Tina Smith

Skip to content It’s a curious but compelling?story: it starts in the years just before World War I, when struggling poet Robert Frost (1874-1963) hastily packed up his family and moved to London in search of a friend. Although Frost’s?efforts to ingratiate himself with W. B. Yeats and Ezra Pound fizzled, he soon found a man, critic Edward Thomas (1878-1917), who?championed Frost’s poetry and became one of Frost’s best friends. Frost in turn inspired Thomas to write poetry as well ? until something happened on one of their walks in the woods that would forever change them both. Host Jacke Wilson is joined by Professor Bill Hogan of Providence College, who recounts?the story of Frost and Thomas: their friendship, their falling out, and how one of Frost’s (and America’s) most famous poems, “The Road Not Taken, ” inspired by Frost’s views of Thomas, has been widely misunderstood by generations of readers. Podcast: Play in new window | Download (Duration: 52:23 ? 36. 2MB) | Embed Subscribe: iTunes | Android | Email | RSS | More FREE GIFT! Write a review on iTunes (or another site), then send us an email at to receive your free History of Literature postcard as a thank you gift. Act now while supplies last! Show Notes: Contact the host at or by leaving a voicemail at 1-361-4WILSON (1-361-494-5766). You can find?more literary discussion at and more episodes of the series at. Check out our?Facebook page at. You can follow?Jacke Wilson at his Twitter account @WriterJacke. You can also follow Mike and the Literature Supporters Club (and receive daily book recommendations) by looking for @literatureSC. Music Credits: “ Handel ? Entrance to the Queen of Sheba ” by Advent Chamber Orchestra (From the Free Music Archive / CC by?SA). “Sweeter Vermouth” by Kevin MacLeod () Licensed under Creative Commons: By Attribution 3. 0.

The roads not taken free movie download. Thank u. The roads not taken free movie songs. Elle fanning deserves an academy award. her acting is exemplary. Physics: exists Fast and Furious franchise: Im gonna pretend I didnt see that.

The Roads Not Taken Free. Consider Parasite's win for the Oscars. Honest Trailers should give it its own trailer. Its a really good movie. The music box was a nice and different touch. It worked. I've never seen anything this beautiful in my entire you. That was spectacular. 3. Say “Martin Scorsese is set to direct Doctor Strange and the Multiverse of Madness”. But he did do something evil, he stole the crown of the queen of England.
The roads not taken free movie poster. The bad guy in soundtrack just ruined the trailer. The roads not taken free movie 2017. The roads not taken free movie 2016. Javier Bardem is a deeply expressive actor ? we’ve seen him move audiences without saying a word. Sally Potter is an artist who has used dance, music, video and film ( Orlando, Yes) with a forceful experimental fervor. Sadly, the first collaboration between these two in The Roads Not Taken stubbornly refuses to come to life. For the filmmaker, the project is clearly personal. The image of Bardem as Leo, an author lying near comatose in bed in his drab Brooklyn apartment, evokes the same kind of early-onset dementia that afflicted Potter’s younger brother Nic, a British painter, composer and bassist for the rock band Van der Graaf Generator. With his eyes glazed over in reverie about roads he never took in his life, Leo seems unreachable. Then his daughter Molly ( Elle Fanning) arrives to relieve Leo’s caretaker and take the man she lovingly calls “papa” to seemingly mundane appointments with a dentist and an optometrist. But even ordinary activities seem out of her father’s reach as he keeps flashing back to a past that may be real or imagined. At one point, he is living in Mexico with first wife Dolores (Salma Hayek), the self-proclaimed great love of his life until the death of their son ? a fact Leo can’t accept ? causes a rift that won’t heal. Later, we see him on a Greek island where he runs for inspiration, leaving behind second wife Rita (Laura Linney) and the infant Molly. Flirting on the beach with a blonde beauty (who wonders why anyone would desert a wife and child to write a book), Leo seems adrift in the fragments of his past, wondering how sticking with the women who loved him would, or could, have changed his predicament. Kudos to the fine Irish cinematographer Robbie Ryan ( Fish Tank, Marriage Story) for building sharp contrasts between the protagonist’s flamboyant past and his drab, imprisoning present. If only Potter had provided a similarly coherent narrative road map. There are reports that a third segment, in which Leo imagines another parallel life with a gay lover played by Chris Rock, had been jettisoned. Would it have helped? That’s doubtful, given that this head-scratching muddle of a film runs a scant 85 minutes and still feels overlong. Back in the present, Leo is a pale shadow of his former self, freaked out by the noise of the city and the clatter inside his head. Peeing his pants, and causing commotion in a store when he seizes a woman’s dog that reminds him of his beloved childhood pet Nestor, he’s tragically adrift. “Get out of my country, ” screams the aggrieved dog owner, suggesting an immigration theme the film quickly and frustratingly abandons. Later, when Leo jumps out of a moving taxi, Molly must take him to the ER where he seems on the verge of nervous collapse. In the hospital, an embittered Rita visits, berating her ex for his desertion and insisting that he never got over her success as a writer in a career that eclipsed his. None of this penetrates the wall that frontal-lobe atrophy has built around Leo. The disease, by its very nature, would prevent such a breakthrough. It’s Molly who occasionally gets through to her papa and Fanning, who worked beautifully with Potter on 2012’s Ginger & Rosa, delivers a heartfelt performance that provides the only emotional bridge for an audience to cross. For the rest, The Roads Not Taken leaves us feeling as lost as Leo. There’s no doubting Potter’s laudable ambition to capture the swirling headspace of her brother, who died in 2013. But in trying to restore his dignity in fighting the dying of the light, she’s neglected to portray him in the human terms that would let us share his spirit.

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The Roads Not Taken Free movies. The roads not taken free movie cast. Goodbye James, this is where we part ways. As I wrote last week, I am putting myself through self-inflicted torture: I am forcing myself to improve my networking skills. To build my foundation, I’m asking people who are experienced and adept at showing up, handing out business cards, and generally being pleasant and memorable for their advice. My first networking expert is a colleague who spent time in a sales position in the financial/insurance industry. Her sole job was to bring in clients, so she was out smiling and chatting up people on a near-daily basis. I was surprised to learn this about her, because her natural demeanor is less sunny than what I thought that sort of job would require. I felt I would take her advice more seriously than a sunny extrovert who likes to talk to everyone. I want to know how someone who doesn’t like talking to people talks to people. Her advice included what to do at networking events, but more importantly to me, how to prepare for a networking event. The first five of my colleague’s top 10 tips of practical advice for networking pertain to preparing prior to participating in the networking event: Get people to like you. It’s as simple as it sounds. This is the overarching goal of networking. If you can get at least one Important Person (more on the “Important Person” later) that you meet at a networking event to like you, then you have succeeded. You don’t need to sell yourself or your services, that comes later. Just make a connection. Set goals prior to the event. Start small. The goals can be as small as “talk to an Important Person” and progress to “talk to five people at the event” or “collect at least 10 business cards and follow up with these people. ” Set the goals prior to the event. Make them concrete and quantifiable. Tag team if you can. Just like a cop movie, networking is more fun with a buddy. You don’t need a?friend who is just one day from retirement, or who doesn’t do things by the book, you just need to?help each other out at a networking event. You can make approaching people a little less awkward if you have someone to introduce. You can make conversation by extolling each other’s talents. A buddy prevents isolation. If you are standing by yourself because you left a conversation and haven’t yet engaged with other people, a buddy can be your default home base. Don’t let your buddy be a crutch, though. You can be each other’s “safe place” as necessary, but don’t circle in together to the exclusion of the networking event itself. Get your elevator speech ready. After the introduction, what are you going to talk about? How do you keep the conversation party going? Have a short summary of what you do, who you work for, and interesting things about yourself ready to go to move the conversation along if necessary. Some people are good talkers, others aren’t. Have an elevator speech handy if it is necessary, but don’t pull it out every time you talk to someone. Keep it for backup. Don’t try to move from “small talk” to “big talk. ” If you are networking, you probably have a larger reason for being at the shindig. You may be job-hunting, looking for clients, or looking to poach employees. Whatever your “big reason” for being at the networking event may be, don’t talk about it at the networking event. Save the heavy discussions for later. Get a business card and schedule a follow-up contact in some way. You aren’t going to close a deal at a networking event. All the networking event allows you to do is to ring a doorbell. You have to wait to get inside the house. These first five tips focus on pre-networking event planning and being in the right mental space to attend the event and succeed ? with whatever metric of success you are using. The next five tips will address what to do once you are actually at the event and engaging other human beings in conversation. Celeste Harrison Forst has practiced in small and mid-sized firms and is now in-house at a large manufacturing and technology company where she receives daily hugs from her colleagues. You can reach Celeste directly at C.. Love ATL? Let's make it official. Sign up for our newsletter. We will never sell or share your information without your consent. See our privacy policy.
B?n có th? ch? mình sub l?i bài hát thành video đc không. Có 1 s? bài mình thích mà nó không có sub. The roads not taken free movie online. The Roads Not Taken Free movie page. This is really emotional ?. Show some 21st-century kids, raised on patently fake Spider-Man swooshes and Avatar rainbows, the trucks-on-the-rope-bridge-in-a-monsoon sequence from Sorcerer, top to bottom, and watch their jaws swing open like trap doors. As the “summer” movie season expands to consume 50 percent of the year, and the theaters become overrun with CGI fanboy refuse, you will do no better in movie terms than to seek out a 37-year-old Hollywood film just recently restored and Blu-ray-ed, a film so rich with naked nerve and eye-jolting realism that it could refashion your ideas about American movies. William Friedkin’s Sorcerer (1977) was a bomb in its initial release, and hasn’t been commonly regarded as anything but in the decades since. All the same, it fulfills every promise the American New Wave era ever made to grown-ups, in ways that are almost the exact opposite of its 1977 blockbuster-for-prepubes antithesis: Star Wars. Two trucks, a load of sweaty nitro-glycerine, a distant oil fire, and a bajillion miles of unpaved South American jungle hellhole roadway. How much money would they have to pay you, or how hopeless would you have to be, to take the job to drive the unstable explosives through the impossible landscape in order to blow out the rampaging well fire? Hired by the oil company, the four men who accept the offer are disposable outlaws in hiding with nothing left to lose: an American hold-up man (Roy Scheider), an Arab terrorist (Amidou), a French bank embezzler (Bruno Cremer), and an assassin of unknown origin (Francisco Rabal). The scenario, from Georges Arnaud’s 1950 novel and Henri-Georges Clouzot’s 1953 film The Wages of Fear, is a loaded cannon, built to bruise, armed with a fresh kind of No Exit action setup that no pulp, not even film noir, had ever come close to. This was fiction, and cinema, of hopeless procedure, of suicidal tribulation, anchored in the real world of industry and poverty. Clouzot’s version, bearing a classic status that pegged Friedkin’s remake as an act of hubris, is hammy and stuffed with back-projection. It has nothing on the carbon odor of emergency in Friedkin’s film, which remains a jugular ordeal that no amount of vertiginous CGI fart-noise will ever approximate. That’s because it’s real. Riding as high as an auteur could after The French Connection (1971) and The Exorcist (1973), Friedkin went deep on location into the Dominican Republic forest, spending like a drunken sailor and wrestling with nature itself, generating a vibe so caustic and arresting that when I saw it in the theater as a kid, I remember thinking that Hollywood movies were becoming dangerous and mature and daring, and wasn’t I lucky to have a front-row seat. Zooming spaceships were nice, but Friedkin’s voyage to somewhere you weren’t sure cameras were even supposed to go had me snookered. Put it to the test today: Show some 21st-century kids, raised on patently fake Spider-Man swooshes and Avatar rainbows, the trucks-on-the-rope-bridge-in-a-monsoon sequence from Sorcerer, top to bottom, and watch their jaws swing open like trap doors. The visceral experience of the film gains everything by being something you cannot doubt. Think of the last recent American movie you could say that about. I was essentially correct, sitting there in my mid-teens and awed by Friedkin’s jungle boogie: American movies had grown up. But of course it didn’t last. For those of us with an emotional-historical stake in such things, George Lucas’ invention of the kid-directed F/X blockbuster that same year was like a descent of the Dark Ages, a de-maturation of the century’s most vivacious art form, just as it was gathering steam. It’s only gotten worse in time. In a theater this April, I was served trailers for six summer films ( The Amazing Spider-Man 2, Transformers: Age of Extinction, etc. ) and saw the future of movies: There was nothing onscreen a 12-year-old wouldn’t understand, and nothing that wasn’t a matter of stupid, fake visual massiveness. We’re all being reduced to a preteen point of view and a sixth-grade menu of experiences. A radical intervention may be required, and in movie form I can’t think of any as tough-minded and resonant as Sorcerer. For years the film was maltreated by its studios, coming to broadcast and video only in a faded version with a third of the picture lost to TV formatting. Friedkin himself has shepherded this new restoration, as a kind of capstone to his long and stormy career. Now, no matter how juvenile new movies become, it’ll be there for those of us looking for stronger drink. What do you want to see from our coverage of the 2020 presidential candidates? As our editorial team finalizes plans for our coverage of the 2020 Democratic primary, we want to hear from you: What do you want to see from our campaign coverage, and which candidates are you most interested in? It only takes a minute to answer this short, three-question survey, but your input will help shape our coverage in the months to come. That’s why we want to make sure you have a chance to share your thoughts.
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