10 Questions for the Dalai Lama
How do you reconcile a commitment to non-violence when faced with violence? Why do the poor often seem happier than the rich? Must a society lose its traditions in order to move into the future? These are some of the questions posed to His Holiness the Dalai Lama by filmmaker and explorer Rick Ray. Ray examines some of the fundamental questions of our time by weaving together observations from his own journeys throughout India and the Middle East, and the wisdom of an extraordinary spiritual leader. This is his story, as told and filmed by Rick Ray during a private visit to his monastery in Dharamsala, India over the course of several months. Also included is rare historical footage as well as footage supplied by individuals who at great personal risk, filmed with hidden cameras within Tibet.
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10 Questions for the Dalai Lama torrent reviews
(it) wrote: Quiet Desolation When I discuss World War II, I try very hard to distinguish between "Germans" and "Nazis." There is an important distinction to be made, after all. Late in the movie, one character says that he was never a Nazi, that he was glad Germany lost the war, that he did not want to imagine a world in which the Third Reich really took over the world. He said he did not oppose it because he was weak, that his whole generation was weak. Another character is in hiding because he fought house to house until the very last, and he thinks the Allies will send him to a POW camp over the issue, not necessarily true. A third character says that he is no longer a teacher because he and the government don't get along; it strikes me as likely that this is the new government, and the character is an unreconstructed Nazi. (And, yes, that term does date to the American Civil War.) And, of course, quite a lot of the characters are women, expected by the Reich to keep quiet and have babies. It is post-war Berlin, a city of bombed-out buildings, too little food, too few jobs. Edmund (Edmund Moeschke) is trying to support his family. His father (Ernst Pittschau) is in poor health for unspecified reasons. His sister, Eva (Ingetraud Hinze), is not quite prostituting herself, though the possibility remains, to gain such little favours as she can. His brother, Karl-Heinz (Franz-Otto Krger), has not registered with the police out of fear that he will be taken to a POW camp, a fate he considers worse than the possibility of starving to death. Unfortunately, this means that he does not have a ration card, and since his father's pension--when it comes--is only 70 marks a month and a pound of butter costs 200, starving to death is a real possibility. Edmund goes out into the streets. At thirteen, he is too young for a work card, so he ends up part of the underground economy. He falls in with Mr. Enning (Erich Ghne), which doesn't end well. Honestly, from the minute we first see Mr. Enning (credited only as [i]Il Maestro[/i]), we know it won't. There's something sleazy about the man, something unseemly about the way he touches Edmund. Indeed, there's at least one moment in the movie which really strikes me as his selling a boy into prostitution. Slavery, really. On the other hand, it seems as though he wants to keep Edmund for himself. There is discussion of the father's trying to keep Edmund out of the Hitler Youth by forging a card of some sort, which apparently Edmund confessed to. The Wikipedia page says that he's hiding a general, which I missed but IMDB confirms. It is certainly true that the people with whom he lives are in more luxury than Edmund and his family. One of the things Mr. Enning does shortly after his first appearance is acquire nail polish for one of the women. Elsewhere in the movie, such luxury items are only valuable for their use in trade, sale, and scams. There is also Radmacher (Hans Sangen), in whose apartment seven extra people, including the Khler family, live. He blames the Khlers for everything while still using Edmund to go out and do his black marketeering for him. I suppose this is because he frankly doesn't care if Edmund goes to jail. It might get the family out of there. He sends Edmund out to sell the family's scale for 300 marks--more than he can really get for it--and his daughter (Babsi Schultz-Reckewell) whines about the prospect of not being able to weigh herself and the future prospect of losing her hair dryer, this despite the fact that the apartment is already using more electricity than they are allotted. He blames his tenants for it, and he blames the Khlers when the electricity is shut off altogether--because he has been tapping into the wires illegally. He is in small scale what Edmund is dealing with large scale. He is a man who cares only for his own benefit and does not worry about its impact on others. There was no way this could have gotten a wide American release. It's not just because it was an Italian movie, not just because it was an Italian movie which came out very shortly after American soldiers were fighting and dying in Italy. It's not just because the focus character was a member of the Hitler Youth, and voluntarily, if you think about it. It isn't even that it was a small, independent film wherein the various actors had almost without fail never acted in a movie before. It's the themes. Eva has not yet turned to prostitution, but she makes it very clear that she may well have to. Christl (Christl Merker) is almost explicitly stated to be a prostitute. One of Eva's friends (Alexandra Manys) tells her that she is wasting her chances by not doing it. And underlying it all is the desperation of their circumstances. A life against the law. About the only character who has committed no fault is the young, pregnant woman whose name I didn't catch. Even the father on his sickbed committed sins of omission.
(fr) wrote: Colorful MGM melodrama stars Miriam Hopkins as a kind of proto-Scarlett O'Hara - expecting to marry a rich miner after arriving in San Francisco during the height of the Gold Rush, she finds him dead and the fortune in the hands of disreputable gambler and underworld boss Robinson. Determined to live in high style, she throws in with him by fronting his crooked roulette wheel, but chafes at his advances. Eventually, she finds true love in the form of idealistic poet/philosopher/prospector McCrea, but not before he's thrown for a loop after he finds out about her checkered past. Great old-timey atmosphere, an almost pre-requisite 'power of the press' subplot that Hetch and MacArthur were known for, a classic Walter Brennan performance, solid directing by Hawks - but above all, Robinson's towering take on a 'Little Caesar' of the 19th century is what gives the film great appeal. Only drawback is the sudden and pat conclusion that seems hastily and clumsily sketched out.
(ag) wrote: The characters in "Cellular" might not be deep, but the story moves quickly and it's ingeniously written. The premise of the film is fairly simple: Jessica (Kim Basinger) has been kidnapped and is locked up in an attic. She has access to a phone, but it's broken so she can't pick and choose the number she's calling. She manages to get a call through and the cell phone that rings belong to Ryan (Chris Evans), an unlikely hero who is understandably skeptical that the danger is real but is persuaded to help her in whatever way he can. As he races through the city trying to alert the police, intercept the kidnappers and stay on the line, he finds himself stuck in a twisty situation that's hard to get out of.What's ingenious about the movie is that everyone who's ever had a cell phone sees everyday occurrences turn into genuine threats. When the phone call you're listening to is a matter of life and death, forgetting to charge your cellphone, passing through a tunnel or accidentally hitting the wrong button on the menu becomes a serious threat. On top of that, there are the kidnappers, the police and the various obstacles that our protagonists face in the way, meaning the movie just never stops moving. It's really satisfying to see Ryan running around, thinking on his feet and getting out of hairy situations by the skin of his teeth time after time. The one downside with the constant action of the film is that you never really get to know the characters very well. Right from the get-go Jessica is kidnapped so you don't see her day-to-day life and Ryan, while he gets a couple of scenes before he gets involved in the plot spends most of the movie scrambling to help the woman that's calling him. The villains are similar in that sense. You don't see them on the screen often and when they are, they're in and out quickly after threatening of attacking a protagonist.There are a couple of moments where you'll be wondering if the decision that's being made by the characters really is the smartest one, but that can be forgiven because of the movie's sheer entertainment value. Jason Statham plays the main baddie and he's got a natural menacing look that fits the role perfectly. William H. Macy plays an unlikely cop that gets mixed into the whole thing and the constant cuts between his progression, Jessica's panicked state and Ryan's escapades make the 1hr 35 minute running time seem like nothing at all. There are constantly new obstacles being thrown at the characters, new revelations and you're always wondering what's going to come up next. The middle of the film is where it really shines and this will make you forgive some of the goofier moments and the few silly bits towards the end of the film."Cellular" is a smart little thriller that's quite the pleasant surprise. There's some genuine suspense and it's a movie that's aged well. You probably remember this one being released and since then, some of the stars have made it big in Hollywood so if you're a fan of some of the leads or you want a thriller that's not too hard to follow or bogged down by a whole bunch of double crosses and revelations but packs plenty of punches check it out. (On Dvd, July 2, 2013)
(us) wrote: Nice gem of a movie--Everyone acts in kind of a stilted, formal way, but I'm pretty sure that was the point. The plot does get a little ridiculous, but plenty of laughs along the way.
(it) wrote: If this movie wasn't a limited release, overseas film, people would be talking about an Academy Award for Best Picture! On the surface it doesn't look like much and the film also starts out painfully slow, but Interview With A Hitman is an incredible story, with some really imaginative twists in it. The story begins with an aging Director, looking for one more chance to be on top. He finds that chance when one of Interpol's most wanted, a career killer, contacts him, and agrees to tell his story. The Director has to jump through some hoops, but once they sit down, the mysterious man starts to tell the story of his life. The man knows nothing but killing, have working for a variety of organized crime outfits since he was 10 years old. From there, the film plays out like any other mafia film you've ever seen, there are shady deals, rats, set-ups, everything you could possibly want in a film about organized crime. Interview With A Hitman does take place in Europe though, and can be somewhat confusing. Thick accents and weird names make following the story a bit tricky at times, and that's the only reason this film didn't receive 5 stars. That being said, the ending more than makes up for it, with a twist that you will never see coming. Luke Goss (Red Widow, Death Race) stars as this stone cold killer and does an excellent job, in a role that really wasn't much of a stretch for him. He always plays these cold, calculating people, and it wouldn't surprise me one bit if he has killed before, Goss is one scary dude. This is the kind of film that will have you thinking about it long after it's over, something every writer hopes to accomplish. When you're going over the events in your mind days after you've seen the film and you are still in awe of what happened, you know you just saw something very special. Label this one a must see movie, because the story really has everything you could want and more.
(us) wrote: Great fun if you are into the grindhouse cinema style of storytelling and visuals. Zombie Hunter is a blast. Lots of action, over the top violence, and over the top acting. Danny Trejo is great
(nl) wrote: A wonderful visionary of the after life. With such a marvelous plot, nothing could possibly go wrong for this film.