direction, within twenty-four hours. Marston’s gang again! The police are in pursuit! That’s what we’d see in the papers. We had ’em sent to us regular; besides having the pick of ’em when we cut open the mail bags. And now—that chain rubbed a sore, curse it!—all that racket’s over. It’s more than hard to die in this settled, infernal, fixed sort of way, like a bullock in the killing-yard, all ready to be pithed. I used to pity them when I was a boy, walking round the yard, pushing their noses through the rails, trying for a likely place to jump, stamping and pawing and roaring and knocking their heads against the heavy close rails, with misery and rage in their eyes, till their time was up. Nobody told THEM beforehand, though! Have I and the likes of me ever felt much the same, I wonder, shut up in a pen like this, with the rails up, and not a place a rat could creep through, waiting till our killing time was come? The poor devils of steers have never done anything but ramble off the run now and again, while we—but it’s too late to think of that. It IS hard. There’s no saying it isn’t; no, nor thinking what a fool, what a blind, stupid, thundering idiot a fellow’s been, to laugh at the steady working life that would have helped him up, bit by bit, to a good farm, a good wife, and innocent little kids about him, like that chap, George Storefield, that came to see me last week. He was real rightdown sorry for me, I could tell, though Jim and I used to laugh at him, and call him a regular old crawler of a milker’s calf in the old days. The tears came into his eyes reg’lar like a woman as he gave my hand a squeeze and turned his head away. We was little chaps together, you know. A man always feels that, you know. And old George, he’ll go back—a fifty-mile ride, but what’s that on a good horse? He’ll be late home, but he can cross the rock ford the short way over the creek. I can see him turn his horse loose at the garden-gate, and walk through the quinces that lead up to the cottage, with his saddle on his arm. Can’t I see it all, as plain as if I was there? And his wife and the young ’uns ’ll run out when they hear father’s horse, and want to hear all the news. When he goes in there’s his meal tidy and decent waiting for him, while he tells them about the poor chap he’s been to see as is to be scragged next month. Ha! ha! what a rum joke it is, isn’t it? And then he’ll go out in the verandah, with the roses growin’ all over the posts and smellin’ sweet in the cool night air. After that he’ll have his smoke, and sit there thinkin’ about me, perhaps, and old days, and what not, till all hours—till his wife comes and fetches him in. And here I lie—my God! why didn’t they knock me on the head when I was born, like a lamb in a dry season, or a blind puppy—blind enough, God knows! They do so in some countries, if the books say true, and what a hell of misery that must save some people from! Well, it’s done now, and there’s no get away. I may as well make the best of it. A sergeant of police was shot in our last scrimmage, and they must fit someone over that. It’s only natural. He was rash, or Starlight would never have dropped him that day. Not if he’d been sober either. We’d been drinking all night at that Willow Tree shanty. Bad grog, too! When a man’s half drunk he’s fit for any devilment that comes before him. Drink! How do you think a chap that’s taken to the bush—regularly turned out, I mean, with a price on his head, and a fire burning in his heart night and day—can stand his life if he don’t drink? When he thinks of what he might have been, and what he is! Why, nearly every man he meets is paid to run him down, or trap him some way like a stray dog that’s taken to sheep-killin’. He knows a score of men, and women too, that are only looking out for a chance to sell his blood on the quiet and pouch the money. Do you think that makes a chap mad and miserable, and tired of his life, or not? And if a drop of grog will take him right out of his wretched self for a bit why shouldn’t he drink? People don’t know what they are talking about. Why, he is that miserable that he wonders why he don’t hang himself, and save the Government all the trouble; and if a few nobblers make him feel as if he might have some good chances yet, and that it doesn’t so much matter after all, why shouldn’t he drink? He does drink, of course; every miserable man, and a good many women as have something to fear or repent of, drink. The worst of it is that too much of it brings on the horrors, and then the devil, instead of giving you a jog now and then, sends one of his imps to grin in your face and pull your heartstrings all day and all night long. By George, I’m getting clever—too clever, altogether, I think. If I could forget for one moment, in the middle of all the nonsense, that I was to die on Thursday three weeks! die on Thursday three weeks! die on Thursday! That’s the way the time runs in my ears like a chime of bells. But it’s all mere bosh I’ve been reading these long six months I’ve been chained up here—after I was committed for trial. When I came out of the hospital after curing me of that wound—for I was hit bad by that black tracker—they gave me some books to read for fear I’d go mad and cheat the hangman. I was always fond of reading, and many a night I’ve read to poor old mother and Aileen before I left the old place. I was that weak and low, after I took the turn, and I felt glad to get a book to take me away from sitting, staring, and blinking at nothing by the hour together. It was all very well then; I was too weak to think much. But when I began to get well again I kept always coming across something in the book that made me groan or cry out, as if someone had stuck a knife in me. A dark chap did once—through the ribs—it didn’t feel so bad, a little sharpish at first; why didn’t he aim a bit higher? He never was no good, even at that. As I was saying, there’d be something about a horse, or the country, or the spring weather—it’s just coming in now, and the Indian corn’s shooting after the rain, and I’LL never see it; or they’d put in a bit about the cows walking through the river in the hot summer afternoons; or they’d go describing about a girl, until I began to think of sister Aileen again; then I’d run my head against the wall, or do something like a madman, and they’d stop the books for a week; and I’d be as miserable as a bandicoot, worse and worse a lot, with all the devil’s tricks and bad thoughts in my head, and nothing to put them away. I must either kill myself, or get something to fill up my time till the day—yes, the day comes. I’ve always been a middling writer, tho’ I can’t say much for the grammar, and spelling, and that, but I’ll put it all down, from the beginning to the end, and maybe it’ll save someother unfortunate young chap from pulling back like a colt when he’s first roped, setting himself against everything in the way of proper breaking, making a fool of himself generally, and choking himself down, as I’ve done. The gaoler—he looks hard—he has to do that, there’s more than one or two within here that would have him by the throat, with his heart’s blood running, in half a minute, if they had their way, and the warder was off guard. He knows that very well. But he’s not a bad-hearted chap. You can have books, or paper and pens, anything you like, he said, you unfortunate young beggar, until you’re turned off. If I’d only had you to see after me when I was young, says I— Come; don’t whine, he said, then he burst out laughing. You didn’t mean it, I see. I ought to have known better. You’re not one of that sort, and I like you all the better for it. WELL, HERE GOES. LOTS OF pens, a big bottle of ink, and ever so much foolscap paper, the right sort for me, or I shouldn’t have been here. I’m blessed if it doesn’t look as if I was going to write copies again. Don’t I remember how I used to go to school in old times; the rides there and back on the old pony; and pretty little Grace Storefield that I was so fond of, and used to show her how to do her lessons. I believe I learned more that way than if I’d had only myself to think about. There was another girl, the daughter of the poundkeeper, that I wanted her to beat; and the way we both worked, and I coached her up, was a caution. And she did get above her in her class. How proud we were! She gave me a kiss, too, and a bit of her hair. Poor Gracey! I wonder where she is now, and what she’d think if she saw me here today. If I could have looked ahead, and seen myself—chained now like a dog, and going to die a dog’s death this day month! Anyhow, I must make a start. How do people begin when they set to work to write their own sayings and doings? There’s been a deal more doing than talking in my life—it was the wrong sort—more’s the pity. Well, let’s see; his parents were poor, but respectable. That’s what they always say. My parents were poor, and mother was as good a soul as ever broke bread, and wouldn’t have taken a shilling’s worth that wasn’t her own if she’d been starving. But as for father, he’d been a poacher in England, a Lincolnshire man he was, and got sent out for it. He wasn’t much more than a boy, he said, and it was only for a hare or two, which didn’t seem much. But I begin to think, being able to see the right of things a bit now, and having no bad grog inside of me to turn a fellow’s head upside down, as poaching must be something like cattle and horse duffing—not the worst thing in the world itself, but mighty likely to lead to it. Dad had always been a hard-working, steady-going sort of chap, good at most things, and like a lot more of the Government men, as the convicts were always called round our part, he saved some money as soon as he had done his time, and married mother, who was a simple emigrant girl just out from Ireland. Father was a square-built, good-looking chap, I believe, then; not so tall as I am by three inches, but wonderfully strong and quick on his pins. They did say as he could hammer any man in the district before he got old and stiff. I never saw him shape but once, and then he rolled into a man big enough to eat him, and polished him off in a way that showed me—though I was a bit of a boy then—that he’d been at the game before. He didn’t ride so bad either, though he hadn’t had much of it where he came from; but he was afraid of nothing, and had a quiet way with colts. He could make pretty good play in thick country, and ride a roughish horse, too. Well, our farm was on a good little flat, with a big mountain in front, and a scrubby, rangy country at the back for miles. People often asked him why he chose such a place. It suits me, he used to say, with a laugh, and talk of something else. We could only raise about enough corn and potatoes, in a general way, for ourselves from the flat; but there were other chances and pickings which helped to make the pot boil, and them we’d have been a deal better without. First of all, though our cultivation paddock was small, and the good land seemed squeezed in between the hills, there was a narrow tract up the creek, and here it widened out into a large well-grassed flat. This was where our cattle ran, for, of course, we had a team of workers and a few milkers when we came. No one ever took up a farm in those days without a dray and a team, a year’s rations, a few horses and milkers, pigs and fowls, and a little furniture. They didn’t collar a 40-acre selection, as they do now—spend all their money in getting the land and squat down as bare as robins—a man with his wife and children all under a sheet of bark, nothing on their backs, and very little in their bellies. However, some of them do pretty well, though they do say they have to live on ’possums for a time. We didn’t do much, in spite of our grand start. The flat was well enough, but there were other places in the gullies beyond that that father had dropped upon when he was out shooting. He was a tremendous chap for poking about on foot or on horseback, and though he was an Englishman, he was what you call a born bushman. I never saw any man almost as was his equal. Wherever he’d been once, there he could take you to again; and what was more, if it was in the dead of the night he could do it just the same. People said he was as good as a blackfellow, but I never saw one that was as good as he was, all round. In a strange country, too. That was what beat me—he’d know the way the creek run, and noticed when the cattle headed to camp, and a lot of things that other people couldn’t see, or if they did, couldn’t remember again. He was a great man for solitary walks, too—he and an old dog he had, called Crib, a cross-bred mongrel-looking brute, most like what they call a lurcher in England, father said. Anyhow, he could do most anything but talk. He could bite to some purpose, drive cattle or sheep, catch a kangaroo, if it wasn’t a regular flyer, fight like a bulldog, and swim like a retriever, track anything, and fetch and carry, but bark he wouldn’t. He’d stand and look at dad as if he worshipped him, and he’d make him some sign and off he’d go like a child that’s got a message. Why he was so fond of the old man we boys couldn’t make out. We were afraid of him, and as far as we could see he never patted or made much of Crib. He thrashed him unmerciful as he did us boys. Still the dog was that fond of him you’d think he’d like to die for him there and then. But dogs are not like boys, or men either—better, perhaps. Well, we were all born at the hut by the creek, I suppose, for I remember it as soon as I could remember anything. It was a snug hut enough, for father was a good bush carpenter, and didn’t turn his back to anyone for splitting and fencing, hut-building and shingle-splitting; he had had a year or two at sawing, too, but after he was married he dropped that. But I’ve heard mother say that he took great pride in the hut when he brought her to it first, and said it was the best-built hut within fifty miles. He split every slab, cut every post and wallplate and rafter himself, with a man to help him at odd times; and after the frame was up, and the bark on the roof, he camped underneath and finished every bit of it—chimney, flooring, doors, windows, and partitions—by himself. Then he dug up a little garden in front, and planted a dozen or two peaches and quinces in it; put a couple of roses—a red and a white one—by the posts of the verandah, and it was all ready for his pretty Norah, as she says he used to call her then. If I’ve heard her tell about the garden and the quince trees and the two roses once, I’ve heard her tell it a hundred times. Poor mother! we used to get round her—Aileen, and Jim, and I—and say, Tell us about the garden, mother. She’d never refuse; those were her happy days, she always said. She used to cry afterwards—nearly always. The first thing almost that I can remember was riding the old pony, ’Possum, out to bring in the milkers. Father was away somewhere, so mother took us all out and put me on the pony, and let me have a whip. Aileen walked alongside, and very proud I was. My legs stuck out straight on the old pony’s fat back. Mother had ridden him up when she came—the first horse she ever rode, she said. He was a quiet little old roan, with a bright eye and legs like gate-posts, but he never fell down with us boys, for all that. If we fell off he stopped still and began to feed, so that he suited us all to pieces. We soon got sharp enough to flail him along with a quince stick, and we used to bring up the milkers, I expect, a good deal faster than was good for them. After a bit we could milk, leg-rope, and bail up for ourselves, and help dad brand the calves, which began to come pretty thick. There were only three of us children—my brother Jim, who was two years younger than I was, and then Aileen, who was four years behind him. I know we were both able to nurse the baby a while after she came, and neither of us wanted better fun than to be allowed to watch her, or rock the cradle, or as a great treat to carry her a few steps. Somehow we was that fond and proud of her from the first that we’d have done anything in the world for her. And so we would now—I was going to say—but that poor Jim lies under a forest oak on a sandhill, and I—well, I’m here, and if I’d listened to her advice I should have been a free man. A free man! How it sounds, doesn’t it? with the sun shining, and the blue sky over your head, and the birds twittering, and the grass beneath your feet! I wonder if I shall go mad before my time’s up. Mother was a Roman Catholic—most Irishwomen are; and dad was a Protestant, if he was anything. However, that says nothing. People that don’t talk much about their religion, or follow it up at all, won’t change it for all that. So father, though mother tried him hard enough when they were first married, wouldn’t hear of turning, not if he was to be killed for it, as I once heard him say. No! he says, my father and grandfather, and all the lot, was Church people, and so I shall live and die. I don’t know as it would make much matter to me, but such as my notions is, I shall stick to ’em as long as the craft holds together. You can bring up the girl in your own way; it’s made a good woman of you, or found you one, which is most likely, and so she may take her chance. But I stand for Church and King, and so shall the boys, as sure as my name’s Ben Marston. Chapter 2 Father was one of those people that gets shut of a deal of trouble in this world by always sticking to one thing. If he said he’d do this or that he always did it and nothing else. As for turning him, a wild bull half-way down a range was a likelier try-on. So nobody ever bothered him after he’d once opened his mouth. They knew it was so much lost labour. I sometimes thought Aileen was a bit like him in her way of sticking to things. But then she was always right, you see. So that clinched it. Mother gave in like a wise woman, as she was. The clergyman from Bargo came one day and christened me and Jim—made one job of it. But mother took Aileen herself in the spring cart all the way to the township and had her christened in the chapel, in the middle of the service all right and regular, by Father Roche. There’s good and bad of every sort, and I’ve met plenty that were no chop of all churches; but if Father Roche, or Father anybody else, had any hand in making mother and Aileen half as good as they were, I’d turn tomorrow, if I ever got out again. I don’t suppose it was the religion that made much difference in our case, for Patsey Daly and his three brothers, that lived on the creek higher up, were as much on the cross as men could be, and many a time I’ve seen them ride to chapel and attend mass, and look as if they’d never seen a clearskin in their lives. Patsey was hanged afterwards for bush-ranging and gold robbery, and he had more than one man’s blood to answer for. Now we weren’t like that; we never troubled the church one way or the other. We knew we were doing what we oughtn’t to do, and scorned to look pious and keep two faces under one hood. By degrees we all grew older, began to be active and able to do half a man’s work. We learned to ride pretty well—at least, that is we could ride a bare-backed horse at full gallop through timber or down a range; could back a colt just caught and have him as quiet as an old cow in a week. We could use the axe and the cross-cut saw, for father dropped that sort of work himself, and made Jim and I do all the rough jobs of mending the fences, getting firewood, milking the cows, and, after a bit, ploughing the bit of flat we kept in cultivation. Jim and I, when we were fifteen and thirteen—he was bigger for his age than I was, and so near my own strength that I didn’t care about touching him—were the smartest lads on the creek, father said—he didn’t often praise us, either. We had often ridden over to help at the muster of the large cattle stations that were on the side of the range, and not more than twenty or thirty miles from us. Some of our young stock used to stray among the squatters’ cattle, and we liked attending the muster because there was plenty of galloping about and cutting out, and fun in the men’s hut at night, and often a half-crown or so for helping someone away with a big mob of cattle or a lot for the pound. Father didn’t go himself, and I used to notice that whenever we came up and said we were Ben Marston’s boys both master and super looked rather glum, and then appeared not to think anymore about it. I heard the owner of one of these stations say to his managing man, Pity, isn’t it? fine boys, too. I didn’t understand what they meant. I do now. We could do a few things besides riding, because, as I told you before, we had been to a bit of a school kept by an old chap that had once seen better days, that lived three miles off, near a little bush township. This village, like most of these places, had a public-house and a blacksmith’s shop. That was about all. The publican kept the store, and managed pretty well to get hold of all the money that was made by the people round about, that is of those that were good drinking men. He had half-a-dozen children, and, though he was not up to much, he wasn’t that bad that he didn’t want his children to have the chance of being better than himself. I’ve seen a good many crooked people in my day, but very few that, though they’d given themselves up as a bad job, didn’t hope a bit that their youngsters mightn’t take after them. Curious, isn’t it? But it is true, I can tell you. So Lammerby, the publican, though he was a greedy, sly sort of fellow, that bought things he knew were stolen, and lent out money and charged everybody two prices for the things he sold ’em, didn’t like the thought of his children growing up like Myall cattle, as he said himself, and so he fished out this old Mr. Howard, that had been a friend or a victim or some kind of pal of his in old times, near Sydney, and got him to come and keep school. He was a curious man, this Mr. Howard. What he had been or done none of us ever knew, but he spoke up to one of the squatters that said something sharp to him one day in a way that showed us boys that he thought himself as good as he was. And he stood up straight and looked him in the face, till we hardly could think he was the same man that was so bent and shambling and broken-down-looking most times. He used to live in a little hut in the township all by himself. It was just big enough to hold him and us at our lessons. He had his dinner at the inn, along with Mr. and Mrs. Lammerby. She was always kind to him, and made him puddings and things when he was ill. He was pretty often ill, and then he’d hear us our lessons at the bedside, and make a short day of it. Mostly he drank nothing but tea. He used to smoke a good deal out of a big meerschaum pipe with figures on it that he used to show us when he was in a good humour. But two or three times a year he used to set-to and drink for a week, and then school was left off till he was right. We didn’t think much of that. Everybody, almost, that we knew did the same—all the men—nearly all, that is—and some of the women—not mother, though; she wouldn’t have touched a drop of wine or spirits to save her life, and never did to her dying day. We just thought of it as if they’d got a touch of fever or sunstroke, or broke a rib or something. They’d get over it in a week or two, and be all right again. All the same, poor old Mr. Howard wasn’t always on the booze, not by any manner of means. He never touched a drop of anything, not even ginger-beer, while he was straight, and he kept us all going from nine o’clock in the morning till three in the afternoon, summer and winter, for more than six years. Then he died, poor old chap—found dead in his bed one morning. Many a basting he gave me and Jim with an old malacca cane he had with a silver knob to it. We were all pretty frightened of him. He’d say to me and Jim and the other boys, It’s the best chance of making men of yourselves you ever had, if you only knew it. You’ll be rich farmers or settlers, perhaps magistrates, one of these days—that is, if you’re not hanged. It’s you, I mean, he’d say, pointing to me and Jim and the Dalys; I believe some of you WILL be hanged unless you change a good deal. It’s cold blood and bad blood that runs in your veins, and you’ll come to earn the wages of sin some day. It’s a strange thing, he used to say, as if he was talking to himself, that the girls are so good, while the boys are delivered over to the Evil One, except a case here and there. Look at Mary Darcy and Jane Lammerby, and my little pet Aileen here. I defy any village in Britain to turn out such girls—plenty of rosy-cheeked gigglers—but the natural refinement and intelligence of these little damsels astonishes me. Well, the old man died suddenly, as I said, and we were all very sorry, and the school was broken up. But he had taught us all to write fairly and to keep accounts, to read and spell decently, and to know a little geography. It wasn’t a great deal, but what we knew we knew well, and I often think of what he said, now it’s too late, we ought to have made better use of it. After school broke up father said Jim and I knew quite as much as was likely to be any good to us, and we must work for our living like other people. We’d always done a pretty fair share of that, and our hands were hard with using the axe and the spade, let alone holding the plough at odd times and harrowing, helping father to kill and brand, and a lot of other things, besides getting up while the stars were in the sky so as to get the cows milked early, before it was time to go to school. All this time we had lived in a free kind of way—we wanted for nothing. We had plenty of good beef, and a calf now and then. About this time I began to wonder how it was that so many cattle and horses passed through father’s hands, and what became of them. I hadn’t lived all my life on Rocky Creek, and among some of the smartest hands in that line that old New South Wales ever bred, without knowing what clearskins and cross beasts meant, and being well aware that our brand was often put on a calf that no cow of ours ever suckled. Don’t I remember well the first calf I ever helped to put our letters on? I’ve often wished I’d defied father, then taken my licking, and bolted away from home. It’s that very calf and the things it led to that’s helped to put me where I am! Just as I sit here, and these cursed irons rattle whenever I move my feet, I can see that very evening, and father and the old dog with a little mob of our crawling cattle and half-a-dozen head of strangers, cows and calves, and a fat little steer coming through the scrub to the old stockyard. It was an awkward place for a yard, people used to say; scrubby and stony all round, a blind sort of hole—you couldn’t see till you were right on the top of it. But there was a wing ran out a good way through the scrub—there’s no better guide to a yard like that—and there was a sort of track cattle followed easy enough once you were round the hill. Anyhow, between father and the dog and the old mare he always rode, very few beasts ever broke away. These strange cattle had been driven a good way, I could see. The cows and calves looked done up, and the steer’s tongue was out—it was hottish weather; the old dog had been heeling him up too, for he was bleeding up to the hocks, and the end of his tail was bitten off. He was a savage old wretch was Crib. Like all dogs that never bark—and men too—his bite was all the worse. Go and get the brands—confound you—don’t stand there frightening the cattle, says father, as the tired cattle, after smelling and jostling a bit, rushed into the yard. You, Jim, make a fire, and look sharp about it. I want to brand old Polly’s calf and another or two. Father came down to the hut while the brands were getting ready, and began to look at the harness-cask, which stood in a little back skillion. It was pretty empty; we had been living on eggs, bacon, and bread and butter for a week. Oh, mother! there’s such a pretty red calf in the yard, I said, with a star and a white spot on the flank; and there’s a yellow steer fat enough to kill! What! said mother, turning round and looking at father with her eyes staring—a sort of dark blue they were—people used to say mine and Jim’s were the same colour—and her brown hair pushed back off her face, as if she was looking at a ghost. Is it doing that again you are, after all you promised me, and you so nearly caught—after the last one? Didn’t I go on my knees to ye to ask ye to drop it and lead a good life, and didn’t ye tell me ye’d never do the like again? And the poor innocent children, too, I wonder ye’ve the heart to do it. It came into my head now to wonder why the sergeant and two policemen had come down from Bargo, very early in the morning, about three months ago, and asked father to show them the beef in his cask, and the hide belonging to it. I wondered at the time the beast was killed why father made the hide into a rope, and before he did that had cut out the brand and dropped it into a hot fire. The police saw a hide with our brand on, all right—killed about a fortnight. They didn’t know it had been taken off a cancered bullock, and that father took the trouble to stick him and bleed him before he took the hide off, so as it shouldn’t look dark. Father certainly knew most things in the way of working on the cross. I can see now he’d have made his money a deal easier, and no trouble of mind, if he’d only chosen to go straight. When mother said this, father looked at her for a bit as if he was sorry for it; then he straightened himself up, and an ugly look came into his face as he growled out— You mind your own business; we must live as well as other people. There’s squatters here that does as bad. They’re just like the squires at home; think a poor man hasn’t a right to live. You bring the brand and look alive, Dick, or I’ll sharpen ye up a bit. The brand was in the corner, but mother got between me and it, and stretched out her hand to father as if to stop me and him. In God’s name, she cried out, aren’t ye satisfied with losing your own soul and bringing disgrace upon your family, but ye must be the ruin of your innocent children? Don’t touch the brand, Dick! But father wasn’t a man to be crossed, and what made it worse he had a couple of glasses of bad grog in him. There was an old villain of a shanty-keeper that lived on a back creek. He’d been there as he came by and had a glass or two. He had a regular savage temper, father had, though he was quiet enough and not bad to us when he was right. But the grog always spoiled him. He gave poor mother a shove which sent her reeling against the wall, where she fell down and hit her head against the stool, and lay there. Aileen, sitting down in the corner, turned white, and began to cry, while father catches me a box on the ear which sends me kicking, picks up the brand out of the corner, and walks out, with me after him. I think if I’d been another year or so older I’d have struck back—I felt that savage about poor mother that I could have gone at him myself—but we had been too long used to do everything he told us; and somehow, even if a chap’s father’s a bad one, he don’t seem like other men to him. So, as Jim had lighted the fire, we branded the little red heifer calf first—a fine fat six-months-old nugget she was—and then three bull calves, all strangers, and then Polly’s calf, I suppose just for a blind. Jim and I knew the four calves were all strangers, but we didn’t know the brands of the mothers; they all seemed different. After this all was made right to kill a beast. The gallows was ready rigged in a corner of the yard; father brought his gun and shot the yellow steer. The calves were put into our calf-pen—Polly’s and all—and all the cows turned out to go where they liked. We helped father to skin and hang up the beast, and pretty late it was when we finished. Mother had laid us out our tea and gone to bed with Aileen. We had ours and then went to bed. Father sat outside and smoked in the starlight. Hours after I woke up and heard mother crying. Before daylight we were up again, and the steer was cut up and salted and in the harness-cask soon after sunrise. His head and feet were all popped into a big pot where we used to make soup for the pigs, and by the time it had been boiling an hour or two there was no fear of anyone swearing to the yellow steer by head-mark. We had a hearty breakfast off the skirt, but mother wouldn’t touch a bit, nor let Aileen take any; she took nothing but a bit of bread and a cup of tea, and sat there looking miserable and downcast. Father said nothing, but sat very dark-looking, and ate his food as if nothing was the matter. After breakfast he took his mare, the old dog followed; there was no need to whistle for him—it’s my belief he knew more than many a Christian—and away they went. Father didn’t come home for a week—he had got into the habit of staying away for days and days together. Then things went on the old way. Chapter 3 So the years went on—slow enough they seemed to us sometimes—the green winters, pretty cold, I tell you, with frost and hail-storms, and the long hot summers. We were not called boys any longer, except by mother and Aileen, but took our places among the men of the district. We lived mostly at home, in the old way; sometimes working pretty hard, sometimes doing very little. When the cows were milked and the wood chopped, there was nothing to do for the rest of the day. The creek was that close that mother used to go and dip the bucket into it herself, when she wanted one, from a little wooden step above the clear reedy waterhole. Now and then we used to dig in the garden. There was reaping and corn-pulling and husking for part of the year; but often, for weeks at a time, there was next to nothing to do. No hunting worth much—we were sick of kangarooing, like the dogs themselves, that as they grew old would run a little way and then pull up if a mob came, jump, jump, past them. No shooting, except a few ducks and pigeons. Father used to laugh at the shooting in this country, and say they’d never have poachers here—the game wasn’t worth it. No fishing, except an odd codfish, in the deepest waterholes; and you might sit half a day without a bite. Now this was very bad for us boys. Lads want plenty of work, and a little play now and then to keep them straight. If there’s none, they’ll make it; and you can’t tell how far they’ll go when they once start. Well, Jim and I used to get our horses and ride off quietly in the afternoon, as if we were going after cattle; but, in reality, as soon as we were out of sight of mother, to ride over to that old villain, Grimes, the shanty-keeper, where we met the young Dalys, and others of the same sort—talked a good deal of nonsense and gossip; what was worse played at all-fours and euchre, which we had learned from an American harvest hand, at one of the large farms. Besides playing for money, which put us rather into trouble sometimes, as we couldn’t always find a half-crown if we lost it, we learned another bad habit, and that was to drink spirits. What burning nasty stuff I thought it at first; and so did we all! But everyone wanted to be thought a man, and up to all kinds of wickedness, so we used to make it a point of drinking our nobbler, and sometimes treating the others twice, if we had cash. There was another family that lived a couple of miles off, higher up the creek, and we had always been good friends with them, though they never came to our house, and only we boys went to theirs. They were the parents of the little girl that went to school with us, and a boy who was a year older than me. Their father had been a gardener at home, and he married a native girl who was born somewhere about the Hawkesbury, near Windsor. Her father had been a farmer, and many a time she told us how sorry she was to go away from the old place, and what fine corn and pumpkins they grew; and how they had a church at Windsor, and used to take their hay and fruit and potatoes to Sydney, and what a grand place Sydney was, with stone buildings called markets for people to sell fruit and vegetables and poultry in; and how you could walk down into Lower George Street and see Sydney Harbour, a great shining salt-water plain, a thousand times as big as the biggest waterhole, with ships and boats and sailors, and every kind of strange thing upon it. Mrs. Storefield was pretty fond of talking, and she was always fond of me, because once when she was out after the cows, and her man was away, and she had left Grace at home, the little thing crawled down to the waterhole and tumbled in. I happened to be riding up with a message for mother, to borrow some soap, when I heard a little cry like a lamb’s, and there was poor little Gracey struggling in the water like a drowning kitten, with her face under. Another minute or two would have finished her, but I was off the old pony and into the water like a teal flapper. I had her out in a second or two, and she gasped and cried a bit, but soon came to, and when Mrs. Storefield came home she first cried over her as if she would break her heart, and kissed her, and then she kissed me, and said, Now, Dick Marston, you look here. Your mother’s a good woman, though simple; your father I don’t like, and I hear many stories about him that makes me think the less we ought to see of the lot of you the better. But you’ve saved my child’s life today, and I’ll be a friend and a mother to you as long as I live, even if you turn out bad, and I’m rather afraid you will—you and Jim both—but it won’t be my fault for want of trying to keep you straight; and John and I will be your kind and loving friends as long as we live, no matter what happens. After that—it was strange enough—but I always took to the little toddling thing that I’d pulled out of the water. I wasn’t very big myself, if it comes to that, and she seemed to have a feeling about it, for she’d come to me everytime I went there, and sit on my knee and look at me with her big brown serious eyes—they were just the same after she grew up—and talk to me in her little childish lingo. I believe she knew all about it, for she used to say, Dick pull Gracey out of water; and then she’d throw her arms round my neck and kiss me, and walk off to her mother. If I’d let her drown then, and tied a stone round my neck and dropped through the reeds to the bottom of the big waterhole, it would have been better for both of us. When John came home he was nearly as bad as the old woman, and wanted to give me a filly, but I wouldn’t have it, boy as I was. I never cared for money nor money’s worth, and I was not going to be paid for picking a kid out of the water. George Storefield, Gracey’s brother, was about my own age. He thought a lot of what I’d done for her, and years afterwards I threatened to punch his head if he said anything more about it. He laughed, and held out his hand. You and I might have been better friends lately, says he; but don’t you forget you’ve got another brother besides Jim—one that will stick to you, too, fair weather or foul. I always had a great belief in George, though we didn’t get on over well, and often had fallings out. He was too steady and hardworking altogether for Jim and me. He worked all day and everyday, and saved every penny he made. Catch him gaffing!—no, not for a sixpence. He called the Dalys and Jacksons thieves and swindlers, who would be locked up, or even hanged, some day, unless they mended themselves. As for drinking a glass of grog, you might just as soon ask him to take a little laudanum or arsenic. Why should I drink grog, he used to say—such stuff, too, as you get at that old villain Grimes’s—with a good appetite and a good conscience? I’m afraid of no man; the police may come and live on my ground for what I care. I work all day, have a read in the evening, and sleep like a top when I turn in. What do I want more? Oh, but you never see any life, Jim said; you’re just like an old working bullock that walks up to the yoke in the morning and never stops hauling till he’s let go at night. This is a free country, and I don’t think a fellow was born for that kind of thing and nothing else. This country’s like any other country, Jim, George would say, holding up his head, and looking straight at him with his steady gray eyes; a man must work and save when he’s young if he don’t want to be a beggar or a slave when he’s old. I believe in a man enjoying himself as well as you do, but my notion of that is to have a good farm, well stocked and paid for, by and by, and then to take it easy, perhaps when my back is a little stiffer than it is now. But a man must have a little fun when he is young, I said. What’s the use of having money when you’re old and rusty, and can’t take pleasure in anything? A man needn’t be so very old at forty, he says then, and twenty years’ steady work will put all of us youngsters well up the ladder. Besides, I don’t call it fun getting half-drunk with a lot of blackguards at a low pothouse or a shanty, listening to the stupid talk and boasting lies of a pack of loafers and worse. They’re fit for nothing better; but you and Jim are. Now, look here, I’ve got a small contract from Mr. Andrews for a lot of fencing stuff. It will pay us wages and something over. If you like to go in with me, we’ll go share and share. I know what hands you both are at splitting and fencing. What do you say? Jim, poor Jim, was inclined to take George’s offer. He was that good-hearted that a kind word would turn him anytime. But I was put out at his laying it down so about the Dalys and us shantying and gaffing, and I do think now that some folks are born so as they can’t do without a taste of some sort of fun once in a way. I can’t put it out clear, but it ought to be fixed somehow for us chaps that haven’t got the gift of working all day and everyday, but can do two days’ work in one when we like, that we should have our allowance of reasonable fun and pleasure—that is, what we called pleasure, not what somebody thinks we ought to take pleasure in. Anyway, I turned on George rather rough, and I says, We’re not good enough for the likes of you, Mr. Storefield. It’s very kind of you to think of us, but we’ll take our own line and you take yours. I’m sorry for it, Dick, and more sorry that you take huff at an old friend. All I want is to do you good, and act a friend’s part. Goodbye—some day you’ll see it. You’re hard on George, says Jim, there’s no pleasing you today; one would think there were lots of chaps fighting how to give us a lift. Goodbye, George, old man; I’m sorry we can’t wire in with you; we’d soon knock out those posts and rails on the ironbark range. You’d better stop, Jim, and take a hand in the deal, says I (or, rather, the devil, for I believe he gets inside a chap at times), and then you and George can take a turn at local-preaching when you’re cut out. I’m off. So without another word I jumped on to my horse and went off down the hill, across the creek, and over the boulders the other side, without much caring where I was going. The fact was, I felt I had acted meanly in sneering at a man who only said what he did for my good; and I wasn’t at all sure that I hadn’t made a breach between Gracey and myself, and, though I had such a temper when it was roused that all the world wouldn’t have stopped me, everytime I thought of not seeing that girl again made my heart ache as if it would burst. I was nearly home before I heard the clatter of a horse’s feet, and Jim rode up alongside of me. He was just the same as ever, with a smile on his face. You didn’t often see it without one. I knew he had come after me, and had given up his own fancy for mine. I thought you were going to stay and turn good, I said. Why didn’t you? It might have been better for me if I had, he said, but you know very well, Dick, that whatever turns up, whether it’s for good or evil, you and I go together. We looked at one another for a moment. Our eyes met. We didn’t say anything; but we understood one another as well as if we had talked for a week. We rode up to the door of our cottage without speaking. The sun had set, and some of the stars had come out, early as it was, for it was late autumn. Aileen was sitting on a bench in the verandah reading, mother was working away as usual at something in the house. Mother couldn’t read or write, but you never caught her sitting with her hands before her. Except when she was asleep I don’t think she ever was quite still. Aileen ran out to us, and stood while we let go our horses, and brought the saddles and bridles under the verandah. I’m glad you’re come home for one thing, she said. There is a message from father. He wants you to meet him. Who brought it? I said. One of the Dalys—Patsey, I think. All right, said Jim, kissing her as he lifted her up in his great strong arms. I must go in and have a gossip with the old woman. Aileen can tell me after tea. I daresay it’s not so good that it won’t keep. Mother was that fond of both of us that I believe, as sure as I sit here, she’d have put her head on the block, or died in any other way for either of her boys, not because it was her duty, but glad and cheerful like, to have saved us from death or disgrace. I think she was fonder of us two than she was of Aileen. Mothers are generally fonder of their sons. Why I never could see; and if she thought more of one than the other it was Jim. He was the youngest, and he had that kind of big, frolicsome, loving way with him, like a Newfoundland pup about half-grown. I always used to think, somehow, nobody ever seemed to be able to get into a pelter with Jim, not even father, and that was a thing as some people couldn’t be got to believe. As for mother and Aileen, they were as fond of him as if he’d been a big baby. So while he went to sit down on the stretcher, and let mother put her arms round his neck and hug him and cry over him, as she always did if he’d been away more than a day or two, I took a walk down the creek with Aileen in the starlight, to hear all about this message from father. Besides, I could see that she was very serious over it, and I thought there might be something in it more than common. First of all, did you make any agreement with George Storefield? she said. No; why should I? Has he been talking to you about me? What right has he to meddle with my business? Oh, Dick, don’t talk like that. Anything that he said was only to do you a kindness, and Jim. Hang him, and his kindness too, I said. Let him keep it for those that want it. But what did he tell you? He said, first of all, answered poor Aileen, with the tears in her eyes, and trying to take hold of my hand, that he had a contract for fencing timber, which he had taken at good prices, which he would share with you and Jim; that he knew you two and himself could finish it in a few weeks, and that he expected to get the contract for the timber for the new bridge at Dargo, which he would let you go shares in too. He didn’t like to speak about that, because it wasn’t certain; but he had calculated all the quantities and prices, and he was sure you would make 70 or 80 Pounds each before Christmas. Now, was there any harm in that; and don’t you think it was very good of him to think of it?
6420	dbpedia	1	31	https://www.manyhillsbooks.com/product/140283/Robbery-Under-Arms	en	Robbery Under Arms	http://bookzangle.com/images/books/00005/17110017.jpg	http://bookzangle.com/images/books/00005/17110017.jpg	[ "https://www.manyhillsbooks.com/assets/images/block/Manyhills Header2.png", "http://bookzangle.com/images/books/00005/17110017.jpg", "http://bookzangle.com/images/books/00005/08040083.jpg", "http://bookzangle.com/images/books/00005/13110034.jpg", "http://bookzangle.com/images/books/00005/18110151.jpg", "http://bookzangle.com/images/books/00005/16060045.jpg", "http://bookzangle.com/images/books/00005/15060317.jpg", "http://bookzangle.com/images/books/00005/19070065.jpg", "http://bookzangle.com/images/books/00005/19090004.jpg", "http://bookzangle.com/images/books/00005/08110002.jpg", "http://bookzangle.com/images/books/00005/17110017.jpg", "https://www.manyhillsbooks.com/assets/images/media/logoChris.png", "https://www.manyhillsbooks.com/setcookie/U3jXgY8UXbRWJTTfqPkAQVUhmLU347aGpRwmKRa8", "https://stats.secure-chrislands.com/piwik.php?idsite=177&token_auth=5cd39c8bfc37becc5e7e32e19a6bfec8" ]	[]	[]	[ "BZDB5 Fiction; Robbery Under Arms Paperback", "Boldrewood", "Rolf" ]	null	[]	null	Paperback. 506 pages. * PUBLISHING DETAILS: Macmillan, Australia, 1965. Reprint. * CONDITION: This book is in fair condition. More specifically: Covers have	en	/themes/panel/img/favicons/defaultfavicon.ico	Manyhills Books	null	Paperback. 506 pages. * PUBLISHING DETAILS: Macmillan, Australia, 1965. Reprint. * CONDITION: This book is in fair condition. More specifically: Covers have moderate creasing and slight soiling. Edges of covers have moderate wear. Spine has moderate reading creases. . Pages are reasonably tanned. Previous owner's name in ink. Clear tape to length of spine. * ABOUT THIS BOOK: Dick and Jim are the colonial boys, not yet wild, but soon to be. Their father, Ben Marston, is an ex-convict who cannot forget his past nor change his ways. Through him, they meet Captain Starlight, the renegade of a noble English family, with a talent for "robbery under arms". * Quantity Available: 1. Category: Fiction; Movie / TV Tie-in; Inventory No: 17110017. Paperback
6420	dbpedia	1	8	https://letterboxd.com/film/robbery-under-arms-1957/	en	Robbery Under Arms (1957)	https://a.ltrbxd.com/res…jpg?v=6113d72fc8	https://a.ltrbxd.com/res…jpg?v=6113d72fc8	[ "https://s.ltrbxd.com/static/img/empty-poster-1000.231946d0.png", "https://s.ltrbxd.com/static/img/empty-poster-230.6b1dabe6.png", "https://s.ltrbxd.com/static/img/flags/GBR.015a4362.svg", "https://s.ltrbxd.com/static/img/flags/USA.165ff2bd.svg", "https://s.ltrbxd.com/static/img/flags/GBR.015a4362.svg", "https://s.ltrbxd.com/static/img/flags/USA.165ff2bd.svg", "https://a.ltrbxd.com/resized/avatar/upload/6/9/3/8/1/2/5/shard/avtr-0-80-0-80-crop.jpg?v=af49c9df4e", "https://a.ltrbxd.com/resized/avatar/upload/3/0/3/6/2/9/shard/avtr-0-80-0-80-crop.jpg?v=6d77f34b51", "https://secure.gravatar.com/avatar/8503a3f4635c038221b6b6b9ca1a70e2?rating=PG&size=80&border=&default=https%3A%2F%2Fs.ltrbxd.com%2Fstatic%2Fimg%2Favatar80.ccc31669.png", "https://secure.gravatar.com/avatar/cc6366e29fd42d8bb63601d5f9e4f697?rating=PG&size=80&border=&default=https%3A%2F%2Fs.ltrbxd.com%2Fstatic%2Fimg%2Favatar80.ccc31669.png", "https://secure.gravatar.com/avatar/c92c976fde5b8d0c47341447f2067378?rating=PG&size=80&border=&default=https%3A%2F%2Fs.ltrbxd.com%2Fstatic%2Fimg%2Favatar80.ccc31669.png", "https://a.ltrbxd.com/resized/avatar/upload/6/2/5/3/0/3/shard/avtr-0-80-0-80-crop.jpg?v=d6ab883d0c" ]	[]	[]	[ "" ]	null	[]	null	During the mid 1860s, brothers Dick and Jim Marston are drawn into a life of crime by their ex-convict father Ben and his friend, infamous cattlethief Captain Starlight. Making their way to Melbourne with the proceeds of a recent raid, the brothers meet and romance the Morrison sisters, Kate and Jean, whom they eventually marry; but just as they are poised to start a new life in America, Captain Starlight and his gang arrive in town, planning a raid at the local bank.	en	https://s.ltrbxd.com/sta…6px.a8f34e0d.svg		https://letterboxd.com/film/robbery-under-arms-1957/	A minor Australian-set* western. Peter Finch is wonderful as a gentleman outlaw, charming and charismatic in a black shirt and riding a white horse. Unfortunately, he’s not the protagonist. That would be Ronald Lewis and David McCallum who, after failing as jewel thieves in the little seen gem The Secret Place, try their hand at being bushranger brothers. Their uninteresting characters are mainly defined by their choice of romantic partner (fallen brunette Maureen Swanson and respectable Jill Ireland), and one being slightly less ok with a life of crime. The movie does touch on how hiding out in between jobs can feel just as restrictive as prison, though that’s barely explored. There’s a well-staged stagecoach holdup and bank robbery, and some… Cowboys; shootouts; cattle rustling; saloons; stagecoaches. Such familiar elements, but this is 1865 Australia not Arizona. So if Robbery Under Arms is not a Western, is it a Southern? In any case, it's a British Rank picture, shot on location in Southern Australia and New South Wales with interiors at Pinewood. It is the setting that distinguishes the film, the searing heat amid the wide dusty vistas of Oz being almost palpable. Alas it is the sole distinguishing feature since the script is standard and the treatment adequate. Peter Finch is in effect a supporting character - Captain Starlight, a rustling rogue with a band of ne'er-do-wells at the time of an Australian gold rush. The story centres around two… MannVanuary II 20. Aussie Western The Marston brothers, Dick and Jim, have been through the sheep-shearing season, and with their pockets stuffed with cash, are off for a bit of rest and relaxation, but instead a couple of interactions are going to take their lives in a different direction. First of all, their ex-convict father introduces them to a fellow who goes by the name (among others) of Captain Starlight, and the lucrative, but obviously dangerous world, of cattle-rustling. And secondly, they meet a couple of girls. Which one of these causes them the most trouble is hard to say. The story is somewhat episodic, never really getting into a flow, focussing on the Marstons who, just when you think… Two brothers join their father in Captain Starlight’s (Peter Finch) bushranger gang in 19th century Australia in this action drama directed by Jack Lee, also starring Ronald Lewis and Maureen Swanson. Based on the novel of the same name by Rolf Boldrewood, which was published in 1988, the film is set in 1865 Australia, where two brothers are drawn into a life of crime. When they arrive in Melbourne, the two find romance with two sisters. Peter Finch gives an OK performance in his role as Captain Starlight, acting like he is in charge, while Ronald Lewis and David McCallum are OK in their respective roles as Dick Marston and Jim Marston, the two Marston brothers who commit awful acts.…
6420	dbpedia	3	12	https://utminers.utep.edu/omwilliamson/engl1311/fallacies.htm	en	Master List of Logical Fallacies			[ "https://utminers.utep.edu/univ/sessions/img27.jpg", "http://i.creativecommons.org/l/publicdomain/88x31.png" ]	[]	[]	[ "" ]	null	[ "Owen M Williamson - UTEP" ]	null					null	The A Priori Argument (also, Rationalization; Dogmatism, Proof Texting.): A corrupt argument from logos, starting with a given, pre-set belief, dogma, doctrine, scripture verse, "fact" or conclusion and then searching for any reasonable or reasonable-sounding argument to rationalize, defend or justify it. Certain ideologues and religious fundamentalists are proud to use this fallacy as their primary method of "reasoning" and some are even honest enough to say so. E.g., since we know there is no such thing as "evolution," a prime duty of believers is to look for ways to explain away growing evidence, such as is found in DNA, that might suggest otherwise. See also the Argument from Ignorance. The opposite of this fallacy is the Taboo. Ableism (also, The Con Artist's Fallacy; The Dacoit's Fallacy; Shearing the Sheeple; Profiteering; "Vulture Capitalism," "Wealth is disease, and I am the cure."): A corrupt argument from ethos, arguing that because someone is intellectually slower, physically or emotionally less capable, less ambitious, less aggressive, older or less healthy (or simply more trusting or less lucky) than others, s/he "naturally" deserves less in life and may be freely victimized by those who are luckier, quicker, younger, stronger, healthier, greedier, more powerful, less moral or more gifted (or who simply have more immediate felt need for money, often involving some form of addiction). This fallacy is a "softer" argumentum ad baculum. When challenged, those who practice this fallacy seem to most often shrug their shoulders and mumble "Life is ruff and you gotta be tuff [sic]," "You gotta do what you gotta do to get ahead in this world," "It's no skin off my nose," "That's free enterprise," "That's the way life is!" or similar. Actions have Consequences: The contemporary fallacy of a person in power falsely describing an imposed punishment or penalty as a "consequence" of another's negative act. E.g.," The consequences of your misbehavior could include suspension or expulsion." A corrupt argument from ethos, arrogating to oneself or to one's rules or laws an ethos of cosmic inevitability, i.e., the ethos of God, Fate, Karma, Destiny or Reality Itself. Illness or food poisoning are likely "consequences" of eating spoiled food, while being "grounded" is a punishment for, not a "consequence," of childhood misbehavior. Freezing to death is a natural "consequence" of going out naked in subzero weather but going to prison is a punishment for bank robbery, not a natural, inevitable or unavoidable "consequence," of robbing a bank. Not to be confused with the Argument from Consequences, which is quite different. See also Blaming the Victim. An opposite fallacy is that of Moral Licensing. The Ad Hominem Argument (also, "Personal attack," "Poisoning the well"): The fallacy of attempting to refute an argument by attacking the oppositions intelligence, morals, education, professional qualifications, personal character or reputation, using a corrupted negative argument from ethos. E.g., "That so-called judge;" or "He's so evil that you can't believe anything he says." See also "Guilt by Association." The opposite of this is the "Star Power" fallacy. Another obverse of Ad Hominem is the Token Endorsement Fallacy, where, in the words of scholar Lara Bhasin, "Individual A has been accused of anti-Semitism, but Individual B is Jewish and says Individual A is not anti-Semitic, and the implication of course is that we can believe Individual B because, being Jewish, he has special knowledge of anti- Semitism. Or, a presidential candidate is accused of anti-Muslim bigotry, but someone finds a testimony from a Muslim who voted for said candidate, and this is trotted out as evidence against the candidate's bigotry." The same fallacy would apply to a sports team offensively named after a marginalized ethnic group, but which has obtained the endorsement (freely given or paid) of some member, traditional leader or tribal council of that marginalized group so that the otherwise-offensive team name and logo magically become "okay" and nonracist. The Affective Fallacy (also The Romantic Fallacy; Emotion over Reflection; "Follow Your Heart"): An extremely common modern fallacy of Pathos, that one's emotions, urges or "feelings" are innate and in every case self-validating, autonomous, and above any human intent or act of will (one's own or others'), and are thus immune to challenge or criticism. (In fact, researchers now [2017] have robust scientific evidence that emotions are actually cognitive and not innate.) In this fallacy one argues, "I feel it, so it must be true. My feelings are valid, so you have no right to criticize what I say or do, or how I say or do it." This latter is also a fallacy of stasis, confusing a respectful and reasoned response or refutation with personal invalidation, disrespect, prejudice, bigotry, sexism, homophobia or hostility. A grossly sexist form of the Affective Fallacy is the well-known crude fallacy that the phallus "Has no conscience" (also, "A man's gotta do what a man's gotta do;" "Thinking with your other head."), i.e., since (male) sexuality is self-validating and beyond voluntary control what one does with it cannot be controlled either and such actions are not open to criticism, an assertion eagerly embraced and extended beyond the male gender in certain reifications of "Desire" in contemporary academic theory. See also, Playing on Emotion. Opposite to this fallacy is the Chosen Emotion Fallacy (thanks to scholar Marc Lawson for identifying this fallacy), in which one falsely claims complete, or at least reliable prior voluntary control over one's own autonomic, "gut level" affective reactions. Closely related if not identical to this last is the ancient fallacy of Angelism, falsely claiming that one is capable of "objective" reasoning and judgment without emotion, claiming for oneself a viewpoint of Olympian "disinterested objectivity" or pretending to place oneself far above all personal feelings, temptations or bias. See also, Mortification. Alphabet Soup: A corrupt modern implicit fallacy from ethos in which a person inappropriately overuses acronyms, abbreviations, form numbers and arcane insider "shop talk" primarily to prove to an audience that s/he "speaks their language" and is "one of them" and to shut out, confuse or impress outsiders. E.g., "It's not uncommon for a K-12 with ASD to be both GT and LD;" "I had a twenty-minute DX Q-so on 15 with a Zed-S1 and a couple of LU2's even though the QR-Nancy was 10 over S9;" or "I hope I'll keep on seeing my BAQ on my LES until the day I get my DD214." See also, Name Calling. This fallacy has recently become common in media pharmaceutical advertising in the United States, where "Alphabet Soup" is used to create false identification with and to exploit patient groups suffering from specific illnesses or conditions, e.g., "If you have DPC with associated ZL you can keep your B2D under control with Luglugmena®. Ask your doctor today about Luglugmena® Helium Tetracarbide lozenges to control symptoms of ZL and to keep your B2D under that crucial 7.62 threshold. Side effects of Luglugmena® may include K4 Syndrome which may lead to lycanthropic bicephaly, BMJ and occasionally, death. Do not take Luglugmena® if you are allergic to dogbite or have type D Flinder's Garbosis..." Alternative Truth (also, Alt Facts; Counterknowledge; Disinformation; Information Pollution): A newly-famous contemporary fallacy of logos rooted in postmodernism, denying the resilience of facts or truth as such. Writer Hannah Arendt, in her The Origins of Totalitarianism (1951) warned that "The ideal subject of totalitarian rule is not the convinced Nazi or the dedicated communist, but people for whom the distinction between fact and fiction, true and false, no longer exists." Journalist Leslie Grass (2017) writes in her Blog Reachoutrecovery.com, "Is there someone in your life who insists things happened that didnt happen, or has a completely different version of events in which you have the facts? Its a form of mind control and is very common among families dealing with substance and behavior problems." She suggests that such "Alternate Facts" work to "put you off balance," "control the story," and "make you think you're crazy," and she notes that "presenting alternate facts is the hallmark of untrustworthy people." The Alternative Truth fallacy is related to the Big Lie Technique. See also Gaslighting, Blind Loyalty, The Big Brain/Little Brain Fallacy, and Two Truths The Appeal to Closure: The contemporary fallacy that an argument, standpoint, action or conclusion no matter how questionable must be accepted as final or else the point will remain unsettled, which is unthinkable because those affected will be denied "closure." This fallacy falsely reifies a specialized term (closure) from Gestalt Psychology while refusing to recognize the undeniable truth that some points will indeed remain open and unsettled, perhaps forever. E.g., "Society would be protected, real punishment would be inflicted, crime would be deterred and justice served if we sentenced you to life without parole, but we need to execute you in order to provide some closure." See also, Argument from Ignorance, and Argument from Consequences. The opposite of this fallacy is the Paralysis of Analysis. The Appeal to Heaven: (also, Argumentum ad Coelum, Deus Vult, Gott mit Uns, Manifest Destiny, American Exceptionalism, or the Special Covenant): An ancient, extremely dangerous fallacy (a deluded argument from ethos) that of claiming to know the mind of God (or History, or a higher power), who has allegedly ordered or anointed, supports or approves of one's own country, standpoint or actions so no further justification is required and no serious challenge is possible. (E.g., "God ordered me to kill my children," or "We need to take away your land, since God [or Scripture, or Manifest Destiny, or Fate, or Heaven] has given it to us as our own.") A private individual who seriously asserts this fallacy risks ending up in a psychiatric ward, but groups or nations who do it are far too often taken seriously. Practiced by those who will not or cannot tell God's will from their own, this vicious (and blasphemous) fallacy has been the cause of endless bloodshed over history. See also, Moral Superiority, and Magical Thinking. Also applies to deluded negative Appeals to Heaven, e.g., "You say that famine and ecological collapse due to climate change are real dangers during the coming century, but I know God wouldn't ever let that happen to us!" The opposite of the Appeal to Heaven is the Job's Comforter fallacy. The Appeal to Nature (also, Biologizing; The Green Fallacy): The contemporary romantic fallacy of ethos (that of "Mother Nature") that if something is "natural" it has to be good, healthy and beneficial. E.g., "Our premium herb tea is lovingly brewed from the finest freshly-picked and delicately dried natural T. Radicans leaves. Those who dismiss it as mere 'Poison Ivy' don't understand that it's 100% organic, with no additives, GMO's or artificial ingredients It's time to Go Green and lay back in Mother's arms." One who employs or falls for this fallacy forgets the old truism that left to itself, nature is indeed "red in tooth and claw." This fallacy also applies to arguments alleging that something is "unnatural," or "against nature" and thus evil (The Argument from Natural Law) e.g. "Homosexuality should be outlawed because it's against nature," arrogating to oneself the authority to define what is "natural" and what is unnatural or perverted. E.g., during the American Revolution British sources widely condemned rebellion against King George III as "unnatural," and American revolutionaries as "perverts," because the Divine Right of Kings represented Natural Law, and according to 1 Samuel 15:23 in the Bible, rebellion is like unto witchcraft. The Appeal to Pity: (also, "Argumentum ad Miserecordiam"): The fallacy of urging an audience to root for the underdog regardless of the issues at hand. A classic example is, Those poor, cute little squeaky mice are being gobbled up by mean, nasty cats ten times their size! A contemporary example might be America's uncritical popular support for the Arab Spring movement of 2010-2012 in which The People ("The underdogs") were seen to be heroically overthrowing cruel dictatorships, a movement that has resulted in retrospect in chaos, impoverishment, anarchy, mass suffering, civil war, the regional collapse of civilization and rise of extremism, and the largest refugee crisis since World War II. A corrupt argument from pathos. See also, Playing to Emotions. The opposite of the Appeal to Pity is the Appeal to Rigor, an argument (often based on machismo or on manipulating an audience's fear) based on mercilessness. E.g., "I'm a real man, not like those bleeding hearts, and I'll be tough on [fill in the name of the enemy or bogeyman of the hour]." In academia this latter fallacy applies to politically-motivated or elitist calls for "Academic Rigor," and rage against university developmental / remedial classes, open admissions, "dumbing down" and "grade inflation." The Appeal to Tradition: (also, Conservative Bias; Back in Those Good Times, "The Good Old Days"): The ancient fallacy that a standpoint, situation or action is right, proper and correct simply because it has "always" been that way, because people have "always" thought that way, or because it was that way long ago (most often meaning in the audience members' youth or childhood, not before) and still continues to serve one particular group very well. A corrupted argument from ethos (that of past generations). E.g., "In America, women have always been paid less, so let's not mess with long-standing tradition." See also Argument from Inertia, and Default Bias. The opposite of this fallacy is The Appeal to Novelty (also, "Pro-Innovation bias," "Recency Bias," and "The Bad Old Days;" The Early Adopter's Fallacy), e.g., "It's NEW, and [therefore it must be] improved!" or "This is the very latest discovery--it has to be better." Appeasement (also, "Assertiveness," "The squeaky wheel gets the grease;" "I know my rights!"): This fallacy, most often popularly connected to the shameful pre-World War II appeasement of Hitler, is in fact still commonly practiced in public agencies, education and retail business today, e.g. "Customers are always right, even when they're wrong. Don't argue with them, just give'em what they want so they'll shut up and go away, and not make a stink--it's cheaper and easier than a lawsuit." Widespread unchallenged acceptance of this fallacy encourages offensive, uncivil public behavior and sometimes the development of a coarse subculture of obnoxious, "assertive" manipulators who, like "spoiled" children, leverage their knowledge of how to figuratively (or sometimes even literally!) "make a stink" into a primary coping skill in order to get what they want when they want it. The works of the late Community Organizing guru Saul Alinsky suggest practical, nonviolent ways for groups to harness the power of this fallacy to promote social change, for good or for evil.. See also Bribery. The Argument from Consequences (also, Outcome Bias): The major fallacy of logos, arguing that something cannot be true because if it were the consequences or outcome would be unacceptable. (E.g., "Global climate change cannot be caused by human burning of fossil fuels, because if it were, switching to non-polluting energy sources would bankrupt American industry," or "Doctor, that's wrong! I can't have terminal cancer, because if I did that'd mean that I won't live to see my kids get married!") Not to be confused with Actions have Consequences. The Argument from Ignorance (also, Argumentum ad Ignorantiam): The fallacy that since we dont know (or can never know, or cannot prove) whether a claim is true or false, it must be false, or it must be true. E.g., Scientists are never going to be able to positively prove their crazy theory that humans evolved from other creatures, because we weren't there to see it! So, that proves the Genesis six-day creation account is literally true as written! This fallacy includes Attacking the Evidence (also, "Whataboutism"; The Missing Link fallacy), e.g. "Some or all of your key evidence is missing, incomplete, or even faked! What about that? That proves you're wrong and I'm right!" This fallacy usually includes fallacious Either-Or Reasoning as well: E.g., The vet can't find any reasonable explanation for why my dog died. See! See! That proves that you poisoned him! Theres no other logical explanation! A corrupted argument from logos, and a fallacy commonly found in American political, judicial and forensic reasoning. The recently famous "Flying Spaghetti Monster" meme is a contemporary refutation of this fallacy--simply because we cannot conclusively disprove the existence of such an absurd entity does not argue for its existence. See also A Priori Argument, Appeal to Closure, The Simpleton's Fallacy, and Argumentum ex Silentio. The Argument from Incredulity: The popular fallacy of doubting or rejecting a novel claim or argument out of hand simply because it appears superficially "incredible," "insane" or "crazy," or because it goes against one's own personal beliefs, prior experience or ideology. This cynical fallacy falsely elevates the saying popularized by Carl Sagan, that "Extraordinary claims require extraordinary proof," to an absolute law of logic. See also Hoyle's Fallacy. The common, popular-level form of this fallacy is dismissing surprising, extraordinary or unfamiliar arguments and evidence with a wave of the hand, a shake of the head, and a mutter of "that's crazy!" The Argument from Inertia (also Stay the Course): The fallacy that it is necessary to continue on a mistaken course of action regardless of pain and sacrifice involved and even after discovering it is mistaken, because changing course would mean admitting that one's decision (or one's leader, or one's country, or one's faith) was wrong, and all one's effort, expense, sacrifice and even bloodshed was for nothing, and that's unthinkable. A variety of the Argument from Consequences, E for Effort, or the Appeal to Tradition. See also "Throwing Good Money After Bad." The Argument from Motives (also Questioning Motives): The fallacy of declaring a standpoint or argument invalid solely because of the evil, corrupt or questionable motives of the one making the claim. E.g., "Bin Laden wanted us to withdraw from Afghanistan, so we have to keep up the fight!" Even evil people with the most corrupt motives sometimes say the truth (and even good people with the highest and purest motives are often wrong or mistaken). A variety of the Ad Hominem argument. The opposite side of this fallacy is falsely justifying or excusing evil or vicious actions because of the perpetrator's aparent purity of motives or lack of malice. (E.g., "Sure, she may have beaten her children bloody now and again but she was a highly educated, ambitious professional woman at the end of her rope, deprived of adult conversation and stuck between four walls for years on end with a bunch of screaming, fighting brats, doing the best she could with what little she had. How can you stand there and accuse her of child abuse?") See also Moral Licensing. Argumentum ad Baculum ("Argument from the Club." Also, "Argumentum ad Baculam," "Argument from Strength," "Muscular Leadership," "Non-negotiable Demands," "Hard Power," Bullying, The Power-Play, Fascism, Resolution by Force of Arms, Shock and Awe.): The fallacy of "persuasion" or "proving one is right" by force, violence, brutality, terrorism, superior strength, raw military might, or threats of violence. E.g., "Gimmee your wallet or I'll knock your head off!" or "We have the perfect right to take your land, since we have the big guns and you don't." Also applies to indirect forms of threat. E.g., "Give up your foolish pride, kneel down and accept our religion today if you don't want to burn in hell forever and ever!" A mainly discursive Argumentum ad Baculum is that of forcibly silencing opponents, ruling them "out of order," blocking, censoring or jamming their message, or simply speaking over them or/speaking more loudly than they do, this last a tactic particularly attributed to men in mixed-gender discussions. Argumentum ad Mysteriam ("Argument from Mystery;" also Mystagogy.): A darkened chamber, incense, chanting or drumming, bowing and kneeling, special robes or headgear, holy rituals and massed voices reciting sacred mysteries in an unknown tongue have a quasi-hypnotic effect and can often persuade more strongly than any logical argument. The Puritan Reformation was in large part a rejection of this fallacy. When used knowingly and deliberately this fallacy is particularly vicious and accounts for some of the fearsome persuasive power of cults. An example of an Argumentum ad Mysteriam is the "Long Ago and Far Away" fallacy, the fact that facts, evidence, practices or arguments from ancient times, distant lands and/or "exotic" cultures seem to acquire a special gravitas or ethos simply because of their antiquity, language or origin, e.g., publicly chanting Holy Scriptures in their original (most often incomprehensible) ancient languages, preferring the Greek, Latin, Assyrian or Old Slavonic Christian Liturgies over their vernacular versions, or using classic or newly invented Greek and Latin names for fallacies in order to support their validity. See also, Esoteric Knowledge. An obverse of the Argumentum ad Mysteriam is the Standard Version Fallacy. Argumentum ex Silentio (Argument from Silence): The fallacy that if available sources remain silent or current knowledge and evidence can prove nothing about a given subject or question this fact in itself proves the truth of one's claim. E.g., "Science can tell us nothing about God. That proves God doesn't exist." Or "Science admits it can tell us nothing about God, so you can't deny that God exists!" Often misused in the American justice system, where, contrary to the 5th Amendment and the legal presumption of innocence until proven guilty, remaining silent or "taking the Fifth" is often falsely portrayed as proof of guilt. E.g., "Mr. Hixon can offer no alibi for his whereabouts the evening of January 15th. This proves that he was in fact in room 331 at the Smuggler's Inn, murdering his wife with a hatchet!" In today's America, choosing to remain silent in the face of a police officer's questions can make one guilty enough to be arrested or even shot. See also, Argument from Ignorance. Availability Bias (also, Attention Bias, Anchoring Bias): A fallacy of logos stemming from the natural tendency to give undue attention and importance to information that is immediately available at hand, particularly the first or last information received, and to minimize or ignore broader data or wider evidence that clearly exists but is not as easily remembered or accessed. E.g., "We know from experience that this doesn't work," when "experience" means the most recent local attempt, ignoring overwhelming experience from other places and times where it has worked and does work. Also related is the fallacy of Hyperbole [also, Magnification, or sometimes Catastrophizing] where an immediate instance is immediately proclaimed "the most significant in all of human history," or the "worst in the whole world!" This latter fallacy works extremely well with less-educated audiences and those whose "whole world" is very small indeed, audiences who "hate history" and whose historical memory spans several weeks at best. The Bandwagon Fallacy (also, Argument from Common Sense, Argumentum ad Populum): The fallacy of arguing that because "everyone," "the people," or "the majority" (or someone in power who has widespread backing) supposedly thinks or does something, it must therefore be true and right. E.g., "Whether there actually is large scale voter fraud in America or not, many people now think there is and that makes it so." Sometimes also includes Lying with Statistics, e.g. Over 75% of Americans believe that crooked Bob Hodiak is a thief, a liar and a pervert. There may not be any evidence, but for anyone with half a brain that conclusively proves that Crooked Bob should go to jail! Lock him up! Lock him up! This is sometimes combined with the "Argumentum ad Baculum," e.g., "Like it or not, it's time to choose sides: Are you going to get on board the bandwagon with everyone else, or get crushed under the wheels as it goes by?" Or in the 2017 words of former White House spokesperson Sean Spicer, ""They should either get with the program or they can go," A contemporary digital form of the Bandwagon Fallacy is the Information Cascade, "in which people echo the opinions of others, usually online, even when their own opinions or exposure to information contradicts that opinion. When information cascades form a pattern, this pattern can begin to overpower later opinions by making it seem as if a consensus already exists." (Thanks to Teaching Tolerance for this definition!) See also Wisdom of the Crowd, and The Big Lie Technique. For the opposite of this fallacy see the Romantic Rebel fallacy. The Big Brain/Little Brain Fallacy (also, the Führerprinzip; Mad Leader Disease): A not-uncommon but extreme example of the Blind Loyalty Fallacy below, in which a tyrannical boss, military commander, or religious or cult-leader tells followers "Don't think with your little brains (the brain in your head), but with your BIG brain (mine)." This last is sometimes expressed in positive terms, i.e., "You don't have to worry and stress out about the rightness or wrongness of what you are doing since I, the Leader. am assuming all moral and legal responsibility for all your actions. So long as you are faithfully following orders without question I will defend you and gladly accept all the consequences up to and including eternal damnation if I'm wrong." The opposite of this is the fallacy of "Plausible Deniability." See also, "Just Do It!", and "Gaslighting." The Big "But" Fallacy (also, Special Pleading): The fallacy of enunciating a generally-accepted principle and then directly negating it with a "but." Often this takes the form of the "Special Case," which is supposedly exempt from the usual rules of law, logic, morality, ethics or even credibility E.g., "As Americans we have always believed on principle that every human being has God-given, inalienable rights to life, liberty and the pursuit of happiness, including in the case of criminal accusations a fair and speedy trial before a jury of one's peers. BUT, your crime was so unspeakable and a trial would be so problematic for national security that it justifies locking you up for life in Guantanamo without trial, conviction or possibility of appeal." Or, "Yes, Honey, I still love you more than life itself, and I know that in my wedding vows I promised before God that I'd forsake all others and be faithful to you 'until death do us part,' but you have to understand, this was a special case..." See also, "Shopping Hungry," and "We Have to do Something!" The Big Lie Technique (also the Bold Faced Lie; "Staying on Message."): The contemporary fallacy of repeating a lie, fallacy, slogan, talking-point, nonsense-statement or deceptive half-truth over and over in different forms (particularly in the media) until it becomes part of daily discourse and people accept it without further proof or evidence. Sometimes the bolder and more outlandish the Big Lie becomes the more credible it seems to a willing, most often angry audience. E.g., "What about the Jewish Problem?" Note that when this particular phony debate was going on there was no "Jewish Problem," only a Nazi Problem, but hardly anybody in power recognized or wanted to talk about that, while far too many ordinary Germans were only too ready to find a convenient scapegoat to blame for their suffering during the Great Depression. Writer Miles J. Brewer expertly demolishes The Big Lie Technique in his classic (1930) short story, "The Gostak and the Doshes." However, more contemporary examples of the Big Lie fallacy might be the completely fictitious August 4, 1964 "Tonkin Gulf Incident" concocted under Lyndon Johnson as a false justification for escalating the Vietnam War, or the non-existent "Weapons of Mass Destruction" in Iraq (conveniently abbreviated "WMD's" in order to lend this Big Lie a legitimizing, military-sounding "Alphabet Soup" ethos), used in 2003 as a false justification for the Second Gulf War. The November, 2016 U.S. President-elect's statement that "millions" of ineligible votes were cast in that year's American. presidential election appears to be a classic Big Lie. See also, Alternative Truth; The Bandwagon Fallacy, the Straw Man, Alphabet Soup, and Propaganda. Blind Loyalty (also Blind Obedience, Unthinking Obedience, the "Team Player" appeal, the Nuremberg Defense): The dangerous fallacy that an argument or action is right simply and solely because a respected leader or source (a President, expert, ones parents, one's own "side," team or country, ones boss or commanding officers) says it is right. This is over-reliance on authority, a gravely corrupted argument from ethos that puts loyalty above truth, above one's own reason and above conscience. In this case a person attempts to justify incorrect, stupid or criminal behavior by whining "That's what I was told to do," or I was just following orders." See also, The Big Brain/Little Brain Fallacy, and The "Soldiers' Honor" Fallacy. Blood is Thicker than Water (also Favoritism; Compadrismo; "For my friends, anything."): The reverse of the "Ad Hominem" fallacy, a corrupt argument from ethos where a statement, argument or action is automatically regarded as true, correct and above challenge because one is related to, knows and likes, or is on the same team or side, or belongs to the same religion, party, club or fraternity as the individual involved. (E.g., "My brother-in-law says he saw you goofing off on the job. You're a hard worker but who am I going to believe, you or him? You're fired!") See also the Identity Fallacy. Brainwashing (also, Propaganda, "Radicalization."): The Cold War-era fantasy that an enemy can instantly win over or "radicalize" an unsuspecting audience with their vile but somehow unspeakably persuasive "propaganda," e.g., "Don't look at that website! They're trying to brainwash you with their propaganda!" Historically, "brainwashing" refers more properly to the inhuman Argumentum ad Baculum of "beating an argument into" a prisoner via a combination of pain, fear, sensory or sleep deprivation, prolonged abuse and sophisticated psychological manipulation (also, the "Stockholm Syndrome."). Such "brainwashing" can also be accomplished by pleasure ("Love Bombing,"); e.g., "Did you like that? I know you did. Well, there's lots more where that came from when you sign on with us!" (See also, "Bribery.") An unspeakably sinister form of persuasion by brainwashing involves deliberately addicting a person to drugs and then providing or withholding the substance depending on the addict's compliance. Note: Only the other side brainwashes. "We" never brainwash. Bribery (also, Material Persuasion, Material Incentive, Financial Incentive). The fallacy of "persuasion" by bribery, gifts or favors is the reverse of the Argumentum ad Baculum. As is well known, someone who is persuaded by bribery rarely "stays persuaded" in the long term unless the bribes keep on coming in and increasing with time. See also Appeasement. Calling "Cards": A contemporary fallacy of logos, arbitrarily and falsely dismissing familiar or easily-anticipated but valid, reasoned objections to one's standpoint with a wave of the hand, as mere "cards" in some sort of "game" of rhetoric, e.g. "Don't try to play the 'Race Card' against me," or "She's playing the 'Woman Card' again," or "That 'Hitler Card' won't score with me in this argument." See also, The Taboo, and Political Correctness. Circular Reasoning (also, The Vicious Circle; Catch 22, Begging the Question, Circulus in Probando): A fallacy of logos where A is because of B, and B is because of A, e.g., "You can't get a job without experience, and you can't get experience without a job." Also refers to falsely arguing that something is true by repeating the same statement in different words. E.g., The witchcraft problem is the most urgent spiritual crisis in the world today. Why? Because witches threaten our very eternal salvation. A corrupt argument from logos. See also the "Big Lie technique." The Complex Question: The contemporary fallacy of demanding a direct answer to a question that cannot be answered without first analyzing or challenging the basis of the question itself. E.g., "Just answer me 'yes' or 'no': Did you think you could get away with plagiarism and not suffer the consequences?" Or, "Why did you rob that bank?" Also applies to situations where one is forced to either accept or reject complex standpoints or propositions containing both acceptable and unacceptable parts. A corruption of the argument from logos. A counterpart of Either/Or Reasoning. Confirmation Bias: A fallacy of logos, the common tendency to notice, search out, select and share evidence that confirms one's own standpoint and beliefs, as opposed to contrary evidence. This fallacy is how "fortune tellers" work--If I am told I will meet a "tall, dark stranger" I will be on the lookout for a tall, dark stranger, and when I meet someone even marginally meeting that description I will marvel at the correctness of the "psychic's" prediction. In contemporary times Confirmation Bias is most often seen in the tendency of various audiences to "curate their political environments, subsisting on one-sided information diets and [even] selecting into politically homogeneous neighborhoods" (Michael A. Neblo et al., 2017, Science magazine). Confirmation Bias (also, Homophily) means that people tend to seek out and follow solely those media outlets that confirm their common ideological and cultural biases, sometimes to an degree that leads a the false (implicit or even explicit) conclusion that "everyone" agrees with that bias and that anyone who doesn't is "crazy," "looney," evil or even "radicalized." See also, "Half Truth," and "Defensiveness." Cost Bias: A fallacy of ethos (that of a product), the fact that something expensive (either in terms of money, or something that is "hard fought" or "hard won" or for which one "paid dearly") is generally valued more highly than something obtained free or cheaply, regardless of the item's real quality, utility or true value to the purchaser. E. g., "Hey, I worked hard to get this car! It may be nothing but a clunker that can't make it up a steep hill, but it's mine, and to me it's better than some millionaire's limo." Also applies to judging the quality of a consumer item (or even of its owner!) primarily by the item's brand, price, label or source, e.g., "Hey, you there in the Jay-Mart suit! Har-har!" or, "Ooh, she's driving a Mercedes!" Default Bias: (also, Normalization of Evil, "Deal with it;" "If it ain't broke, don't fix it;" Acquiescence; "Making one's peace with the situation;" "Get used to it;" "Whatever is, is right;" "It is what it is;" "Let it be, let it be;" "This is the best of all possible worlds [or, the only possible world];" "Better the devil you know than the devil you don't."): The logical fallacy of automatically favoring or accepting a situation simply because it exists right now, and arguing that any other alternative is mad, unthinkable, impossible, or at least would take too much effort, expense, stress or risk to change. The opposite of this fallacy is that of Nihilism ("Tear it all down!"), blindly rejecting what exists in favor of what could be, the adolescent fantasy of romanticizing anarchy, chaos (an ideology sometimes called political "Chaos Theory"), disorder, "permanent revolution," or change for change's sake. Defensiveness (also, Choice-support Bias: Myside Bias): A fallacy of ethos (one's own), in which after one has taken a given decision, commitment or course of action, one automatically tends to defend that decision and to irrationally dismiss opposing options even when one's decision later on proves to be shaky or wrong. E.g., "Yeah, I voted for Snith. Sure, he turned out to be a crook and a liar and he got us into war, but I still say that at that time he was better than the available alternatives!" See also "Argument from Inertia" and "Confirmation Bias." Deliberate Ignorance: (also, Closed-mindedness; "I don't want to hear it!"; Motivated Ignorance; Tuning Out; Hear No Evil, See No Evil, Speak No Evil [The Three Monkeys' Fallacy]): As described by author and commentator Brian Resnik on Vox.com (2017), this is the fallacy of simply choosing not to listen, "tuning out" or turning off any information, evidence or arguments that challenge one's beliefs, ideology, standpoint, or peace of mind, following the popular humorous dictum: "Don't try to confuse me with the facts; my mind is made up!" This seemingly innocuous fallacy has enabled the most vicious tyrannies and abuses over history, and continues to do so today. See also Trust your Gut, Confirmation Bias, The Third Person Effect, "They're All Crooks," the Simpleton's Fallacy, and The Positive Thinking Fallacy. Diminished Responsibility: The common contemporary fallacy of applying a specialized judicial concept (that criminal punishment should be less if one's judgment was impaired) to reality in general. E.g., "You can't count me absent on Monday--I was hung over and couldn't come to class so it's not my fault." Or, "Yeah, I was speeding on the freeway and killed a guy, but I was buzzed out of my mind and didn't know what I was doing so it didn't matter that much." In reality the death does matter very much to the victim, to his family and friends and to society in general. Whether the perpetrator was high or not does not matter at all since the material results are the same. This also includes the fallacy of Panic, a very common contemporary fallacy that one's words or actions, no matter how damaging or evil, somehow don't "count" because "I panicked!" This fallacy is rooted in the confusion of "consequences" with "punishment." See also "Venting." Disciplinary Blinders: A very common contemporary scholarly or professional fallacy of ethos (that of one's discipline, profession or academic field), automatically disregarding, discounting or ignoring a priori otherwise-relevant research, arguments and evidence that come from outside one's own professional discipline, discourse community or academic area of study. E.g., "That might be relevant or not, but it's so not what we're doing in our field right now." See also, "Star Power" and "Two Truths." An analogous fallacy is that of Denominational Blinders, arbitrarily ignoring or waving aside without serious consideration any arguments or discussion about faith, morality, ethics, spirituality, the Divine or the afterlife that come from outside one's own specific religious denomination or faith tradition. Dog-Whistle Politics: An extreme version of reductionism and sloganeering in the public sphere, a contemporary fallacy of logos and pathos in which a brief phrase or slogan of the hour, e.g., "Abortion," "The 1%," "9/11," "Zionism,""Chain Migration," "Islamic Terrorism," "Fascism," "Communism," "Big government," "Taco trucks!", "Tax and tax and spend and spend," "Gun violence," "Gun control," "Freedom of choice," "Lock 'em up,", "Amnesty," etc. is flung out as "red meat" or "chum in the water" that reflexively sends one's audience into a snapping, foaming-at-the-mouth feeding-frenzy. Any reasoned attempt to more clearly identify, deconstruct or challenge an opponent's "dog whistle" appeal results in puzzled confusion at best and wild, irrational fury at worst. "Dog whistles" differ widely in different places, moments and cultural milieux, and they change and lose or gain power so quickly that even recent historic texts sometimes become extraordinarily difficult to interpret. A common but sad instance of the fallacy of Dog Whistle Politics is that of candidate "debaters" of differing political shades simply blowing a succession of discursive "dog whistles" at their audience instead of addressing, refuting or even bothering to listen to each other's arguments, a situation resulting in contemporary (2017) allegations that the political Right and Left in America are speaking "different languages" when they are simply blowing different "dog whistles." See also, Reductionism.. The "Draw Your Own Conclusion" Fallacy (also the Non-argument Argument; Let the Facts Speak for Themselves). In this fallacy of logos an otherwise uninformed audience is presented with carefully selected and groomed, "shocking facts" and then prompted to immediately "draw their own conclusions." E.g., "Crime rates are more than twice as high among middle-class Patzinaks than among any other similar population group--draw your own conclusions." It is well known that those who are allowed to "come to their own conclusions" are generally much more strongly convinced than those who are given both evidence and conclusion up front. However, Dr. William Lorimer points out that "The only rational response to the non-argument is 'So what?' i.e. 'What do you think you've proved, and why/how do you think you've proved it?'" Closely related (if not identical) to this is the well-known "Leading the Witness" Fallacy, where a sham, sarcastic or biased question is asked solely in order to evoke a desired answer. The Dunning-Kruger Effect: A cognitive bias that leads people of limited skills or knowledge to mistakenly believe their abilities are greater than they actually are. (Thanks to Teaching Tolerance for this definition!) E.g., "I know Washington was the Father of His Country and never told a lie, Pocahontas was the first Native American, Lincoln freed the slaves, Hitler murdered six million Jews, Susan B. Anthony won equal rights for women, and Martin Luther King said "I have a dream!" Moses parted the Red Sea, Caesar said "Et tu, Brute?" and the only reason America didn't win the Vietnam War hands-down like we always do was because they tied our generals' hands and the politicians cut and run. See? Why do I need to take a history course? I know everything about history!" E" for Effort. (also Noble Effort; I'm Trying My Best; The Lost Cause): The common contemporary fallacy of ethos that something must be right, true, valuable, or worthy of respect and honor solely because one (or someone else) has put so much sincere good-faith effort or even sacrifice and bloodshed into it. (See also Appeal to Pity; Argument from Inertia; Heroes All; or Sob Story). An extreme example of this fallacy is Waving the Bloody Shirt (also, the "Blood of the Martyrs" Fallacy), the fallacy that a cause or argument, no matter how questionable or reprehensible, cannot be questioned without dishonoring the blood and sacrifice of those who died so nobly for that cause. E.g., "Defend the patriotic gore / That flecked the streets of Baltimore..." (from the official Maryland State Song). See also Cost Bias, The Soldier's Honor Fallacy, and the Argument from Inertia. Either/Or Reasoning: (also False Dilemma, All or Nothing Thinking; False Dichotomy, Black/White Fallacy, False Binary): A fallacy of logos that falsely offers only two possible options even though a broad range of possible alternatives, variations and combinations are always readily available. E.g., "Either you are 100% Simon Straightarrow or you are as queer as a three dollar bill--it's as simple as that and there's no middle ground!" Or, Either youre in with us all the way or youre a hostile and must be destroyed! What's it gonna be?" Or, if your performance is anything short of perfect, you consider yourself an abject failure. Also applies to falsely contrasting one option or case to another that is not really opposed, e.g., falsely opposing "Black Lives Matter" to "Blue Lives Matter" when in fact not a few police officers are themselves African American, and African Americans and police are not (or ought not to be!) natural enemies. Or, falsely posing a choice of either helping needy American veterans or helping needy foreign refugees, when in fact in today's United States there are ample resources available to easily do both should we care to do so. See also, Overgeneralization. Equivocation: The fallacy of deliberately failing to define one's terms, or knowingly and deliberately using words in a different sense than the one the audience will understand. (E.g., President Bill Clinton stating that he did not have sexual relations with "that woman," meaning no sexual penetration, knowing full well that the audience will understand his statement as "I had no sexual contact of any kind with that woman.") This is a corruption of the argument from logos, and a tactic often used in American jurisprudence. Historically, this referred to a tactic used during the Reformation-era religious wars in Europe, when people were forced to swear loyalty to one or another side and did as demanded via "equivocation," i.e., "When I solemnly swore true faith and allegiance to the King I really meant to King Jesus, King of Kings, and not to the evil usurper squatting on the throne today." This latter form of fallacy is excessively rare today when the swearing of oaths has become effectively meaningless except as obscenity or as speech formally subject to perjury penalties in legal or judicial settings. The Eschatological Fallacy: The ancient fallacy of arguing, "This world is coming to an end, so..." Popularly refuted by the observation that "Since the world is coming to an end you won't need your life savings anyhow, so why not give it all to me?" Esoteric Knowledge (also Esoteric Wisdom; Gnosticism; Inner Truth; the Inner Sanctum; Need to Know): A fallacy from logos and ethos, that there is some knowledge reserved only for the Wise, the Holy or the Enlightened, (or those with proper Security Clearance), things that the masses cannot understand and do not deserve to know, at least not until they become wiser, more trusted or more "spiritually advanced." The counterpart of this fallacy is that of Obscurantism (also Obscurationism, or Willful Ignorance), that (almost always said in a basso profundo voice) "There are some things that we mere mortals must never seek to know!" E.g., "Scientific experiments that violate the privacy of the marital bed and expose the deep and private mysteries of human sexual behavior to the harsh light of science are obscene, sinful and morally evil. There are some things that we as humans are simply not meant to know!" For the opposite of this latter, see the "Plain Truth Fallacy." See also, Argumentum ad Mysteriam. Essentializing: A fallacy of logos that proposes a person or thing is what it is and thats all that it is, and at its core will always be the way it is right now (E.g., "All terrorists are monsters, and will still be terrorist monsters even if they live to be 100," or "'The poor you will always have with you,' so any effort to eliminate poverty is pointless."). Also refers to the fallacy of arguing that something is a certain way "by nature," an empty claim that no amount of proof can refute. (E.g., "Americans are cold and greedy by nature," or "Women are naturally better cooks than men.") See also "Default Bias." The opposite of this is Relativizing, the typically postmodern fallacy of blithely dismissing any and all arguments against one's standpoint by shrugging one's shoulders and responding " Whatever..., I don't feel like arguing about it;" "It all depends...;" "That's your opinion; everything's relative;" or falsely invoking Einstein's Theory of Relativity, Heisenberg's Uncertainty Principle, Quantum Weirdness or the Theory of Multiple Universes in order to confuse, mystify or "refute" an opponent. See also, "Red Herring" and "Appeal to Nature." The Etymological Fallacy: (also, "The Underlying Meaning"): A fallacy of logos, drawing false conclusions from the (most often long-forgotten) linguistic origins of a current word, or the alleged meanings or associations of that word in another language. E.g., "As used in physics, electronics and electrical engineering the term 'hysteresis' is grossly sexist since it originally came from the Greek word for 'uterus' or 'womb.'" Or, "I refuse to eat fish! Don't you know that the French word for "fish" is 'poisson,' which looks just like the English word 'poison'? And doesn't that suggest something to you?" Famously, postmodern philosopher Jacques Derrida played on this fallacy at great length in his (1968) "Plato's Pharmacy." The Excluded Middle: A corrupted argument from logos that proposes that since a little of something is good, more must be better (or that if less of something is good, none at all is even better). E.g., "If eating an apple a day is good for you, eating an all-apple diet is even better!" or "If a low fat diet prolongs your life, a no-fat diet should make you live forever!" An opposite of this fallacy is that of Excluded Outliers, where one arbitrarily discards evidence, examples or results that disprove one's standpoint by simply describing them as "Weird," "Outliers," or "Atypical." See also, "The Big 'But' Fallacy." Also opposite is the Middle of the Road Fallacy (also, Falacia ad Temperantiam; "The Politics of the Center;" Marginalization of the Adversary), where one demonstrates the "reasonableness" of one's own standpoint (no matter how extreme) not on its own merits, but solely or mainly by presenting it as the only "moderate" path among two or more obviously unacceptable extreme alternatives. E.g., anti-Communist scholar Charles Roig (1979) notes that Vladimir Lenin successfully argued for Bolshevism in Russia as the only available "moderate" middle path between bomb-throwing Nihilist terrorists on the ultra-left and a corrupt and hated Czarist autocracy on the right. As Texas politician and humorist Jim Hightower famously declares in an undated quote, "The middle of the road is for yellow lines and dead armadillos." The "F-Bomb" (also Cursing; Obscenity; Profanity). An adolescent fallacy of pathos, attempting to defend or strengthen one's argument with gratuitous, unrelated sexual, obscene, vulgar, crude or profane language when such language does nothing to make an argument stronger, other than perhaps to create a sense of identity with certain young male "urban" audiences. This fallacy also includes adding gratuitous sex scenes or "adult" language to an otherwise unrelated novel or movie, sometimes simply to avoid the dreaded "G" rating. Related to this fallacy is the Salacious Fallacy, falsely attracting attention to and thus potential agreement with one's argument by inappropriately sexualizing it, particularly connecting it to some form of sex that is perceived as deviant, perverted or prohibited (E.g., Arguing against Bill Clinton's presidential legacy by continuing to wave Monica's Blue Dress, or against Donald Trump's presidency by obsessively highlighting his past boasting about genital groping). Historically, this dangerous fallacy was deeply implicated with the crime of lynching, in which false, racist accusations against a Black or minority victim were almost always salacious in nature and the sensation involved was successfully used to whip up public emotion to a murderous pitch. See also, Red Herring. The False Analogy: The fallacy of incorrectly comparing one thing to another in order to draw a false conclusion. E.g., "Just like an alley cat needs to prowl, a normal adult cant be tied down to one single lover." The opposite of this fallacy is the Sui Generis Fallacy (also, Differance), a postmodern stance that rejects the validity of analogy and of inductive reasoning altogether because any given person, place, thing or idea under consideration is "sui generis" i.e., different and unique, in a class unto itself. Finish the Job: The dangerous contemporary fallacy, often aimed at a lesser-educated or working class audience, that an action or standpoint (or the continuation of that action or standpoint) may not be questioned or discussed because there is "a job to be done" or finished, falsely assuming "jobs" are meaningless but never to be questioned. Sometimes those involved internalize ("buy into") the "job" and make the task a part of their own ethos. (E.g., "Ours is not to reason why / Ours is but to do or die.") Related to this is the "Just a Job" fallacy. (E.g., "How can torturers stand to look at themselves in the mirror? But I guess it's OK because for them it's just a job like any other, the job that they get paid to do.") See also "Blind Loyalty," "The Soldiers' Honor Fallacy" and the "Argument from Inertia." The Free Speech Fallacy: The infantile fallacy of responding to challenges to one's statements and standpoints by whining, "It's a free country, isn't it? I can say anything I want to!" A contemporary case of this fallacy is the "Safe Space," or "Safe Place," where it is not allowed to refute, challenge or even discuss another's beliefs because that might be too uncomfortable or "triggery" for emotionally fragile individuals. E.g., "All I told him was, 'Jesus loves the little children,' but then he turned around and asked me 'But what about birth defects?' That's mean. I think I'm going to cry!" Prof. Bill Hart Davidson (2017) notes that "Ironically, the most strident calls for 'safety' come from those who want us to issue protections for discredited ideas. Things that science doesn't support AND that have destroyed lives - things like the inherent superiority of one race over another. Those ideas wither under demands for evidence. They are unwelcome. But let's be clear: they are unwelcome because they have not survived the challenge of scrutiny." Ironically, in contemporary America "free speech" has often become shorthand for freedom of racist, offensive or even neo-Nazi expression, ideological trends that once in power typically quash free speech. Additionally, a recent (2017) scientific study has found that, in fact, "people think harder and produce better political arguments when their views are challenged" and not artificially protected without challenge. The Fundamental Attribution Error (also, Self Justification): A corrupt argument from ethos, this fallacy occurs as a result of observing and comparing behavior. "You assume that the bad behavior of others is caused by character flaws and foul dispositions while your behavior is explained by the environment. So, for example, I get up in the morning at 10 a.m. I say it is because my neighbors party until 2 in the morning (situation) but I say that the reason why you do it is that you are lazy. Interestingly, it is more common in individualistic societies where we value self volition. Collectivist societies tend to look at the environment more. (It happens there, too, but it is much less common.)" [Thanks to scholar Joel Sax for this!] The obverse of this fallacy is Self Deprecation (also Self Debasement), where, out of either a false humility or a genuine lack of self-esteem, one deliberately puts oneself down, most often in hopes of attracting denials, gratifying compliments and praise. Gaslighting: A recently-prominent, vicious fallacy of logic, denying or invalidating a person's own knowledge and experiences by deliberately twisting or distorting known facts, memories, scenes, events and evidence in order to disorient a vulnerable opponent and to make him or her doubt his/her sanity. E.g., "Who are you going to believe? Me, or your own eyes?" Or, "You claim you found me in bed with her? Think again! You're crazy! You seriously need to see a shrink." A very common, though cruel instance of Gaslighting that seems to have been particularly familiar among mid-20th century generations is the fallacy of Emotional Invalidation, questioning, after the fact, the reality or "validity" of affective states, either another's or one's own. E.g., "Sure, I made it happen from beginning to end, but but it wasn't me doing it, it was just my stupid hormones betraying me." Or, "You didn't really mean it when you said you 'hate' Mommy. Now take a time-out and you'll feel better." Or, "No, you're not really in love; it's just infatuation or 'puppy love.'" The fallacy of "Gaslighting" is named after British playwright Patrick Hamilton's 1938 stage play "Gas Light," also known as "Angel Street." See also, Blind Loyalty, "The Big Brain/Little Brain Fallacy," The Affective Fallacy, and "Alternative Truth." Guilt by Association: The fallacy of trying to refute or condemn someone's standpoint, arguments or actions by evoking the negative ethos of those with whom the speaker is identified or of a group, party, religion or race to which he or she belongs or was once associated with. A form of Ad Hominem Argument, e.g., "Don't listen to her. She's a Republican so you can't trust anything she says," or "Are you or have you ever been a member of the Communist Party?" An extreme instance of this is the Machiavellian "For my enemies, nothing" Fallacy, where real or perceived "enemies" are by definition always wrong and must be conceded nothing, not even the time of day, e.g., "He's a Republican, so even if he said the sky is blue I wouldn't believe him." The Half Truth (also Card Stacking, Stacking the Deck, Incomplete Information): A corrupt argument from logos, the fallacy of consciously selecting, collecting and sharing only that evidence that supports one's own standpoint, telling the strict truth but deliberately minimizing or omitting important key details in order to falsify the larger picture and support a false conclusion.(E.g. The truth is that Bangladesh is one of the world's fastest-growing countries and can boast of a young, ambitious and hard-working population, a family-positive culture, a delightful, warm climate of tropical beaches and swaying palms where it never snows, low cost medical and dental care, a vibrant faith tradition and a multitude of places of worship, an exquisite, world-class spicy local curry cuisine and a swinging entertainment scene. Taken together, all these solid facts clearly prove that Bangladesh is one of the worlds most desirable places for young families to live, work and raise a family.) See also, Confirmation Bias. Hero-Busting (also, "The Perfect is the Enemy of the Good"): A postmodern fallacy of ethos under which, since nothing and nobody in this world is perfect there are not and have never been any heroes: Washington and Jefferson held slaves, Lincoln was (by our contemporary standards) a racist, Karl Marx sexually exploited his family's own young live-in domestic worker and got her pregnant, Martin Luther King Jr. had an eye for women too, Lenin condemned feminism, the Mahatma drank his own urine (ugh!), Pope Francis is wrong on abortion, capitalism, same-sex marriage and women's ordination, Mother Teresa loved suffering and was wrong on just about everything else too, etc., etc Also applies to the now near-universal political tactic of ransacking everything an opponent has said, written or done since infancy in order to find something to misinterpret or condemn (and we all have something!). An early example of this latter tactic is deftly described in Robert Penn Warren's classic (1946) novel, All the King's Men. This is the opposite of the "Heroes All" fallacy, below. The "Hero Busting" fallacy has also been selectively employed at the service of the Identity Fallacy (see below) to falsely "prove" that "you cannot trust anyone" but a member of "our" identity-group since everyone else, even the so-called "heroes" or "allies" of other groups, are all racist, sexist, anti-Semitic, or hate "us." E.g., In 1862 Abraham Lincoln said he was willing to settle the U.S. Civil War either with or without freeing the slaves if it would preserve the Union, thus "conclusively proving" that all whites are viciously racist at heart and that African Americans must do for self and never trust any of "them," not even those who claim to be allies. Heroes All (also, "Everybody's a Winner"): The contemporary fallacy that everyone is above average or extraordinary. A corrupted argument from pathos (not wanting anyone to lose or to feel bad). Thus, every member of the Armed Services, past or present, who serves honorably is a national hero, every student who competes in the Science Fair wins a ribbon or trophy, and every racer is awarded a winner's yellow jersey. This corruption of the argument from pathos, much ridiculed by disgraced American humorist Garrison Keeler, ignores the fact that if everybody wins nobody wins, and if everyone's a hero no one's a hero. The logical result of this fallacy is that, as children's author Alice Childress writes (1973), "A hero ain't nothing but a sandwich." See also the "Soldiers' Honor Fallacy." Hoyle's Fallacy: A fallacy of logos, falsely assuming that a possible event of low (even vanishingly low) probability can never have happened and/or would never happen in real life. E.g., "The probability of something as complex as human DNA emerging by purely random evolution in the time the earth has existed is so negligible that it is for all practical purposes impossible and must have required divine intervention." Or, "The chance of a casual, Saturday-night poker player being dealt four aces off an honest, shuffled deck is so infinitesimal that it would never occur even once in a normal lifetime! That proves you cheated!" See also, Argument from Incredulity. An obverse of Hoyle's Fallacy is "You Can't Win if You Don't Play," (also, "Someone's gonna win and it might as well be YOU!") a common and cruel contemporary fallacy used to persuade vulnerable audiences, particularly the poor, the mathematically illiterate and gambling addicts to throw their money away on lotteries, horse races, casinos and other long-shot gambling schemes. I Wish I Had a Magic Wand: The fallacy of regretfully (and falsely) proclaiming oneself powerless to change a bad or objectionable situation over which one has power. E.g., "What can we do about gas prices? As Secretary of Energy I wish I had a magic wand, but I don't" [shrug] . Or, "No, you can't quit piano lessons. I wish I had a magic wand and could teach you piano overnight, but I don't, so like it or not, you have to keep on practicing." The parent, of course, ignores the possibility that the child may not want or need to learn piano. See also, TINA. The Identity Fallacy (also Identity Politics; "Die away, ye old forms and logic!"): A corrupt postmodern argument from ethos, a variant on the Argumentum ad Hominem in which the validity of one's logic, evidence, experience or arguments depends not on their own strength but rather on whether the one arguing is a member of a given social class, generation, nationality, religious or ethnic group, color, gender or sexual orientation, profession, occupation or subgroup. In this fallacy, valid opposing evidence and arguments are brushed aside or "othered" without comment or consideration, as simply not worth arguing about solely because of the lack of proper background or ethos of the person making the argument, or because the one arguing does not self-identify as a member of the "in-group." E.g., "You'd understand me right away if you were Burmese but since you're not there's no way I can explain it to you," or "Nobody but another nurse can know what a nurse has to go through." Identity fallacies are reinforced by common ritual, language, and discourse. However, these fallacies are occasionally self-interested, driven by the egotistical ambitions of academics, politicians and would-be group leaders anxious to build their own careers by carving out a special identity group constituency to the exclusion of existing broader-based identities and leadership. An Identity Fallacy may lead to scorn or rejection of potentially useful allies, real or prospective, because they are not of one's own identity. The Identity Fallacy promotes an exclusivist, sometimes cultish "do for self" philosophy which in today's world virtually guarantees self-marginalization and ultimate defeat. A recent application of the Identity Fallacy is the fallacious accusation of "Cultural Appropriation," in which those who are not of the right Identity are condemned for "appropriating" the cuisine, clothing, language or music of a marginalized group, forgetting the old axiom that "Imitation is the sincerest form of flattery." Accusations of Cultural Appropriation very often stem from competing selfish economic interests (E.g., "What right do those pnche Gringos have to set up a taco place right here on Guadalupe Drive to take away business from Doña Teresa's Taquería? They even dare to play Mexican music in their dining room! That's cultural appropriation!"). See also, Othering. Infotainment (also Infortainment; Fake News; InfoWars); A very corrupt and dangerous modern media-driven fallacy that deliberately and knowingly stirs in facts, news, falsities and outright lies with entertainment, a mixture usually concocted for specific, base ideological and profit-making motives. Origins of this fallacy predate the current era in the form of "Yellow" or "Tabloid" Journalism. This deadly fallacy has caused endless social unrest, discontent and even shooting wars (e.g., the Spanish American War) over the course of modern history. Practitioners of this fallacy sometimes hypocritically justify its use on the basis that their readers/listeners/viewers "know beforehand" (or should know) that the content offered is not intended as real news and is offered for entertainment purposes only, but in fact this caveat is rarely observed by uncritical audiences who eagerly swallow what the purveyors put forth. See also Dog-Whistle Politics. The Job's Comforter Fallacy (also, "Karma is a bih;" "What goes around comes around."): The fallacy that since there is no such thing as random chance and we (I, my group, or my country) are under special protection of heaven, any misfortune or natural disaster that we suffer must be a punishment for our own or someone else's secret sin or open wickedness. The opposite of the Appeal to Heaven, this is the fallacy employed by the Westboro Baptist Church members who protest fallen service members' funerals all around the United States. See also, Magical Thinking. Just Do it. (also, "Find a way;" "I don't care how you do it;" "Accomplish the mission;" "By Any Means Necessary." ): A pure, abusive Argumentum ad Baculum (argument from force), in which someone in power arbitrarily waves aside or overrules the moral objections of subordinates or followers and orders them to accomplish a goal by any means required, fair or foul The clear implication is that unethical or immoral methods should be used. E.g., "You say there's no way you can finish the dig on schedule because you found an old pioneer gravesite with a fancy tombstone on the excavation site? Well, find a way! Make it disappear! Just do it! I don't want to know how you do it, just do it! This is a million dollar contract and we need it done by Tuesday." See also, Plausible Deniability. Just Plain Folks (also, "Values"): This corrupt modern argument from ethos argues to a less-educated or rural audience that the one arguing is "just plain folks" who is a "plain talker," "says what s/he is thinking," "scorns political correctness," someone who "you don't need a dictionary to understand" and who thinks like the audience and is thus worthy of belief, unlike some member of the fancy-talking, latte-sipping Left Coast Political Elite, some "double-domed professor," "inside-the-beltway Washington bureaucrat," "tree-hugger" or other despised outsider who "doesn't think like we do" or "doesn't share our values." This is a counterpart to the Ad Hominem Fallacy and most often carries a distinct reek of xenophobia or racism as well. See also the Plain Truth Fallacy and the Simpleton's Fallacy. The Law of Unintended Consequences (also, "Every Revolution Ends up Eating its own Young:" Grit; Resilience Doctrine): In this very dangerous, archly pessimistic postmodern fallacy the bogus "Law of Unintended Consequences," once a semi-humorous satirical corollary of "Murphy's Law," is elevated to to the status of an iron law of history. This fallacy arbitrarily proclaims a priori that since we can never know everything or securely foresee anything, sooner or later in today's "complex world" unforeseeable adverse consequences and negative side effects (so-called "unknown unknowns") will always end up blindsiding and overwhelming, defeating and vitiating any and all naive "do-gooder" efforts to improve our world. Instead, one must always expect defeat and be ready to roll with the punches by developing "grit" or "resilience" as a primary survival skill. This nihilist fallacy is a practical negation of the the possibility of any valid argument from logos. See also, TINA. Lying with Statistics: The contemporary fallacy of misusing true figures and numbers to prove unrelated claims. (e.g. "In real terms, attending college has never been cheaper than it is now. When expressed as a percentage of the national debt, the cost of getting a college education is actually far less today than it was back in 1965!"). A corrupted argument from logos, often preying on the public's perceived or actual mathematical ignorance. This includes the Tiny Percentage Fallacy, that an amount or action that is quite significant in and of itself somehow becomes insignificant simply because it's a tiny percentage of something much larger. E.g., the arbitrary arrest, detention or interception of "only" a few hundred legally-boarded international travelers as a tiny percentage of the tens of thousands who normally arrive. Under this same fallacy a consumer who would choke on spending an extra dollar for two cans of peas will typically ignore $50 extra on the price of a car or $1000 extra on the price of a house simply because these differences are "only" a tiny percentage of the much larger amount being spent. Historically, sales taxes or value-added taxes (VAT) have successfully gained public acceptance and remain "under the radar" because of this latter fallacy, even though amounting to hundreds or thousands of dollars a year in extra tax burden. See also Half-truth, the Snow Job, and the Red Herring. Magical Thinking (also, the Sin of Presumption; Expect a Miracle!): An ancient but deluded fallacy of logos, arguing that when it comes to "crunch time," provided one has enough faith, prays hard enough, says the right words, does the right rituals, "names it and claims it," or "claims the Promise," God will always suspend the laws of the universe and work a miracle at the request of or for the benefit of the True Believer. In practice this nihilist fallacy denies the existence of a rational or predictable universe and thus the possibility of any valid argument from logic. See also, Positive Thinking, the Appeal to Heaven, and the Job's Comforter fallacy. Mala Fides (Arguing in Bad Faith; also Sophism): Using an argument that the arguer himself or herself knows is not valid. E.g., An unbeliever attacking believers by throwing verses from their own Holy Scriptures at them, or a lawyer arguing for the innocence of someone whom s/he knows full well to be guilty. This latter is a common practice in American jurisprudence, and is sometimes portrayed as the worst face of "Sophism." [Special thanks to Bradley Steffens for pointing out this fallacy!] Included under this fallacy is the fallacy of Motivational Truth (also, Demagogy, or Campaign Promises), deliberately lying to "the people" to gain their support or motivate them toward some action the rhetor perceives to be desirable (using evil discursive means toward a "good" material end). A particularly bizarre and corrupt form of this latter fallacy is Self Deception (also, Whistling by the Graveyard). in which one deliberately and knowingly deludes oneself in order to achieve a goal, or perhaps simply to suppress anxiety and maintain one's energy level, enthusiasm, morale, peace of mind or sanity in moments of adversity. Measurability: A corrupt argument from logos and ethos (that of science and mathematics), the modern Fallacy of Measurability proposes that if something cannot be measured, quantified and replicated it does not exist, or is "nothing but anecdotal, touchy-feely stuff" unworthy of serious consideration, i.e., mere gossip or subjective opinion. Often, achieving "Measurability" necessarily demands preselecting, "fiddling" or "massaging" the available data simply in order to make it statistically tractable, or in order to support a desired conclusion. Scholar Thomas Persing thus describes "The modernist fallacy of falsely and inappropriately applying norms, standardizations, and data point requirements to quantify productivity or success. This is similar to complex question, measurability, and oversimplification fallacies where the user attempts to categorize complicated / diverse topics into terms that when measured, suit their position. For example, the calculation of inflation in the United States doesn't include the changes in the price to gasoline, because the price of gasoline is too volatile, despite the fact gasoline is necessary for most people to live their lives in the United States." See also, "A Priori Argument," "Lying with Statistics," and the "Procrustean Fallacy." Mind-reading (Also, "The Fallacy of Speculation;" "I can read you like a book"): An ancient fallacy, a corruption of stasis theory, speculating about someone else's thoughts, emotions, motivations and "body language" and then claiming to understand these clearly, sometimes more accurately than the person in question knows themselves. The rhetor deploys this phony "knowledge" as a fallacious warrant for or against a given standpoint. Scholar Myron Peto offers as an example the baseless claim that Obama doesnt a da* [sic] for human rights. Assertions that "call for speculation" are rightly rejected as fallacious in U.S. judicial proceedings but far too often pass uncontested in public discourse. The opposite of this fallacy is the postmodern fallacy of Mind Blindness (also, the Autist's Fallacy), a complete denial of any normal human capacity for "Theory of Mind," postulating the utter incommensurability and privacy of minds and thus the impossibility of ever knowing or truly understanding another's thoughts, emotions, motivations or intents. This fallacy, much promoted by the late postmodernist guru Jacques Derrida, necessarily vitiates any form of Stasis Theory. However, the Fallacy of Mind Blindness has been decisively refuted in several studies, including recent (2017) research published by the Association for Psychological Science, and a (2017) Derxel University study indicating how "our minds align when we communicate." Moral Licensing: The contemporary ethical fallacy that one's consistently moral life, good behavior or recent extreme suffering or sacrifice earns him/her the right to commit an immoral act without repercussions, consequences or punishment. E.g., "I've been good all year, so one bad won't matter," or "After what I've been through, God knows I need this." The fallacy of Moral Licensing is also sometimes applied to nations, e.g., "Those who criticize repression and the Gulag in the former USSR forget what extraordinary suffering the Russians went through in World War II and the millions upon millions who died." See also Argument from Motives. The opposite of this fallacy is the (excessively rare in our times) ethical fallacy of Scruples, in which one obsesses to pathological excess about one's accidental, forgotten, unconfessed or unforgiven sins and because of them, the seemingly inevitable prospect of eternal damnation. Moral Superiority (also, Self Righteousness; the Moral High Ground): An ancient, immoral and extremely dangerous fallacy, enunciated in Thomistic / Scholastic philosophy in the late Middle Ages, arguing that Evil has no rights that the Good and the Righteous are bound to respect. That way lies torture, heretic-burning, and the Spanish Inquisition. Those who practice this vicious fallacy reject any "moral equivalency" (i.e., even-handed treatment) between themselves (the Righteous) and their enemies (the Wicked), against whom anything is fair, and to whom nothing must be conceded, not even the right to life. This fallacy is a specific denial of the ancient "Golden Rule," and has been the cause of endless intractable conflict, since if one is Righteous no negotiation with Evil and its minions is possible; The only imaginable road to a "just" peace is through total victory, i.e., the absolute defeat and liquidation of one's Wicked enemies. American folk singer and Nobel Laureate Bob Dylan expertly demolishes this fallacy in his 1963 protest song, "With God on Our Side." See also the Appeal to Heaven, and Moving the Goalposts. Mortification (also, Live as Though You're Dying; Pleasure-hating; No Pain No Gain): An ancient fallacy of logos, trying to "beat the flesh into submission" by extreme exercise or ascetic practices, deliberate starvation or infliction of pain, denying the undeniable fact that discomfort and pain exist for the purpose of warning of lasting damage to the body. Extreme examples of this fallacy are various forms of self-flagellation such as practiced by the New Mexico "Penitentes" during Holy Week or by Shia devotees during Muharram. More familiar contemporary manifestations of this fallacy are extreme "insanity" exercise regimes not intended for normal health, fitness or competitive purposes but just to "toughen" or "punish" the body. Certain pop-nutritional theories and diets seem based on this fallacy as well. Some contemporary experts suggest that self-mortification (an English word related to the Latinate French root "mort," or "death.") is in fact "suicide on the installment plan." Others suggest that it involves a narcotic-like addiction to the body's natural endorphins. The opposite of this fallacy is the ancient fallacy of Hedonism, seeking and valuing physical pleasure as a good in itself, simply for its own sake. Moving the Goalposts (also, Changing the Rules; All's Fair in Love and War; The Nuclear Option; "Winning isn't everything, it's the only thing"): A fallacy of logos, demanding certain proof or evidence, a certain degree of support or a certain number of votes to decide an issue, and then when this is offered, demanding even more, different or better support in order to deny victory to an opponent. For those who practice the fallacy of Moral Superiority (above), Moving the Goalposts is often perceived as perfectly good and permissible if necessary to prevent the victory of Wickedness and ensure the triumph of one's own side, i.e, the Righteous. MYOB (Mind Your Own Business; also You're Not the Boss of Me; "None of yer beeswax," "So What?", The Appeal to Privacy): The contemporary fallacy of arbitrarily prohibiting or terminating any discussion of one's own standpoints or behavior, no matter how absurd, dangerous, evil or offensive, by drawing a phony curtain of privacy around oneself and one's actions. A corrupt argument from ethos (one's own). E.g., "Sure, I was doing eighty and weaving between lanes on Mesa Street--what's it to you? You're not a cop, you're not my nanny. It's my business if I want to speed, and your business to get the hell out of my way. Mind your own damn business!" Or, "Yeah, I killed my baby. So what? Butt out! It wasn't your brat, so it's none of your damn business!" Rational discussion is cut off because "it is none of your business!" See also, "Taboo." The counterpart of this is "Nobody Will Ever Know," (also "What happens in Vegas stays in Vegas;" "I Think We're Alone Now," or the Heart of Darkness Syndrome) the fallacy that just because nobody important is looking (or because one is on vacation, or away in college, or overseas) one may freely commit immoral, selfish, negative or evil acts at will without expecting any of the normal consequences or punishment . Author Joseph Conrad graphically describes this sort of moral degradation in the character of Kurtz in his classic novel, Heart of Darkness. Name-Calling: A variety of the "Ad Hominem" argument. The dangerous fallacy that, simply because of who one is or is alleged to be, any and all arguments, disagreements or objections against one's standpoint or actions are automatically racist, sexist, anti-Semitic, bigoted, discriminatory or hateful. E.g., "My stand on abortion is the only correct one. To disagree with me, argue with me or question my judgment in any way would only show what a pig you really are." Also applies to refuting an argument by simply calling it a "fallacy," or declaring it invalid without proving why it is invalid, or summarily dismissing arguments or opponents by labeling them "racist," "communist," "fascist," "moron," any name followed by the suffix "tard" (short for the highly offensive "retard") or some other negative name without further explanation. E.g., "He's an a*hole, end of story" or "I'm a loser." A subset of this is the Newspeak fallacy, creating identification with a certain kind of audience by inventing or using racist or offensive, sometimes military-sounding nicknames for opponents or enemies, e.g., "The damned DINO's are even worse than the Repugs and the Neocons." Or, "In the Big One it took us only five years to beat both the Jps and the Jerries, so more than a decade and a half after niner-eleven why is it so hard for us to beat a raggedy bunch of Hajjis and Towel-heads?" Note that originally the word "Nazi" belonged in this category, but this term has long come into use as a proper English noun. See also, "Reductionism," "Ad Hominem Argument," and "Alphabet Soup." The Narrative Fallacy (also, the Fable; the Poster Child) The ancient fallacy of persuasion by telling a "heartwarming" or horrifying story or fable, particularly to less-educated or uncritical audiences who are less likely to grasp purely logical arguments or general principles. E.g., Charles Dickens' "A Christmas Carol." Narratives and fables, particularly those that name names and personalize arguments, tend to be far more persuasive at a popular level than other forms of argument and are virtually irrefutable, even when the story in question is well known to be entirely fictional. This fallacy is found even in the field of science, as noted by a recent (2017) scientific study. The NIMBY Fallacy (Not in My Back Yard; also "Build a Wall!"; "Lock'em up and throw away the key;" The Ostrich Strategy; The Gitmo Solution.). The infantile fallacy that a problem, challenge or threat that is not physically nearby or to which I am not directly exposed has for all practical purposes "gone away" and ceased to exist. Thus, a problem can be permanently and definitively solved by "making it go away," preferably to someplace "out of sight," a walled-off ghetto or a distant isle where there is no news coverage, and where nobody important stays. Lacking that, it can be made to go away by simply eliminating, censoring or ignoring "negative" media coverage and public discussion of the problem and focusing on "positive, encouraging" things instead. No Discussion (also No Negotiation; the Control Voice; Peace through Strength; a Muscular Foreign Policy; Fascism): A pure Argumentum ad Baculum that rejects reasoned dialogue, offering either instant, unconditional compliance/surrender or defeat/death as the only two options for settling even minor differences, e.g., screaming "Get down on the ground, now!" or declaring "We don't talk to terrorists." This deadly fallacy falsely paints real or potential "hostiles" as monsters devoid of all reason, and far too often contains a very strong element of "machismo" as well. I.e. "A real, muscular leader never resorts to pantywaist pleading, apologies, excuses, fancy talk or argument. That's for lawyers, liars and pansies and is nothing but a delaying tactic. A real man stands tall, says what he thinks, draws fast and shoots to kill." The late actor John Wayne frequently portrayed this fallacy in his movie roles. See also, The Pout. Non-recognition: A deluded fallacy in which one deliberately chooses not to publicly "recognize" ground truth, usually on the theory that this would somehow reward evil-doers if we recognize their deeds as real or consequential. Often the underlying theory is that the situation is "temporary" and will soon be reversed. E.g., In the decades from 1949 until Richard Nixon's presidency the United States officially refused to recognize the existence of the most populous nation on earth, the People's Republic of China, because America supported the U.S.-friendly Republic of China government on Taiwan instead and hoped they might somehow return to power on the mainland. Perversely, in 2016 the U.S. President-Elect caused a significant international flap by chatting with the President of the government on Taiwan, a de facto violation of long-standing American non-recognition of that same regime. More than half a century after the Korean War the U.S. still refuses to pronounce the name of, or recognize (much less conduct normal, peaceful negotiations with) a nuclear-armed DPRK (North Korea). An individual who practices this fallacy risks institutionalization (e.g., "I refuse to recognize Mom's murder, 'cuz that'd give the victory to the murderer! I refuse to watch you bury her! Stop! Stop!") but tragically, such behavior is only too common in international relations. See also the State Actor Fallacy, Political Correctness, and The Pout. The Non Sequitur: The deluded fallacy of offering evidence, reasons or conclusions that have no logical connection to the argument at hand (e.g. The reason I flunked your course is because the U. S. government is now putting out purple five-dollar bills! Purple!). (See also Red Herring.) Occasionally involves the breathtaking arrogance of claiming to have special knowledge of why God, fate, karma or the Universe is doing certain things. E.g., "This week's earthquake was obviously meant to punish those people for their great wickedness." See also, Magical Thinking, and the Appeal to Heaven. Nothing New Under the Sun (also, Uniformitarianism, Seen it all before; "Surprise, surprise;" "Plus ça change, plus c'est la même chose."): Fairly rare in contemporary discourse, this deeply cynical fallacy, a corruption of the argument from logos, falsely proposes that there is not and will never be any real novelty in this world. Any argument that there are truly new ideas or phenomena is judged a priori to be unworthy of serious discussion and dismissed with a jaded sigh and a wave of the hand as "the same old same old." E.g., [Sigh!] Idiots! Don't you see that the current influx of refugees from the Mideast is just the same old Muslim invasion of Christendom thats been going on for 1,400 years? Or, Libertarianism is nothing but re-warmed anarchism, which, in turn, is nothing but the ancient Antinomian Heresy. Like I told you before, there's nothing new under the sun! Olfactory Rhetoric (also, "The Nose Knows"): A vicious, zoological-level fallacy of pathos in which opponents are marginalized, dehumanized or hated primarily based on their supposed odor, lack of personal cleanliness, imagined diseases or filth. E. g., "Those demonstrators are demanding something or another but I'll only talk to them if first they go home and take a bath!" Or, "I can smell a Jew a block away!" Also applies to demeaning other cultures or nationalities based on their differing cuisines, e.g., "I don't care what they say or do, their breath always stinks of garlic. And have you ever smelled their kitchens?" Olfactory Rhetoric straddles the borderline between a fallacy and a psychopathology. A 2017 study by Ruhr University Bochum suggests that olfactory rhetoric does not arise from a simple, automatic physiological reaction to an actual odor, but in fact, strongly depends on one's predetermined reaction or prejudices toward another, and one's olfactory center "is activated even before we perceive an odour." See also, Othering. Oops! (also, "Oh, I forgot...," "The Judicial Surprise," "The October Surprise,"): A corrupt argument from logos in which toward the decisive end of a discussion, debate, trial, electoral campaign period, or decision-making process an opponent suddenly, elaborately and usually sarcastically shams having just remembered or uncovered some salient fact, argument or evidence. E.g., "Oops, I forgot to ask you: You were convicted of this same offense twice before, weren't you?!" Banned in American judicial argument, this fallacy is only too common in public discourse. Also applies to supposedly "discovering" and sensationally reporting some potentially damning information or evidence and then, after the damage has been done or the decision has been made, quietly declaring, "Oops, I guess that really wasn't that significant after all. Ignore what I said. Sorry 'bout that!" Othering (also Otherizing, "They're Not Like Us," Stereotyping, Xenophobia, Racism, Prejudice): A badly corrupted, discriminatory argument from ethos where facts, arguments, experiences or objections are arbitrarily disregarded, ignored or put down without serious consideration because those involved "are not like us," or "don't think like us." E.g., "It's OK for Mexicans to earn a buck an hour in the maquiladoras [Mexico-based "Twin Plants" run by American or other foreign corporations]. If it happened here I'd call it brutal exploitation and daylight robbery but south of the border, down Mexico way the economy is different and they're not like us." Or, "You claim that life must be really terrible over there for terrorists to ever think of blowing themselves up with suicide vests just to make a point, but always remember that they're different from us. They don't think about life and death the same way we do." A vicious variety of the Ad Hominem Fallacy, most often applied to non-white or non-Christian populations. A variation on this fallacy is the "Speakee" Fallacy ("You speakee da English?"; also the Shibboleth), in which an opponent's arguments are mocked, ridiculed and dismissed solely because of the speaker's alleged or real accent, dialect, or lack of fluency in standard English, e.g., "He told me 'Vee vorkers need to form a younion!' but I told him I'm not a 'vorker,' and to come back when he learns to speak proper English." A very dangerous, extreme example of Othering is Dehumanization, a fallacy of faulty analogy where opponents are dismissed as mere cockroaches, lice, apes, monkeys, rats, weasels or bloodsucking parasites who have no right to speak or to live at all, and probably should be "squashed like bugs." This fallacy is ultimately the "logic" behind ethnic cleansing, genocide and gas ovens. See also the Identity Fallacy, "Name Calling" and "Olfactory Rhetoric." The opposite of this fallacy is the "Pollyanna Principle" below. Overexplanation: A fallacy of logos stemming from the real paradox that beyond a certain point, more explanation, instructions, data, discussion, evidence or proof inevitably results in less, not more, understanding. Contemporary urban mythology holds that this fallacy is typically male ("Mansplaining"), while barely half a century ago the prevailing myth was that it was men who were naturally monosyllabic, grunting or non-verbal while women would typically overexplain (e.g., the 1960 hit song by Joe Jones, "You Talk Too Much"). "Mansplaining" is, according to scholar Danelle Pecht, "the infuriating tendency of many men to always have to be the smartest person in the room, regardless of the topic of discussion and how much they actually know!" See also The Snow Job, and the "Plain Truth" fallacy. Overgeneralization (also Hasty Generalization; Totus pro Partes Fallacy; the Merological Fallacy): A fallacy of logos where a broad generalization that is agreed to be true is offered as overriding all particular cases, particularly special cases requiring immediate attention. E.g., "Doctor, you say that this time of year a flu vaccination is essential. but I would counter that ALL vaccinations are essential" (implying that I'm not going to give special attention to getting the flu shot). Or, attempting to refute "Black Lives Matter" by replying, "All Lives Matter," the latter undeniably true but still a fallacious overgeneralization in that specific and urgent context. " Overgeneralization can also mean one sees a single negative outcome as an eternal pattern of defeat. Overgeneralization may also include the the Pars pro Toto Fallacy, the stupid but common fallacy of incorrectly applying one or two true examples to all cases. E.g., a minority person who commits a particularly horrifying crime, and whose example is then used to smear the reputation of the entire group, or when a government publishes special lists of crimes committed by groups who are supposed to be hated, e.g., Jews, or undocumented immigrants. Famously, the case of one Willie Horton was successfully used in this manner in the 1988 American presidential election to smear African Americans, Liberals, and by extension, Democratic presidential candidate Michael Dukakis. See also the fallacy of "Zero Tolerance" below. The Paralysis of Analysis (also, Procrastination; the Nirvana Fallacy): A postmodern fallacy that since all data is never in, any conclusion is always provisional, no legitimate decision can ever be made and any action should always be delayed until forced by circumstances. A corruption of the argument from logos. (See also the "Law of Unintended Consequences.") The Passive Voice Fallacy (also, the Bureaucratic Passive): A fallacy from ethos, concealing active human agency behind the curtain of the grammatical passive voice, e.g., "It has been decided that you are to be let go," arrogating an ethos of cosmic infallibility and inevitability to a very fallible conscious decision made by identifiable, fallible and potentially culpable human beings. Scholar Jackson Katz notes (2017): "We talk about how many women were raped last year, not about how many men raped women. We talk about how many girls in a school district were harassed last year, not about how many boys harassed girls. We talk about how many teenage girls in the state of Vermont got pregnant last year, rather than how many men and boys impregnated teenage girls. ... So you can see how the use of the passive voice has a political effect. [It] shifts the focus off of men and boys and onto girls and women. Even the term 'Violence against women' is problematic. It's a passive construction; there's no active agent in the sentence. It's a bad thing that happens to women, but when you look at the term 'violence against women' nobody is doing it to them, it just happens to them... Men aren't even a part of it." See also, Political Correctness. An obverse of the Passive Voice Fallacy is the Be-verb Fallacy, a cultish linguistic theory and the bane of many a first-year composition student's life, alleging that an extraordinary degree of "clarity," "sanity," or textual "liveliness" can be reached by strictly eliminating all passive verb forms and all forms of the verb "to be" from English-language writing. This odd but unproven contention, dating back to Alfred Korzybski's "General Semantics" self-improvement movement of the 1920's and '30's via S. I. Hayakawa, blithely ignores the fact that although numerous major world languages lack a ubiquitous "be-verb," e.g., Russian, Hindi and Arabic, speakers of these languages, like English-speaking General Semantics devotees themselves, have never been proven to enjoy any particular cognitive advantage over ordinary everyday users of the passive voice and the verb "to be." Nor have writers of the curiously stilted English that results from applying this fallacy achieved any special success in academia, professional or technical writing, or in the popular domain. Paternalism: A serious fallacy of ethos, arbitrarily tut-tutting, dismissing or ignoring another's arguments or concerns as "childish" or "immature;" taking a condescending attitude of superiority toward opposing standpoints or toward opponents themselves. E.g., "Your argument against the war is so infantile. Try approaching the issue like an adult for a change," "I don't argue with children," or "Somebody has to be the grownup in the room, and it might as well be me. Here's why you're wrong..." Also refers to the sexist fallacy of dismissing a woman's argument because she is a woman, e.g., "Oh, it must be that time of the month, eh?" See also "Ad Hominem Argument" and "Tone Policing." Personalizaion: A deluded fallacy of ethos, seeing yourself or someone else as the essential cause of some external event for which you or the other person had no responsibility. E.g., "Never fails! It had to happen! It's my usual rotten luck that the biggest blizzard of the year had to occur just on the day of our winter festival. If it wasn't for ME being involved I'm sure the blizzard wouldn't have happened!" This fallacy can also be taken in a positive sense, e.g. Hitler evidently believed that simply because he was Hitler every bullet would miss him and no explosive could touch him. "Personalization" straddles the borderline between a fallacy and a psychopathology. See also, "The Job's Comforter Fallacy," and "Magical Thinking." The Plain Truth Fallacy; (also, the Simple Truth fallacy, Salience Bias, the KISS Principle [Keep it Short and Simple / Keep it Simple, Stupid], the Monocausal Fallacy; the Executive Summary): A fallacy of logos favoring familiar, singular, summarized or easily comprehensible data, examples, explanations and evidence over those that are more complex and unfamiliar but much closer to the truth. E.g., "Ooooh, look at all those equations and formulas! Just boil it down to the Simple Truth," or "I don't want your damned philosophy lesson! Just tell me the Plain Truth about why this is happening." A more sophisticated version of this fallacy arbitrarily proposes, as did 18th century Scottish rhetorician John Campbell, that the Truth is always simple by nature and only malicious enemies of Truth would ever seek to make it complicated. (See also, The Snow Job, and Overexplanation.) The opposite of this is the postmodern fallacy of Ineffability or Complexity (also, Truthiness; Post-Truth),, arbitrarily declaring that today's world is so complex that there is no truth, or that Truth (capital-T), if indeed such a thing exists, is unknowable except perhaps by God or the Messiah and is thus forever inaccessible and irrelevant to us mere mortals, making any cogent argument from logos impossible. See also the Big Lie, and Paralysis of Analysis. Plausible Deniability: A vicious fallacy of ethos under which someone in power forces those under his or her control to do some questionable or evil act and to then falsely assume or conceal responsibility for that act in order to protect the ethos of the one in command. E.g., "Arrange a fatal accident but make sure I know nothing about it!" Playing on Emotion (also, the Sob Story; the Pathetic Fallacy
6420	dbpedia	0	10	https://www.wikiwand.com/en/Robbery_Under_Arms_(1920_film)	en	Robbery Under Arms (1920 film)	https://upload.wikimedia…1920%29.webm.jpg	https://upload.wikimedia…1920%29.webm.jpg	[ "https://upload.wikimedia.org/wikipedia/commons/thumb/6/6a/Robbery_Under_Arms_%281920%29.webm/460px--Robbery_Under_Arms_%281920%29.webm.jpg", "https://www.wikiwand.com/chrome.svg", "https://www.wikiwand.com/firefox.svg" ]	[]	[]	[ "" ]	null	[]	null	Robbery Under Arms is a 1920 Australian film directed by Kenneth Brampton and financed by mining magnate Pearson Tewksbury. It is an early example of the "Meat ...	en			https://www.wikiwand.com/en/articles/Robbery_Under_Arms_(1920_film)	There had been several attempts to make films based on Rolfe Boldrewood's 1888 novel since the bushranging ban by the New South Wales government in 1912. In particular there were attempts by Stanley Crick in 1916 and Alfred Rolfe in 1918. However Kenneth Brampton managed to secure permission for this 1920 version, mostly likely because it stressed the moral lessons of the story.[7] Kenneth Brampton and actress Tien Hogue managed to persuade the mining magnate Pearson Tewksbury to raise the budget and act as producer.[3] Brampton was acting in the play Lightnin' which he left to make the film.[8] The film was shot on location at Braidwood and in the Araluen Valley near Canberra. The bushrangers the Clarke brothers reportedly worked in this region.[9][10] Renowned horseman "Top" Hassall doubled for Brampton on the horse riding scenes.[11] Future director Charles Chauvel was working around the Sydney studios and attending to horses on the film. He has a bit part.
6420	dbpedia	2	3	https://en.wikipedia.org/wiki/Robbery_Under_Arms_(1985_film)	en	Robbery Under Arms (1985 film)	https://upload.wikimedia…_Album_cover.jpg	https://upload.wikimedia…_Album_cover.jpg	[ "https://en.wikipedia.org/static/images/icons/wikipedia.png", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-wordmark-en.svg", "https://en.wikipedia.org/static/images/mobile/copyright/wikipedia-tagline-en.svg", "https://upload.wikimedia.org/wikipedia/en/e/e2/Robbery_Under_Arms_Soundtrack_Album_cover.jpg", "https://upload.wikimedia.org/wikipedia/commons/thumb/f/fa/Wikiquote-logo.svg/34px-Wikiquote-logo.svg.png", "https://login.wikimedia.org/wiki/Special:CentralAutoLogin/start?type=1x1", "https://en.wikipedia.org/static/images/footer/wikimedia-button.svg", "https://en.wikipedia.org/static/images/footer/poweredby_mediawiki.svg" ]	[]	[]	[ "" ]	null	[ "Contributors to Wikimedia projects" ]	2010-05-30T15:53:51+00:00		en	/static/apple-touch/wikipedia.png		https://en.wikipedia.org/wiki/Robbery_Under_Arms_(1985_film)	1985 Australian film Robbery Under ArmsDirected byDonald Crombie Ken HannamWritten byMichael JenkinsBased onnovel by Rolf BoldrewoodProduced byMace Neufeld Jock BlairStarringSam Neill Steven Vidler Christopher Cummins Liz Newman Jane Menelaus Andy Anderson Deborah Coulls Susie Lindeman Elaine Cusick Ed Devereaux Tommy Lewis Robert GrubbCinematographyErnie ClarkMusic byGarry McDonald Laurie Stone Production company Distributed byShock ITC Entertainment[1] Release date Running time 140 minutesCountryAustraliaLanguageEnglishBudgetAU$7.3 million[2][3][4]Box officeAU$226,648 (Australia) Robbery Under Arms is a 1985 Australian action adventure film starring Sam Neill as bushranger Captain Starlight. There were two versions shot simultaneously – a feature film and a TV mini series.[2] They were based on the 1888 novel of the same name by Rolf Boldrewood. Plot [edit] Joined by bush larrikin, Ben Marston (Ed Devereaux), and Ben's two adventure-hungry sons (Steven Vidler and Christopher Cummins), Starlight leads his gang of wild colonial boys in search of riches, romance – and other men's cattle. Cast [edit] Sam Neill as Captain Starlight Steven Vidler as Dick Marston Christopher Cummins as Jim Marston Liz Newman as Gracey Jane Menelaus as Aileen Andy Anderson as George Deborah Coulls as Kate Susie Lindeman as Jeannie Elaine Cusick as Mum Ed Devereaux as Ben Tommy Lewis as Warrigal Robert Grubb as Sir Frederick Morringer David Bradshaw as Goring John Dick as Trooper Fall Michael Duffield as Mr. Falkland Keith Smith as Trooper Spring David Jobling as Rourke Bounty Hunter Peter Cummins Production [edit] Jock Blair first had the idea to remake the story in 1981 when he was working at the South Australian Film Corporation. It was originally envisioned that it would be a mini series but it was budgeted at a million dollars an hour which was felt to be too expensive. So it was decided to make a film as well at the same time, based on separate scripts.[5] There were two writers and two directors. Writing the script took two years.[5] The film was shot partly on location in the Flinders Rangers and at the SAFC studios in Adelaide.[2] The two directors collaborated well together, and Ken Hannam was relieved to work with the SAFC again after the difficulties on Sunday Too Far Away.[5] Production took 20 weeks.[6] Box office [edit] Robbery Under Arms grossed $226,648 at the box office in Australia.[7] Home media [edit] Robbery Under Arms has been released twice by Umbrella Entertainment: as a two-part dual-layer DVD in a 16:9 transfer (DAVID 0477), also as a three-part two-disc DVD pack in the original 4:3 aspect ratio (DAVID2852) released September 2017. Extras [edit] Included is a 45-minute "special feature" On Location with Robbery Under Arms, filmed separately by SA Telecasters (Channel 10, which later became Channel 7). It shows much of the art, techniques and social atmosphere involved in the making of the film at Wilpena Pound and Hahndorf, as well as commentary by the major participants. Producer/Director: Lou Sedivy Technical producer: Greg Cameron Technical directors: Mike McAuliffe and David Bates Executive producer: Trevor Lanyon See also [edit] Cinema of Australia References [edit]

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