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و این هم متن تایپ شده stanza  که می توانید ببینید.

The Chaos

Dr. Gerard Nolst Trenite

***************************************************************************

 Dearest creature in creation,

Study English pronunciation.

I will teach you in my verse

Sounds like corpse, corps, horse, and worse.

I will keep you, Suzy, busy,

Make your head with heat grow dizzy.

Tear in eye, your dress will tear.

So shall I! Oh hear my prayer.

Pray, console your loving poet,

Make my coat look new, dear, sew it!

Just compare heart, beard, and heard,

Dies and diet, lord and word,

Sword and sward, retain and Britain.

(Mind the latter, how it’s written.)

Now I surely will not plague you

With such words as plaque and ague.

But be careful how you speak:

Say break and steak, but bleak and streak;

Cloven, oven, how and low,

Script, receipt, show, poem, and toe.

Hear me say, devoid of trickery,

Daughter, laughter, and Terpsichore,

Typhoid, measles, topsails, aisles,

Exiles, similes, and reviles;

Scholar, vicar, and cigar,

Solar, mica, war and far;

One, anemone, Balmoral,

Kitchen, lichen, laundry, laurel;

Gertrude, German, wind and mind,

Scene, Melpomene, mankind.

Billet does not rhyme with ballet,

Bouquet, wallet, mallet, chalet.

Blood and flood are not like food,

Nor is mould like should and would.

Viscous, viscount, load and broad,

Toward, to forward, to reward.

And your pronunciation’s OK

When you correctly say croquet,

Rounded, wounded, grieve and sieve,

Friend and fiend, alive and live.

Ivy, privy, famous; clamour

And enamour rhyme with hammer.

River, rival, tomb, bomb, comb,

Doll and roll and some and home.

Stranger does not rhyme with anger,

Neither does devour with clangour.

Souls but foul, haunt but aunt,

Font, front, wont, want, grand, and grant,

Shoes, goes, does. Now first say finger,

And then singer, ginger, linger,

Real, zeal, mauve, gauze, gouge and gauge,

Marriage, foliage, mirage, and age.

Query does not rhyme with very,

Nor does fury sound like bury.

Dost, lost, post and doth, cloth, loth.

Job, nob, bosom, transom, oath.

Though the differences seem little,

We say actual but victual.

Refer does not rhyme with deafer.

Foeffer does, and zephyr, heifer.

Mint, pint, senate and sedate;

Dull, bull, and George ate late.

Scenic, Arabic, Pacific,

Science, conscience, scientific.

Liberty, library, heave and heaven,

Rachel, ache, moustache, eleven.

We say hallowed, but allowed,

People, leopard, towed, but vowed.

Mark the differences, moreover,

Between mover, cover, clover;

Leeches, breeches, wise, precise,

Chalice, but police and lice;

Camel, constable, unstable,

Principle, disciple, label.

Petal, panel, and canal,

Wait, surprise, plait, promise, pal.

Worm and storm, chaise, chaos, chair,

Senator, spectator, mayor.

Tour, but our and succour, four.

Gas, alas, and Arkansas.

Sea, idea, Korea, area,

Psalm, Maria, but malaria.

Youth, south, southern, cleanse and clean.

Doctrine, turpentine, marine.

Compare alien with Italian,

Dandelion and battalion.

Sally with ally, yea, ye,

Eye, I, ay, aye, whey, and key.

Say aver, but ever, fever,

Neither, leisure, skein, deceiver.

Heron, granary, canary.

Crevice and device and aerie.

Face, but preface, not efface.

Phlegm, phlegmatic, ass, glass, bass.

Large, but target, gin, give, verging,

Ought, out, joust and scour, scourging.

Ear, but earn and wear and tear

Do not rhyme with here but ere.

Seven is right, but so is even,

Hyphen, roughen, nephew Stephen,

Monkey, donkey, Turk and jerk,

Ask, grasp, wasp, and cork and work.

Pronunciation—think of Psyche!

Is a paling stout and spikey?

Won’t it make you lose your wits,

Writing groats and saying grits?

It’s a dark abyss or tunnel:

Strewn with stones, stowed, solace, gunwale,

Islington and Isle of Wight,

Housewife, verdict and indict.

Finally, which rhymes with enough—

Though, through, plough, or dough, or cough?

Hiccough has the sound of cup.

My advice is to give up!!!

---

The Chaos (1922)

Dearest creature in creation

Studying English pronunciation,

   I will teach you in my verse

   Sounds like corpse, corps, horse and worse.

I will keep you, Susy, busy,

Make your head with heat grow dizzy;

   Tear in eye, your dress you'll tear;

   Queer, fair seer, hear my prayer.

Pray, console your loving poet,

Make my coat look new, dear, sew it!

   Just compare heart, hear and heard,

   Dies and diet, lord and word.

Sword and sward, retain and Britain

(Mind the latter how it's written).

   Made has not the sound of bade,

   Say-said, pay-paid, laid but plaid.

Now I surely will not plague you

With such words as vague and ague,

   But be careful how you speak,

   Say: gush, bush, steak, streak, break, bleak ,

Previous, precious, fuchsia, via

Recipe, pipe, studding-sail, choir;

   Woven, oven, how and low,

   Script, receipt, shoe, poem, toe.

Say, expecting fraud and trickery:

Daughter, laughter and Terpsichore,

   Branch, ranch, measles, topsails, aisles,

   Missiles, similes, reviles.

Wholly, holly, signal, signing,

Same, examining, but mining,

   Scholar, vicar, and cigar,

   Solar, mica, war and far.

From "desire": desirable-admirable from "admire",

Lumber, plumber, bier, but brier,

   Topsham, brougham, renown, but known,

   Knowledge, done, lone, gone, none, tone,

One, anemone, Balmoral,

Kitchen, lichen, laundry, laurel.

   Gertrude, German, wind and wind,

   Beau, kind, kindred, queue, mankind,

Tortoise, turquoise, chamois-leather,

Reading, Reading, heathen, heather.

   This phonetic labyrinth

   Gives moss, gross, brook, brooch, ninth, plinth.

Have you ever yet endeavoured

To pronounce revered and severed,

   Demon, lemon, ghoul, foul, soul,

   Peter, petrol and patrol?

Billet does not end like ballet;

Bouquet, wallet, mallet, chalet.

   Blood and flood are not like food,

   Nor is mould like should and would.

Banquet is not nearly parquet,

Which exactly rhymes with khaki.

   Discount, viscount, load and broad,

   Toward, to forward, to reward,

Ricocheted and crocheting, croquet?

Right! Your pronunciation's OK.

   Rounded, wounded, grieve and sieve,

   Friend and fiend, alive and live.

Is your r correct in higher?

Keats asserts it rhymes Thalia.

   Hugh, but hug, and hood, but hoot,

   Buoyant, minute, but minute.

Say abscission with precision,

Now: position and transition;

   Would it tally with my rhyme

   If I mentioned paradigm?

Twopence, threepence, tease are easy,

But cease, crease, grease and greasy?

   Cornice, nice, valise, revise,

   Rabies, but lullabies.

Of such puzzling words as nauseous,

Rhyming well with cautious, tortious,

   You'll envelop lists, I hope,

   In a linen envelope.

Would you like some more? You'll have it!

Affidavit, David, davit.

   To abjure, to perjure. Sheik

   Does not sound like Czech but ache.

Liberty, library, heave and heaven,

Rachel, loch, moustache, eleven.

   We say hallowed, but allowed,

   People, leopard, towed but vowed.

Mark the difference, moreover,

Between mover, plover, Dover.

   Leeches, breeches, wise, precise,

   Chalice, but police and lice,

Camel, constable, unstable,

Principle, disciple, label.

   Petal, penal, and canal,

   Wait, surmise, plait, promise, pal,

Suit, suite, ruin. Circuit, conduit

Rhyme with "shirk it" and "beyond it",

   But it is not hard to tell

   Why it's pall, mall, but Pall Mall.

Muscle, muscular, gaol, iron,

Timber, climber, bullion, lion,

   Worm and storm, chaise, chaos, chair,

   Senator, spectator, mayor,

Ivy, privy, famous; clamour

Has the a of drachm and hammer.

   Pussy, hussy and possess,

   Desert, but desert, address.

Golf, wolf, countenance, lieutenants

Hoist in lieu of flags left pennants.

   Courier, courtier, tomb, bomb, comb,

   Cow, but Cowper, some and home.

"Solder, soldier! Blood is thicker",

Quoth he, "than liqueur or liquor",

   Making, it is sad but true,

   In bravado, much ado.

Stranger does not rhyme with anger,

Neither does devour with clangour.

   Pilot, pivot, gaunt, but aunt,

   Font, front, wont, want, grand and grant.

Arsenic, specific, scenic,

Relic, rhetoric, hygienic.

   Gooseberry, goose, and close, but close,

   Paradise, rise, rose, and dose.

Say inveigh, neigh, but inveigle,

Make the latter rhyme with eagle.

   Mind! Meandering but mean,

   Valentine and magazine.

And I bet you, dear, a penny,

You say mani-(fold) like many,

   Which is wrong. Say rapier, pier,

   Tier (one who ties), but tier.

Arch, archangel; pray, does erring

Rhyme with herring or with stirring?

   Prison, bison, treasure trove,

   Treason, hover, cover, cove,

Perseverance, severance. Ribald

Rhymes (but piebald doesn't) with nibbled.

   Phaeton, paean, gnat, ghat, gnaw,

   Lien, psychic, shone, bone, pshaw.

Don't be down, my own, but rough it,

And distinguish buffet, buffet;

   Brood, stood, roof, rook, school, wool, boon,

   Worcester, Boleyn, to impugn.

Say in sounds correct and sterling

Hearse, hear, hearken, year and yearling.

   Evil, devil, mezzotint,

   Mind the z! (A gentle hint.)

Now you need not pay attention

To such sounds as I don't mention,

   Sounds like pores, pause, pours and paws,

   Rhyming with the pronoun yours;

Nor are proper names included,

Though I often heard, as you did,

   Funny rhymes to unicorn,

   Yes, you know them, Vaughan and Strachan.

No, my maiden, coy and comely,

I don't want to speak of Cholmondeley.

   No. Yet Froude compared with proud

   Is no better than McLeod.

But mind trivial and vial,

Tripod, menial, denial,

   Troll and trolley, realm and ream,

   Schedule, mischief, schism, and scheme.

Argil, gill, Argyll, gill. Surely

May be made to rhyme with Raleigh,

   But you're not supposed to say

   Piquet rhymes with sobriquet.

Had this invalid invalid

Worthless documents? How pallid,

   How uncouth he, couchant, looked,

   When for Portsmouth I had booked!

Zeus, Thebes, Thales, Aphrodite,

Paramour, enamoured, flighty,

   Episodes, antipodes,

   Acquiesce, and obsequies.

Please don't monkey with the geyser,

Don't peel 'taters with my razor,

   Rather say in accents pure:

   Nature, stature and mature.

Pious, impious, limb, climb, glumly,

Worsted, worsted, crumbly, dumbly,

   Conquer, conquest, vase, phase, fan,

   Wan, sedan and artisan.

The th will surely trouble you

More than r, ch or w.

   Say then these phonetic gems:

   Thomas, thyme, Theresa, Thames.

Thompson, Chatham, Waltham, Streatham,

There are more but I forget 'em-

   Wait! I've got it: Anthony,

   Lighten your anxiety.

The archaic word albeit

Does not rhyme with eight-you see it;

   With and forthwith, one has voice,

   One has not, you make your choice.

Shoes, goes, does *. Now first say: finger;

Then say: singer, ginger, linger.

   Real, zeal, mauve, gauze and gauge,

   Marriage, foliage, mirage, age,

Hero, heron, query, very,

Parry, tarry fury, bury,

   Dost, lost, post, and doth, cloth, loth,

   Job, Job, blossom, bosom, oath.

Faugh, oppugnant, keen oppugners,

Bowing, bowing, banjo-tuners

   Holm you know, but noes, canoes,

   Puisne, truism, use, to use?

Though the difference seems little,

We say actual, but victual,

   Seat, sweat, chaste, caste, Leigh, eight, height,

   Put, nut, granite, and unite.

Reefer does not rhyme with deafer,

Feoffer does, and zephyr, heifer.

   Dull, bull, Geoffrey, George, ate, late,

   Hint, pint, senate, but sedate.

Gaelic, Arabic, pacific,

Science, conscience, scientific;

   Tour, but our, dour, succour, four,

   Gas, alas, and Arkansas.

Say manoeuvre, yacht and vomit,

Next omit, which differs from it

   Bona fide, alibi

   Gyrate, dowry and awry.

Sea, idea, guinea, area,

Psalm, Maria, but malaria.

   Youth, south, southern, cleanse and clean,

   Doctrine, turpentine, marine.

Compare alien with Italian,

Dandelion with battalion,

   Rally with ally; yea, ye,

   Eye, I, ay, aye, whey, key, quay!

Say aver, but ever, fever,

Neither, leisure, skein, receiver.

   Never guess-it is not safe,

   We say calves, valves, half, but Ralf.

Starry, granary, canary,

Crevice, but device, and eyrie,

   Face, but preface, then grimace,

   Phlegm, phlegmatic, ass, glass, bass.

Bass, large, target, gin, give, verging,

Ought, oust, joust, and scour, but scourging;

   Ear, but earn; and ere and tear

   Do not rhyme with here but heir.

Mind the o of off and often

Which may be pronounced as orphan,

   With the sound of saw and sauce;

   Also soft, lost, cloth and cross.

Pudding, puddle, putting. Putting?

Yes: at golf it rhymes with shutting.

   Respite, spite, consent, resent.

   Liable, but Parliament.

Seven is right, but so is even,

Hyphen, roughen, nephew, Stephen,

   Monkey, donkey, clerk and jerk,

   Asp, grasp, wasp, demesne, cork, work.

A of valour, vapid vapour,

S of news (compare newspaper),

   G of gibbet, gibbon, gist,

   I of antichrist and grist,

Differ like diverse and divers,

Rivers, strivers, shivers, fivers.

   Once, but nonce, toll, doll, but roll,

   Polish, Polish, poll and poll.

Pronunciation-think of Psyche!-

Is a paling, stout and spiky.

   Won't it make you lose your wits

   Writing groats and saying "grits"?

It's a dark abyss or tunnel

Strewn with stones like rowlock, gunwale,

   Islington, and Isle of Wight,

   Housewife, verdict and indict.

Don't you think so, reader, rather,

Saying lather, bather, father?

   Finally, which rhymes with enough,

   Though, through, bough, cough, hough, sough, tough??

Hiccough has the sound of sup...

سردبير : مهسا پا كراه

گرداورنده  : مهسا پا كراه

Strike whil the iron is hot

درحالي كه اهن داغ است بچسبان(تا تنور داغ است نان را بچسبان )

The only answer to fool is silence

جواب ابلهان خاموشي است

To kill two birds with one stone

دوپرنده رابا يك تير كشتن(يك تيرو دو نشان)

Talk does not cook rice

حرف زدن برنج را نمي پزد (از حرف تا عمل يك فرسنگ فاصله است)

Horse for courses

اسبها براي مسير مناسب هستند (هركس را بهر كاري ساختند)

Out stay ones welcome

بيش از حد در خانه ميزبان ماندن (كنگر خوردن ولنگر انداخدتن)

April and May the keys of the year

ماه اوريل و مه كليدهاي سال هستند (سالي كه نكوست از بهارش پيداست)

To laugh some ones face

به صورت كسي خنديدن   (به ريش كسي خنديدن )

 نظر شما

سردبير : مهسا پا كراه

گرداورنده : مهسا پا كراه         

I am not in the mood

 حال وحوصله ندارم                                       

You are being too kind

خجالتمان ميدهيد

Good for you

خوش به حالت

To have a nice _chat

گل گفتن و گل شنيدن

He is in the money

پول پارو مي كند

One could be taken up ones offer

تعارف امد نيامد دارد

More haste  less speed

با عجله كار پيش نمي رود

An old hand

كار كشته

Be out of some thing

تمام كردن & به پايان رساندن

About to

در شرف

جاي پاي رهروي پيداست
كيست اين گم كرده ره؟اين راه ناپيدا چه مي پويد؟
مگر او زين سفر،زين ره چه مي جويد؟
ازين صحرا مگر راهي به شهر آرزويي هست؟
به شهري كاندر آغوش سپيد مهر
به باران سحرگاهي خدايش دست و رو شسته است.
به شهري كز همان لحظه ي ازل
بر دامن مهتاب عشق آرام بغنوده است.
به شهري كش پليد افسانه ي گيتي
سر انگشت خيال از چهره ي زيبايش بزدوده است.
كجا اي ره نورد راه گم كرده؟
بيا برگرد!
به شهري بر كناره ي پاك هستي،
به شهري كش به باران سحرگاهي
خدايش دست و رو شسته است.
به شهري كش پليدي هاي انسان اين پليد افسانه ي هستي
در اين صحرا به جز مرگ و به جز حرمان
كسي را آشنايي نيست.
بيا برگرد آخر،اي غريب راه!
كز اين جا ره به جايي نيست.
نمي بيني كه آنجا
كنار تك درختي خشك
ز ره مانده غريبي ره نوردي بي نوا مرده است؟
و در چسمان پاكش،در نگاه گنگ و حيرانش،
هزاران غنچه ي اميد پژمرده است؟
نمي بيني كه از حسرت"كمند صيد بهراميش افكنده است"
و با دستي كه در دست اجل بوده است،
بر آن تك درخت خشك
حديث سر نوشت هر كه اين ره را رود،كنده است:
كه:"من پيمودم اين صحرا،نه بهرام است و نه گورش"
كجا اي ره نورد راه گم كرده؟
بيا برگرد!
در اين صحرا به جز مرگ و به جز حرمان،
كسي را آشنايي نيست.
ازين صحرا مگر راهي به شهر آرزويي هست؟
بيا برگرد آخر،اي غريب راه!
كز اين جا ره به جايي نيست

-۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰۰

خدایا : به من زیستنی عطا کن که در لحظه ی مرگ، بر بی ثمری لحظه ای که

 برای زیستن گذشته است، حسرت نخورم؛ و مردنی عطا کن که بر بیهودگیش، سوگوار نباشم .

بگذار تا من، خود، انتخاب کنم، اما آنچنان که تو دوست می داری.

خدایا: "چگونه زیستن" را تو به من بیاموز،

"چگونه مردن" را خود خواهم دانست.

خدایا: مرا از این فاجعه ی پلید "مصلحت پرستی" - که، چون همه کس گیر شده است، وقاحتش از یاد رفته و بیماری یی شده است که از فرط عمومیتش، هر که از آن سالم مانده باشد بیمار می نماید- مصون بدار تا: "به رعایت مصلحت، حقیقت را ذبح شرعی نکنم".

خدایا: مگذار که:

ایمانم به اسلام و عشقم به خاندان پیامبر، مرا با کسبه ی دین، با حمله ی تعصب و عمله ی ارتجاع همآواز کند.

که آزادی ام اسیر پسند عوام گردد.

که "دینم" در پس "وجهه ی دینی" ام، دفن شود.

که عوامزدگی، مرا مقلد تقلیدکنندگانم سازد.

که آنچه را "حق می دانم" ، به خاطر آنکه "بد می دانند" ، کتمان کنم

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اما دوست داشتن پيوندي خودآگاه و از روي بصيرت روشن و زلال

عشق بيشتر از غريزه آب مي‌خورد و هر چه از غريزه سر زند بي ارزش است و دوست‌داشتن از روح طلوع مي‌كند و تا هر جا كه يك روح ارتفاع دارد. دوست داشتن نيز همگام با آن اوج مي‌گيرد عشق زيبايي‌هاي دلخواه را در معشوق مي آفريند و دوست داشتن زيبائيهاي دلخواه را در دوست مي بيند و مي يابد عشق يك فريب بزرگ و قوي است

دوست داشتن يك صداقت راستين و صميمي . بي‌انتها و مطلق

عشق در دريا غرق شدن است و دوست داشتن در دريا شنا كردن

عشق بينايي را مي‌گيرد و دوست داشتن مي‌دهد

عشق همواره با شك‌آلوده است و دوست داشتن سراپا يقين و شك ناپذير

عشق جنون است و جنون چيزي جز خرابي و پريشاني فهميدن و انديشيدن نيست. اما دوست داشتني در اوج معراجش از سر حد عقل فراتر مي رود و فهميدن و انديشيدن را نيز از زمين مي‌كند و با خود به قله سبز اشراق مي برد. عشق معشوق را مجهول و گمنام مي خواهد تا در انحصار او بماند, ‌زيرا عشق جلوه‌اي از خودخواهي و روح ناچرانه يا جانورانه‌ي آدمي است.

اما دوست داشتن دوست را محبوب و عزيز مي‌خواهد و مي‌خواهد كه همه‌ي آنچه را او از دوست در خود دارد داشته باشند كه دوست داشتن جلوه‌اي از روح خدايي و خطرات اهورائي آدمي است.

در عشق رقيب منفور است و در دوست داشتن است كه هوادارن كويش را چو جان خويشتن دارند.

عشق لذت جستن است و دوست داشتن پناه جستن

دوست داشتن از عشق برتر است و من هرگز , خود را تا سطح بلندترين قله‌ي عشقهاي بلند,‌پايين نخواهم آورد.

Sites

This site has many books in

different majors and especially in literature but, you need to download

 a software

in order to use it to view dowloaded books.

This is website address: 

http://www.asksam.com/ebooks

This is link to download viewer:

http://www.asksam.com/viewer

This site has some techniques

for learning english (I didn't see all parts of this site):

http://www.uefap.com

Some readings in three grades

http://www.ielts.studyau.com

Cambridge Dictionary of American English

For your cellphone

 توجه : این دیکشنری توسط جاوا نوشته شده

 است.

Password:www.kamyabonline.com

Link for download:

http://dl.kamyabonline.com/download/program/Cambridge%20Dictionary%20of%20American%20English%20v2.11.10.exe

English Advanced grammar English(The Book):

http://www.4shared.com/file/9956708/7f606527/English_Advanced_Grammer_Pratice.html?s=1

این هم لینک دانلود موسیقی تیتراژ پایانی

سریال مدار صفر درجه با صدای علیرضا

 قربانی هست . گرچه کمی بی ربطه ولی فکر می کنم

It's cool, I like it

.

 ترانه سرا : افشین یداللهی

 آهنگساز : فردین خلعتبری

 تنظیم کننده : فردین خلعتبری

 خواننده : علیرضا قربانی

http://3entre.com/component/option,com_remository/func,download/id,130/chk,3216567d261b18a37e8dba1c848b465e/no_html,1/fname,madar.wma/

وقتی گریبان عدم

با دست خلقت می درید

وقتی ابد چشم تو را

پیش از ازل می آفرید

وقتی زمین ناز تو را

در آسمانها می کشید

وقتی عطش طعم تو را

با اشکهایم می چشید

من عاشق چشمت شدم

نه عقل بود ونه دلی

چیزی نمی دانم از این

دیوانگی و عاقلی

یک آن شد این عاشق شدن

دنیا همان یک لحظه بود

آن دم که چشمانش مرا

از عمق چشمانم ربود

وقتی که من عاشق شدم

شیطان به نامم سجده کرد

آدم زمینی تر شد و

عالم به آدم سجده کرد

من بودم و چشمان تو

نه آتشی و نه گلی

چیزی نمی دانم از این

دیوانگی و عاقلی

سردبیر معرفی فیلم یزدان چوبساز

The Patriot (2000 film)

From Wikipedia, the free encyclopedia

The Patriot
A promotional film poster for The Patriot.
Directed by	Roland Emmerich
Written by	Robert Rodat
Starring	Mel Gibson Heath Ledger Joely Richardson Jason Isaacs Tchéky Karyo Chris Cooper Tom Wilkinson
Music by	John Williams
Cinematography	Caleb Deschanel
Editing by	David Brenner
Distributed by	Columbia Pictures
Release date(s)	June 28, 2000
Running time	158 min .
Country	United States Germany[1]
Language	English
Budget	$110,000,000 USD (estimated)

The Patriot is a 2000 film starring Mel Gibson and directed by Roland Emmerich. Produced by the Mutual Film Company and Centropolis Entertainment, it was written by Robert Rodat and distributed by Columbia Pictures. The film mainly takes place in South Carolina and depicts the fictional account of a war hero swept into the American Revolutionary War when his family is threatened.

Plot summary

معرفی فیلم:یزدان چوبساز

Ocean's Eleven (2001 film)

Ocean's Eleven
Directed by	Steven Soderbergh
Produced by	Jerry Weintraub
Written by	George C. Johnson Jack G. Russell Harry Brown Charles Lederer Scott Corwon Ted Griffin
Starring	George Clooney Brad Pitt Matt Damon Andy Garcia Julia Roberts Bernie Mac Elliot Gould Carl Reiner Topher Grace
Music by	David Holmes
Cinematography	Steven Soderbergh
Editing by	Stephen Mirrione
Distributed by	Warner Bros.
Release date(s)	December 7, 2001
Running time	116 min.
Country	USA
Language	English
Budget	$85,000,000
Followed by	Ocean's Twelve, Ocean's Thirteen
Official website
All Movie Guide profile
IMDb profile

Plot

Hours after being paroled from prison, Danny Ocean (Clooney) begins choosing members for a specialized team of heist men to rob the central, underground, high-tech vault shared by three Las Vegas casinos: the Bellagio, The Mirage and the MGM Grand. The crew is composed of underworld professionals (two with recent prison records) who each have a specialty that helps them foil the elaborate security mechanisms to get to the vault. They plan to commit the robbery during the much anticipated Lennox Lewis versus Wladimir Klitschko boxing match. As the Nevada Gaming Commission (NGC) requires that casinos have money on hand for every chip being played, they estimate that during such a high-profile match, the vault should contain in excess of $150 million. The owner of the three casinos, Terry Benedict (Garcia), is the lover of Ocean's ex-wife, Tess Ocean (Roberts). As the plot unfolds, it becomes apparent that one purpose of the heist is for Ocean to win Tess back. The plan is financed by a wealthy former casino owner, Reuben Tishkoff (Gould), who is bitter about having been bought out by Benedict.

The elaborate heist involves a number of interlocked distractions that had to be coordinated precisely. The Malloy twins, posing as hotel personnel, approach the security area to deposit a money cart in the main vault, claiming that it's Benedict's money. One of the twins pretends to have forgotten his swipe card. The two begin to argue loudly and, to silence them, another security guard offers to take the cart in for them. The cart actually contains the "Amazing Yen," a Chinese acrobat and contortionist, who will infiltrate the vault room.

The team needs certain access codes to get inside the "cages" that are the heart of the casino security. The codes are updated twice a day and are carried on Benedict's person. Linus, a skilled pickpocket, presents himself to Benedict as a member of the NGC tracking down a blackjack dealer who is a felon, enabling Linus to get inside security, escorted there by Benedict. However, the dealer is in fact a plant named Frank Catton (Bernie Mac), a member of the crew. A staged scuffle between Frank and Linus occurs, during which Linus picks Benedict's pocket and lift the codes. Frank is immediately fired, thus avoiding any future suspicion about his failure to appear at work after the robbery. Linus turns back, saying he forgot his pager, as Benedict hurries on to a boxing match where Tess waits for him.

Basher Tarr (Cheadle), a master of explosives, is tasked with shutting off the power to the city to allow two of the crew to rappel down an elevator shaft. This is accomplished by an electromagnetic pulse generated by Basher's "pinch," an elaborate fictional device with illuminated coils, which they steal at night from the fictitious California Institute of Advanced Science (apparently based at UC Irvine), with CIAS security guards just missing apprehending Linus.

Saul Bloom (Reiner) poses as a shady Eastern European "businessman" who convinces Benedict to store some jewels in the bank vault for him. While overseeing the transfer, Saul stages a heart attack to distract the local guards. Rusty and the Malloy twins, posing as medical personnel, pretend to attempt to revive him. While security is preoccupied with a "dying" Saul, Livingston overrides the security cameras with pre-recorded footage of empty hallways and elevators, masking Linus's entry into the elevator shaft. Rusty declares Saul dead and has the two fake EMTs transport Saul's body out of the security room.

Danny unexpectedly joins Linus in the elevator shaft and the two change into their rappelling gear. They get in contact with Rusty, now on his way out of the casino, and signal Basher to detonate the EMP, throwing Las Vegas into a blackout and disabling the laser sensors in the elevator shaft. Las Vegas is thrown into chaos, Danny and Linus descend the elevator shaft and reach the bottom moments before the backup generators reactivate the laser sensors.

Yen, the acrobat, emerges from the tight confines of his money cart and flips over the roving sensors of the vault room, positioning himself near the vault door. Danny and Linus, outside the vault, disable the two guards with a gas grenade. Inside, Yen plants Bloom's fake jewels, which are actually explosive charges, against the hinges of the vault door. Ocean plants detonators on the corresponding locations outside the vault and detonates them. The door is blown off its hinges and Ocean now has access to the money in the vault. Meanwhile, Livingston's stock video footage continues to distract the security room.

When ready, Rusty calls Benedict directly on a cellphone, which Danny secretly dropped into Tess's pocket. Rusty says Benedict is being robbed and that the vault contains $163,156,759.00 (which Benedict confirms). The video feed suddenly changes to that of an armed robbery taking place. Benedict calls for a SWAT team, which arrives promptly and storms the vault. However, the supposed SWAT team is actually composed of the team members in disguise, who carry the money out of the vault. Benedict understands, too late, that the video of the robbery taking place was staged, because he notices the lack of the Bellagio insignia on the floor that had been installed recently.

After the robbery, the group arranges for Tess to see a surveillance video in which Benedict agrees to trade her for the chance to get his money back. Tess leaves Benedict.

After the robbery, Danny is arrested for a parole violation and sent to prison for three to six months. On his release he is met outside of the prison by Rusty, who has brought Tess in his car. They drive off, aware that Benedict's guards are following them.

Whether they get away from Benedict in the months and years afterward is the subject of the sequel, Ocean's Twelve. While the third movie in the series, Ocean's Thirteen, gets Benedict involved in helping the gang to get even/con a mutual rival, Willy Bank.

[edit] Cast

[edit] Ocean and the Eleven

• George Clooney as Daniel "Danny" Ocean-"The Idea Man"
• Brad Pitt as Robert "Rusty" Ryan - "The Pro"
• Matt Damon as Linus Caldwell - "The Rookie"
• Casey Affleck as Virgil Malloy - "The Getaway"
• Scott Caan as Turk Malloy - "The Getaway"
• Shaobo Qin as Yen - "The Grease Man"
• Bernie Mac as Frank Catton - "The Inside Man"
• Don Cheadle as Basher Tarr - "The Basher"
• Carl Reiner as Saul Bloom - "The High Roller"
• Eddie Jemison as Livingston Dell - "The Eye in the Sky"
• Elliott Gould as Reuben Tishkoff - "The Bankroll"

سردبیر معرفی فیلم یزدان چوبساز

The Departed

From Wikipedia, the free encyclopedia

The Departed is a 2006 crime film directed by Martin Scorsese and starring Leonardo DiCaprio (in his third movie with Scorsese), Matt Damon, Jack Nicholson and Mark Wahlberg. It is an adaptation of the 2002 Hong Kong crime thriller Infernal Affairs. It won the Academy Award for Best Picture in 2007.

This film takes place in Boston, Massachusetts, where notorious Irish Mob boss Francis "Frank" Costello (Nicholson) plants his protégé, career criminal Colin Sullivan (Damon) as an informant within the Massachusetts State Police. Simultaneously, the police assign undercover cop Billy Costigan (DiCaprio) to infiltrate Costello's crew. When both sides of the law realize the situation, each man is ordered to discover the identity of the other informant before he is found out.

Contents [hide] 1 Plot 2 Cast 3 Themes 4 Soundtrack music 4.1 Music from the Motion Picture album 4.2 Original Score album 5 Boston setting 6 Reception 7 Awards and nominations 8 DVD and HD release 9 Sequel 10 See also 11 Notes 12 Further reading 13 External links

The film begins in South Boston and Charlestown during the Boston riots featuring a montage of documentary footage with voice-over narration by Irish mob boss Francis "Frank" Costello (Jack Nicholson). In the 1980s, Costello is in a local store to collect his pay-off money from the owner. A young boy is there, Colin Sullivan, who Frank takes a liking to. Using his influence, he has the owner give Colin two bags of groceries and tells him to come look for him, if he ever wants to "earn" some extra money.

Many years later, an older Sullivan, now in his mid twenties, (Matt Damon) is finishing his training for the Massachusetts State Police with classmates, including fellow cadet Barrigan (James Badge Dale). In another class are cadet Brown (Anthony Anderson) and Billy Costigan (Leonardo DiCaprio). All four men graduate to become state troopers. Sullivan is a sergeant, and has just passed the state trooper detective test. He goes in to meet with the calm and collected Captain Queenan (Martin Sheen), and the aggressive and cynical Staff Sergeant Dignam (Mark Wahlberg) of the Special Investigations Unit. When Sullivan exits, Costigan goes in. The undercover division of the Special Investigations Unit wants to assign Costigan, whose family has long had ties with the Boston underworld, to infiltrate Costello's crew. For his service, he gets a "bonus", tax-free payment upon completion of his assignment. To make his assignment believable to everyone, especially Costello, they create a false conviction on Costigan for assault. He will get a four month jail sentence and afterwards probation with mandatory sessions with a psychiatrist. His police academy record and file are concealed from the public, and even the department itself, and the only ones who can access Costigan's file are Queenan and Dignam.

Sullivan, along with Barrigan and Brown, is now in an elite task force of the Special Investigations Unit (SIU) headed by the sardonically humorous Captain Ellerby (Alec Baldwin). They are after Costello and are coordinating with the FBI. Staff Sergeant Dignam introduces himself to the group but does not reveal whether or not they have a mole in Costello's gang. They briefly go over what it is that the department is targeting: Francis Costello and micro-chips that are presumably used in military equipment. The authorities expect that Costello intends to sell the chips to China. A freelance thief had stolen the twenty micro-processors, but he was found dead in a dumpster.

Costigan is out of jail and uses his drug-dealing cousin as a back-handed way of attracting Costello's attention and fights a man in a bar. He then becomes a member of his crew, pairing up with his right-hand man Mr. French (Ray Winstone). Costello tells Costigan that he knew, and respected his father and Uncle Jackie, the latter of whom was a bookie and associate of Costello, the former of which worked at the airport and didn't want to be involved in the underworld. It is therefore these two family connections which really motivate Costello more than anything else to try to assist Costigan in his own questionable way.

Meanwhile, Sullivan begins a romantic relationship with criminal psychiatrist Madolyn (Vera Farmiga), who also happens to be the assigned psychotherapist for Costigan as a part of his probation for the fabricated assault conviction. Although she wants to keep their relationship professional, a romance develops, but Costigan and Sullivan remain oblivious to each other's identity.

During one of his heists Costello, through Sullivan's information, discovers that there is a police informer in his organization. To catch the insider, he requires each member to fill in his particulars in a form, including social security numbers. Costigan knows that this envelope will end up in the hands of Costello's man at the police. He follows Costello (who has the envelope) into a pornography theater, where he witnesses Costello handing over the envelope to Sullivan, whose face is hidden in the darkened auditorium. Attempting to disclose the mole's identity, Costigan shadows Sullivan into the streets, only to eventually lose him in Boston's Chinatown neighborhood.

Meanwhile, Sullivan is assigned to uncover the mole in SIU (himself). This makes for some tension between Sullivan and Dignam, whose suspicion of Sullivan rises. Above suspicion, Sullivan focuses instead on finding the police snitch in Costello's crew. Sullivan orders the SIU to trail Queenan and eventually follows him to a meeting with Costigan on the rooftop of a run-down building on the harbor. Having become insomniac, dependent on Valium and suffering from panic attacks, Costigan explains he wants out, to which Queenan assures him that while it cannot be done overnight, he will get him out of it. Sullivan tells Costello's men that the snitch is most likely at the building. As the men approach, Costigan flees, but Queenan stays behind, is confronted by them and defenestrated. In the ensuing gunfire, between Costello's men and the police, the officer who tailed Queenan is wounded and Delahunt, one of Costello's men is critically wounded. Later on, when the men return to their hideout, Timothy Delahunt (reported later by the local media to be yet another undercover officer, possibly made up by the state police to throw suspicion off of Costigan) reveals to Costigan - just before he succumbs to his wounds - that he knows he's the mole.

Sullivan orders Dignam to hand over the information regarding his undercover, which Dignam refuses. Ellerby, who has taken over the department for Queenan, orders Dignam off duty with pay for two weeks. Guilt-ridden over having indirectly caused his senior officer's death, Sullivan finds Queenan's cell phone in his homicide file and calls Costigan, pretending to be the new agent assigned to replace Queenan. After Costigan hangs up, Sullivan finds information in Queenan's file indicating that Costello is an informant for the Federal Bureau of Investigation and immediately begins to fear betrayal.

Costello and his crew are being tailed to an old warehouse where they are to pick up a shipment of cocaine. Sullivan disengages the tail at Costello's demand and sets up a police ambush at the scene instead. Costigan, wary that the police potentially know of the situation, manages to slip away unnoticed. Costello's entire crew is killed in the ensuing shoot-out, and a wounded Costello abandons the car which Mr. French was driving. Shortly after leaving the car, French is shot, and crashed. He than shoots himself when the sedan lit on fire. Meanwhile, Costello escapes to another part of the warehouse and ends up in a tense confrontation with Sullivan. Costello admits to his informant status and denies telling anybody about Sullivan's connection to him as he feels Sullivan is like a son to him but Sullivan doesn't believe Costello and insults him before Costello attempts to shoot him. After an exchange of gunshots Costello is killed by Sullivan.

Later at the station Sullivan arrives to praise from his co-workers and meets Costigan, who asks to simply receive his payment and be allowed to leave. While Sullivan retrieves Costigan's information in another office, Costigan notices Costello's envelope on Sullivan's desk and quickly flees. Sullivan realizes that Costigan has discovered his true identity and erases Costigan's police file. Following his flight from the station, Costigan appears outside of Madolyn's office. He gives her an envelope, telling her to open it if anything should happen to him, or if he calls and tells her to open it. On a subsequent morning, Madolyn is at the apartment she shares with Sullivan, and finds an envelope from Costigan in his mail. It contains recordings of Sullivan and Costello's conversations, along with a phone number. Madolyn reveals the recordings to Sullivan and immediately ends her relationship with him. Sullivan calls the phone number and speaks to Costigan, who reveals to Sullivan that Costello kept the recordings as insurance to use as a possible legal immunity if he was arrested. He also reports to Sullivan that Costello's lawyer came to Bill with the recordings, meaning that Costello trusted Costigan the most of all of his men. They arrange to meet where Queenan died.

Trooper Brown (Anderson) confronts Costigan as he attempts to arrest Sullivan

On the rooftop where Queenan was killed, Costigan confronts and handcuffs Sullivan, intending to arrest him regardless if the charges don't stick. Trooper Brown appears and tries to talk down Costigan, who, claiming that he has substantial proof that Sullivan is the rat, quickly flees into an elevator, holding his gun to Sullivan's head. The elevator reaches the bottom floor, and just as Costigan begins to exit, he is shot in the head by Barrigan. Barrigan starts to uncuff Sullivan but then Trooper Brown arrives and sees Costigan's body and is caught off guard, allowing Barrigan to shoot him in the head and remove the only witness to Sullivan's guilt. Barrigan reveals to Sullivan that he is also a mole in the police force and aware of Costello's informant status. Being that they are the only ones remaining, Barrigan says they need to look out for one another. As the two begin to manipulate the crime scene, Sullivan asks for the gun to clean the fingerprints, and as Barrigan looks away, Sullivan shoots him in the head. To save himself, he blames everything on Barrigan and recommends Costigan for a posthumous Medal of Merit in a later testimony. At Costigan's funeral, Madolyn, now pregnant, walks away from Sullivan in silence. Following the funeral, Sullivan returns home to find Dignam waiting there. Dignam shoots him in the head and quickly leaves. As Sullivan's corpse lies in the apartment doorway, the camera pans out and a lone rat crawls conspicuously across the balcony railing, silhouetted against the gold dome of the Massachusetts State House.

The Departed
Directed by	Martin Scorsese
Produced by	Brad Grey Graham King Roy Lee Brad Pitt
Written by	Screenplay (Infernal Affairs): Felix Chong Alan Mak Screenplay: William Monahan
Starring	Leonardo DiCaprio Matt Damon Jack Nicholson Mark Wahlberg Martin Sheen Ray Winstone Vera Farmiga Anthony Anderson and Alec Baldwin
Music by	Howard Shore
Cinematography	Michael Ballhaus
Editing by	Thelma Schoonmaker
Distributed by	Warner Bros. (and worldwide with exceptions) Entertainment Film Distributors TFM Distribution Long Shong Entertainment Multimedia Company Medusa Distribuzione
Release date(s)	October 6, 2006
Running time	151 min.
Country	United States
Language	English
Budget	$90 million
Official website
All Movie Guide profile
IMDb profile

THE MAJESTIC

Running time: 152 mins
Starring: Jim Carrey, Martin Landau, Laurie Holden, Allen Garfield, David Ogden Stiers, James Whitmore

Everyone likes to feel good. But no one likes to be manipulated. In The Majestic's unabashed endeavour to invoke the former, it only succeeds in achieving the latter. So thickly is the treacle spread that all involved struggle to wade through it, reducing proceedings to a glacial pace and upsetting one's stomach in the process. In an age when cynicism rules and sentiment is scorned, it's brave to attempt to turn the clock back, but when comparing The Majestic to those films from a simpler era which it has so blatantly tried to emulate, you realise that what's timeless is the quality not the period.

Director Frank Darabont has shown with his previous films The Shawshank Redemption and The Green Mile that he has both patience and a warm heart when it comes to telling a story. But while those films were based on the assured narrative of Stephen King, The Majestic is written by Darabont's close friend Michael Sloane, leading to the inevitable speculation that perhaps he allowed that fuzzy heart to cloud his reasoning when he agreed to direct such vacuous piffle. It might be the explanation, but it's not an excuse and certainly doesn't explain how Carrey and the others got involved.

Set in 1951, Carrey plays Pete Appleton, a Hollywood screenwriter who's enjoying an early flush of success with the release of his first film, the B-movie, 'Sand Pirates Of The Sahara', when he discovers his name has been blacklisted and he has become the target of the House on Un-American Activities Committee. His defence that he unknowingly joined the communist affiliated Bread Instead of Bullets Club for the sole purpose of impressing a girl holds little sway and so, having perched on the edge of triumph, he is thrust into the pit of despair. He seeks solace in a glass before driving home. He never makes it, crashing into a river before washing up on the beach of the small town of Lawson suffering from amnesia.

Bearing an uncanny resemblance to one of the town's heroic sons, Luke Trimble, who'd gone missing in action nine years earlier, Appleton finds himself the centre of attention in Lawson and mistaken for the long lost son of Harry Trimble (Martin Landau) who owns a run down cinema, The Majestic. For Carrey, who is still struggling to be taken seriously, this performance will do little to serve his cause as he wanders around with a glazed expression in his quest to find his true character. During Appleton's time in the sleepy idyll of Lawson, he rediscovers all the wholesome values that his Hollywood life had eroded as well as love in the form of Luke's one time fiancée Adele (the film's best performance by Laurie Holden).

To bookend the film's technicolour rendering of fantasy life in Lawson with one of the darkest episodes in Hollywood's history makes for an awkward contrast. Presumably done in order to imbue The Majestic with some substance, its impact is lost as the heavy handed approach adopted throughout only mocks events and highlights the film's utter detachment from reality.

سردبیر معرفی فیلم:یزدان چوبساز

Road to Perdition
Theatrical poster
Directed by	Sam Mendes
Produced by	Sam Mendes Dean Zanuck Richard D. Zanuck
Written by	David Self
Starring	Tom Hanks Paul Newman Jude Law Tyler Hoechlin
Music by	Thomas Newman
Cinematography	Conrad L. Hall
Distributed by	USA: DreamWorks non-USA: 20th Century Fox
Release date(s)	July 12, 2002 September 27, 2002
Running time	117 min.
Country	United States
Language	English
Budget	US$80,000,000
IMDb profile

Road to Perdition is a 2002 period drama directed by Sam Mendes. The screenplay was written by David Self, adapting the graphic novel of the same name by Max Allan Collins. The film stars Tom Hanks, Paul Newman, Jude Law, and Tyler Hoechlin. Hanks stars as Michael Sullivan, an enforcer who is forced to flee with his son from the crime syndicate for whom he had worked.

Filming took place in Chicago, in the Pullman neighborhood. Director Sam Mendes, having recently finished 1999's acclaimed American Beauty, pursued a film that had minimal dialogue and conveyed emotion in the imagery. A "cold look" was created for the locations in Road to Perdition to emphasize the characters' emotional states. Cinematographer Conrad L. Hall took advantage of the lighting and the environment to create symbolism for the film, for which he won several awards. Road to Perdition explored the themes of violence's consequences and the relationship between father and son.

Road to Perdition was released on July 12, 2002, and received mostly positive reviews. Road to Perdition's cinematography, setting, and the performances of Paul Newman and Tom Hanks were well-received, though the film was criticized for not creating a strong emotional attachment to its audience.

Contents [hide] 1 Plot 2 Cast and characters 3 Production 3.1 Writing 3.2 Filming 3.3 Cinematography 4 Themes 4.1 Consequence of violence 4.2 Fathers and sons 4.3 Water 5 Reception 6 Other media 7 References 8 Further reading 9 External links

Michael Sullivan, Sr. is an enforcer to John Rooney, an Irish Mafia chieftain in Illinois during the Great Depression. Sullivan, who was orphaned as a child and subsequently raised by Rooney, has worked for the crime boss most of his life. Sullivan and Rooney's son, Connor, are sent by Rooney to talk to Finn McGovern, an employee, shortly after the death of Finn's brother. Sullivan's older son, twelve-year-old Michael Jr., follows the enforcers and watches them kill McGovern after a heated exchange of words. The boy is caught by the enforcers, and the father swears his son to secrecy. In an attempt to ensure Michael's silence, Connor tries to have Sullivan assassinated and personally murders Sullivan's wife Annie and younger son Peter. Sullivan and Michael escape the attempt on their lives and flee to Chicago.

Sullivan requests assistance from Al Capone's crime syndicate to seek revenge, but when he is rejected, Sullivan and his son plan a string of robberies to steal the syndicate's laundered money. Sullivan hopes to coerce Capone into giving up Connor for the money, but Capone instead dispatches assassin Harlen Maguire to kill Sullivan and his son. Maguire finds Sullivan seeking assistance from Rooney's accountant, Alexander Rance, at a hotel, and inadvertently kills the accountant. Maguire is injured in the confrontation, but he manages to wound Sullivan with a gunshot. Sullivan's son takes his father to a farm where a childless and elderly couple helps the former enforcer recover. During his recuperation, Sullivan finds in ledgers taken from Rance that Connor had embezzled money from his father under the names of gang members that he had murdered.

When Sullivan recovers, he secretly meets with John Rooney during Mass and shares his discovery about Connor. Rooney refuses to let his son be harmed. Sullivan is forced to hunt down and kill members of Rooney's gang, including John Rooney himself. With the crime boss dead, Capone finds no reason to protect Connor anymore, and Capone's lieutenant Frank Nitti gives Sullivan a tip to track Connor down and kill him. Apparently free from pursuit, Sullivan and his son make their way to the town of Perdition, Michigan. A disfigured Maguire tracks the Sullivans down to the summer house of Annie Sullivan's sister. Maguire shoots Sullivan from behind, and the assassin finds himself held at gunpoint by Sullivan's son. Maguire approaches the son as Sullivan discourages his son from firing to have blood on his hands. Sullivan is able to shoot Maguire from behind instead, and Sullivan dies in his son's arms. The son mourns his father's death and finds his way to the elderly couple that had helped him and his father, growing up with them.

[edit] Cast and characters

Rooney (Paul Newman) and Sullivan (Tom Hanks) have a surrogate father-son relationship as part of the film's father-son theme^[1]

• Tom Hanks as Michael Sullivan, Sr.: A hitman who works for John Rooney. Hanks was sent a copy of the graphic novel Road to Perdition by Spielberg while he was filming Cast Away (2000). Initially too busy to make sense of the story, he later received the David Self's adapted screenplay, to which he became attached. Hanks, a father to four children, described Michael Sullivan's role, "I just got this guy. If you're a man, and you've got offspring--emotionally, it's devastating." Hanks portrayed Michael Sullivan in the film as a man who spoke little dialogue, particularly to avoid breaking the sense of self-awareness.^[2]
• Tyler Hoechlin as Michael Sullivan, Jr.: The oldest son of Michael Sullivan, Sr. Hoechlin was chosen from over 2,000 candidates to portray Michael Sullivan's son.^[2] The actor was 13 years old at the time of filming. For scenes in which Hoechlin's character assisted his father as a getaway driver, Hoechlin was trained to drive for several scenes by a driving instructor.^[3]
• Paul Newman as John Rooney: A crime boss who treats Sullivan as a surrogate son. Newman was unanimously the first choice for the role.^[4] The actor prepared for his role by requesting Frank McCourt, the Irish-American author of Angela's Ashes, to record a tape of himself speaking.^[2]
• Jude Law as Harlen Maguire: A crime scene photographer who moonlights as an assassin. Screenwriter David Self, who created the character of Harlen Maguire that did not exist in the graphic novel, explained, "He gets so jaded from exposure to this world, he steps over the line from being the storyteller to being the story maker."^[5] To capture the "seedy countenance" of the character, Law was given a sallow skin tone and beat-up hands that reflected the wear from working in a darkroom. Law's teeth also received a lower gumline and had the look of rotten teeth to mimic the ferret-like character.^[3] Law's character carried a camera that served as dual symbolism to his acts of murder. The character's apartment also displayed a collection of favorite photographs, some of which were actual police stills from the 1930s to illustrate the historic and authentic nature of crime in the decade.^[1]
• Daniel Craig as Connor Rooney: The son of John Rooney. He is jealous of the surrogate relationship between his father and Michael Sullivan, Sr.
• Stanley Tucci as Frank Nitti: A lieutenant under Al Capone. Tucci had previously avoided roles in gangster films, believing that Hollywood stereotyped all Italian-Americans as gangsters. The actor, attracted to the prospect of working with Mendes and his crew, changed his mind and accepted the role of Nitti.^[6]
• Jennifer Jason Leigh as Annie Sullivan: The wife of Michael Sullivan, Sr. Leigh was a friend of Sam Mendes and portrayed the role as a favor to the director. Leigh had more scenes as Annie Sullivan than the film showed, but due to time constraints, the scenes were cut. Scenes with her were subsequently placed on the film's DVD.^[7]
• Liam Aiken as Peter Sullivan: The youngest son of Michael Sullivan, Sr.
• Dylan Baker as Alexander Rance: An accountant who holds the ledgers for the Rooney crime syndicate.
• Ciarán Hinds as Finn McGovern: The mark assigned by Sullivan and Connor Rooney, whose death is witnessed by Sullivan's son.
• Anthony LaPaglia as Al Capone: The notorious crime boss. The character was filmed in a scene, but the scene was omitted from the final cut,^[8] and can be found in the DVD's deleted scenes.^[9] Actor Alfred Molina was approached to portray Capone, but Molina was forced to turn the role down due to scheduling conflicts with Frida (2002). Instead, LaPaglia was cast as Capone.^[10]

[edit] Production

When the graphic novel Road to Perdition was written by Max Allan Collins, his agent saw potential in the story as a film adaptation and showed it to a film agent.^[11] By 1999, the novel reached Dean Zanuck, who was the vice president of development at the company of his father, producer Richard D. Zanuck. The novel was sent to the elder Zanuck in Morocco, who was there producing Rules of Engagement (2000). The Zanucks agreed on the story's prospect and sent it to director-producer Steven Spielberg. Shortly afterward, Spielberg set up the project at his studio DreamWorks, though he did not pursue direction of the film due to his full slate.^[2]

Director Sam Mendes sought a new project after completing American Beauty (1999) and explored prospects including A Beautiful Mind, K-PAX, The Shipping News,^[4] and The Lookout. DreamWorks sent Mendes Road to Perdition as a prospect. Mendes was attracted to the story, considering it "narratively very simple, but thematically very complex".^[2] One theme that he saw in the story was of the parents' world that is inaccessible to their children. Mendes considered the story's theme to be about how children deal with violence, and whether exposure to violence would render children violent themselves. Mendes described the script to have "no moral absolutes", a factor that appealed to the director.^[12]

[edit] Writing

When Spielberg set up Road to Perdition at DreamWorks, he contacted screenwriter David Self to adapt the graphic novel Road to Perdition by Max Allan Collins into a feature film.^[2] Self wrote an initial draft that remained close to the source material and retained most of its dialogue. The screenplay was rewritten by uncredited writers, distancing the script from the graphic novel and leaving the core elements of the story.^[11] Director Sam Mendes, who described the graphic novel as "much more pulpy", sought to reduce the graphic novel's background to its essence, seeking the "nonverbal simplicity" of films like Once Upon a Time in America (1984), Pat Garrett and Billy the Kid (1973),^[2] and films by Akira Kurosawa that lacked dialogue.^[7] Duplicate language in characters' confrontations in Road to Perdition was trimmed to the absolute minimum.^[13] Mendes described Road to Perdition as a "poetic, elegiac story, in which the pictures tell the story".^[4] An unspoken scene in the film was the piano duet with Hanks and Newman's characters, intended to convey their relationship without words.^[13] In the final 20 minutes of Road to Perdition, the script was written to have only six lines of dialogue.^[4]

Hanks and cinematographer Conrad Hall, who abhorred violence, requested to Mendes that violence in the film would be meaningful and not gratuitous. The violence of early drafts was minimized as the script became more streamlined.^[2] Hanks's character, Michael Sullivan, was known as "The Angel" in the graphic novel and invoked fear in those around him, but his infamy is downplayed in the film.^[12] In the novel, he was also an alcoholic, an element which was removed in the adaptation.^[2] An addition made to the script was one of the film's antagonists, portrayed by Jude Law, to provide a chase element to the Sullivans' departure from the old world.^[11]

The author of Perdition graphic novel, Max Allan Collins, originally desired to write the adapted screenplay for the feature film, but was not given the opportunity.^[11] He chose to stay out of the scripting process in respect to the different style of writing for a different medium, though he served a consultant in the process. Collins praised the addition of Jude Law's character and considered the minimalist use of dialogue to be appropriate.^[14] The author also applauded the film's version of Mr. Rooney as "more overtly a father figure" to Sullivan.^[11] The author opposed the reduction of profanity in the script, believing that the vulgar language was appropriate for the era.^[14] He also contested the path of Sullivan's son in the film. In the graphic novel, the son kills once, and in the film, he does not kill anyone. Collins also disagreed with the narration technique of the film. In the novel, the son narrates the story as an adult, becoming a priest, while in the film, he narrates while still a young boy.^[15]

[edit] Filming

Prior to filming, director Sam Mendes sought to produce a period film that would avoid clichés in the gangster genre. Mendes chose to film Road to Perdition on location in Chicago and the nearby town of Pullman. The Armory, the state's largest location mainstay which houses the Illinois State National Guard, was provided to the studio by the Illinois State Film Commission. Sets were built inside the Armory, including interiors of the Sullivan family's home and the Rooney mansion. The availability of an inside location provided the crew complete control over the lighting environment, which was established with the rigging of scaffoldings.^[16]

"Atmospherically, the landscape is a violent and magnificent canvas on which is told a mythic story of a father and son in the last period of lawlessness in American history."

— Sam Mendes[16]

Mendes collaborated with costume designer Albert Wolsky, production designer Dennis Gassner, and cinematographer Conrad Hall to design the film's style. Wolsky designed costumes that were "very controlled, with soft outlines and very soft silhouettes". Gassner built sets that could capture the cold look of the era. Mendes sought a muted palette for the film, having dark backgrounds and sets with dark, muted greens and grays. Mendes filmed Road to Perdition using the Super 35 format.^[16]

The director filmed exterior scenes in Illinois in the winter and the spring of 2001, using real weather conditions such as snow, rain, and mud for the scenes. Mendes considered the usage of bleak weather conditions and the intended coldness of Gassner's exterior locations to define the characters' emotional states. Pullman became a key location to reflect this theme, having several settings, including the town's historic Florence Hotel, easily redressed by the crew for the film.^[16] Filming concluded in June 2001.^[2]

[edit] Cinematography

Cinematographer Conrad L. Hall set up atmospheric lighting similar to that found in the paintings of Edward Hopper

To establish the lighting of scenes in Road to Perdition, director Sam Mendes drew from the paintings of Edward Hopper as a source of inspiration, particularly Hopper's New York Movie (1939). Mendes and cinematographer Conrad Hall sought to convey similar atmospheric lighting for the film's scenes, applying a "less is more" mantra.^[17] Hall also shot wide open scenes that retained one point in the depth of field sharply focused. Hall considered the technique to provide an emotional dimension to the scenes. The cinematographer also used unconventional techniques and materials to create unique lighting effects. One of Hall's methods was to use black silk in daylight exterior scenes to filter the light enough to create an in-shade look.^[16]

Hall purposely distanced the camera from Hanks's character, Michael Sullivan, at the beginning of the film to establish the perspective of Sullivan's son, who is unaware of his father's nature.^[2] Hanks's character was filmed as partially obscured and seen through doorways, and his entrances and exits took place in shadows. A wide lense was used to maintain a distance from the character.^[16]

Shots in the film were drawn directly from panels in the graphic novel Road to Perdition, illustrated by Richard Piers Rayner. An instance of the direct influence was the scene in which Michael Jr. looks up at the Chicago skyline from the vehicle, with the skyline reflected in the vehicle's glass.^[18]

A seamless 40-second driving scene in which Michael Sullivan and his son travel into Chicago from the countryside was aided by visual effects. The live-action part of the scene was filmed at LaSalle Street, and due to the lack of scenery for part of the drive down LaSalle Street, the background of Balbo Drive was included with the use of visual effects.^[19]

Reception

Road to Perdition concluded filming in June 2001,^[2] and the studio intended to release the film in the United States the following Christmas, but by September 2001, director Sam Mendes requested more time to edit and score for the film. The film was instead scheduled to be released on July 12, 2002 in the United States, an unconventional move that placed the drama among the wide-audience summer films.^[2] The film earned $22,079,481 in 1,797 theaters over the opening weekend. The film grossed $104,454,762 in the United States and $76,546,716 in other territories for a worldwide total of $181,001,478.^[21]

The film received 82% approval out of 198 reviews at the movie review aggregator Rotten Tomatoes.^[22] At a similar site, Metacritic, Road to Perdition received an average score of 72 out of 100, based on 36 reviews.^[23] Reviewer James Berardinelli praised Road to Perdition for its atmosphere and visuals, but he considered the emotional attachment to be lacking the characters with the exception of Sullivan's son, portrayed by Hoechlin. Berardinelli applauded cinematographer Conrad L. Hall for his cinematic work and also appreciated the unhurried pace of a story that could have been sped up.^[24] Film critic Roger Ebert praised Hall's cinematography and the thematic use of water throughout the film. Like Berardinelli, Ebert felt an emotional detachment from the characters, saying, "I knew I admired it, but I didn't know if I liked it... It is cold and holds us outside."^[25] Eleanor Ringel Gillespie of The Atlanta Journal-Constitution enjoyed the film's cinematography and Depression-era setting, as well as solid, convincing performances from Tom Hanks and Paul Newman. Gillespie expressed the wish that the film lasted a little longer to explore its emotional core further.^[26]

Eric Harrison of the Houston Chronicle considered Road to Perdition "the most brilliant work in this [gangster] genre" since the uncut Once Upon a Time in America (1984). Harrison enjoyed the film's complex characters and considered David Self's script "so finely honed that the story can change directions in a heartbeat". Harrison also lent praise to the cinematography, considering the setup to accentuate the characters' emotional development.^[27] Kirk Honeycutt of The Hollywood Reporter considered the performances of Hanks, Newman, and Daniel Craig to be appropriate, though he called Jude Law's performance "almost cartoonish".^[28] Peter Travers of Rolling Stone also complimented the performances of Hanks and Newman, saying, "[They] act together with the confidence of titans, their talents in the service of character, never star ego." Travers enjoyed the combination of Hall's "breathtaking" cinematography and composer Thomas Newman's "evocative" score in the film's scenes.^[29]

Paul Clinton of CNN believed that Road to Perdition failed to flesh out its multitude of themes. "While these deeply human issues are touched upon, they're never fully explored, and that undermines the sense of greatness to which this movie obviously aspires," Clinton said. Clinton also failed to emotionally identify with the film's characters and considered Craig's character as "one-dimensional to the extreme". He also believed that the cinematography was too overpowering for the film's weak storyline.^[30] J. Hoberman of The Village Voice considered Road to Perdition to be "grim yet soppy". He described the film, "The action is stilted and the tabloid energy embalmed."^[31] Stephen Hunter of The Washington Post thought that the script lost its path when Sullivan and his son fled their old life, leaving behind the characters and the setting with which Hunter had become familiar. Hunter found the character of Maguire hard to care for and noted clichés in the film.^[32]

Road to Perdition was nominated for 6 Academy Awards: Best Supporting Actor (Paul Newman), Best Art Direction, Best Cinematography (Conrad L. Hall), Best Original Score (Thomas Newman), Best Sound, and Best Sound Editing. Of the film's nominations, the sole award went to Hall for Cinematography.^[33] The film was also nominated BAFTA Awards for Best Performance by an Actor in a Supporting Role (Paul Newman), Best Cinematography, and Best Production Design, winning awards for the latter two.^[34] Hall also won an award from the American Society of Cinematographers for Outstanding Achievement in Cinematography in Theatrical Releases.^[35] In April 2006, Empire recognized Road to Perdition as #6 in its list of the top 20 comic book movies

سردبیر معرفی فیلم:یزدان چوبساز

What Dreams May Come

From Wikipedia, the free encyclopedia

What Dreams May Come
DVD cover for What Dreams May Come
Directed by	Vincent Ward
Produced by	Stephen Deutsch Barnet Bain
Written by	Richard Matheson (novel) Ronald Bass (screenplay)
Starring	Robin Williams Cuba Gooding Jr Annabella Sciorra
Music by	Michael Kamen
Cinematography	Eduardo Serra
Editing by	David Brenner
Distributed by	PolyGram
Release date(s)	October 2, 1998
Running time	113 min
Country	United States
Language	English
Budget	US$85 million
All Movie Guide profile
IMDb profile

What Dreams May Come is a 1998 dramatic film, starring Robin Williams, Cuba Gooding Jr., and Annabella Sciorra. The movie is based on the 1978 novel of the same name by Richard Matheson, and was directed by Vincent Ward. The title comes from a famous line in Hamlet's soliloquy in Act 3, scene 1 (To be, or not to be), specifically, "For in that sleep of death what dreams may come / When we have shuffled off this mortal coil." Scenes in the movie, as well as the plot outline in the novel, contain several allegorical references to Dante Alighieri's 1308 epic poem The Divine Comedy. A connection to the Greek myth of Orpheus and Eurydice should also be noted.

The movie received mixed reaction from critics and mediocre box office returns, but went on to win an Academy Award for its visual effects. It was also nominated for the Academy Award for Best Art Direction.

The film was released by PolyGram Filmed Entertainment. It is one of the few movies to be shot largely on Fuji Velvia film, known among landscape photographers for its vivid color reproduction.[1]

Cast

• Robin Williams: Chris Nielsen
• Annabella Sciorra: Annie Collins-Nielsen
• Cuba Gooding Jr.: Albert Lewis/Ian Nielsen
• Max von Sydow: The Tracker/Albert Lewis
• Jessica Brooks Grant: Marie Nielsen
• Josh Paddock: Ian Nielsen
• Rosalind Chao: Leona and Marie Nielsen

[edit] Plot summary

The movie opens with Chris and Annie's meeting on a lake near Switzerland. The viewer is then treated to a quick montage describing their courtship and marriage. Chris's work is as a pediatrician at a local clinic, while Annie runs an art gallery.

When Chris's son and daughter are killed in a car accident, Annie becomes mentally unstable. She attempts suicide by cutting her wrists, and enters a mental hospital. Chris helps her the best he can, and finally she recovers. However, on the couple's Double D anniversary (which marks Annie's Decision about not getting Divorced), Chris is killed in yet another car accident.

Chris experiences life after death, although it takes him a while to accept that it's more than a dream. A man named Albert (Gooding) guides him through his grief and confusion, and then shows him the beauty of the Heavenly realm. At first, Chris believes Albert to be his friend and mentor from his medical residency, whom he calls "Doc." Albert guides Chris to an understanding of his condition, but even he is surprised when a glorious purple tree appears in Chris's personal section of Heaven. It turns out that the tree matches a new painting of Annie's; the two are soul mates, and anything she paints appears in Chris's heaven. Unfortunately, Annie destroys the painting in a fit of despair, and the beautiful tree withers.

After getting adjusted to the spirit world, Chris meets a beautiful Asian woman named Leona who shows him a children's realm in heaven. She asks Chris to share a memory with her, and he tells her about teaching his daughter, Marie, to play chess. In turn, she explains that she took the form of a stewardess because her father once admired that stewardess' special beauty. Suddenly, Chris recognizes their location as a diorama his daughter loved in life, and she reveals she is Marie. On Earth, she was tomboyish and wanted to look more feminine when she grew up. In the Heaven of this movie, a person is able to achieve their lifelong desires, and appear however they wish.

As this is happening, Annie's depression deepens, and in her torment, she takes poison. Albert sadly breaks the news to Chris. At first Chris is able to find joy in the terrible news, as he thinks that his wife is now free from her emotional pain on Earth and that he can soon meet her. His hope quickly turns to anger when Albert explains that suicides are trapped in Hell by their own despair. Albert claims there is no judgment; it is simply the nature of suicides. This is a deliberate reference to Dante Alighieri's Inferno cantica, where the seventh level of Hell is reserved for sins of violence -- including violence against oneself. The punishment for those who commit suicide in Dante's Inferno is to spend eternity in the body of a tree.

Chris boldly resolves to rescue his wife. Albert tries to persuade Chris to give up the painful and impossible quest. According to him, no one has ever brought a suicide out of Hell. However, Chris is undaunted, and Albert agrees to help find Chris a "tracker," played by Max von Sydow. A tracker is a soul who can help find other souls; he provides Chris spiritual guidance to help him "tune in" to Annie's presence.

The group descends into Hell. The damned are shown acting out their sins, failures, and fears over and over again, without any hope of understanding or breaking free of their misery. Chris attempts to focus his concentration on Annie, but finds himself instead remembering his son, Ian. The brilliant and meticulous Chris had always found it difficult not to show disappointment in his less-gifted son, and in a rain-swept woods one day, they had it out. Despite their differences, though, Chris and Ian achieved a resolution that day, with Chris telling his son, "If I was going through HELL, I'd only want one person in the whole world by my side."

Chris snaps out of his memories when he sees Albert, searching for Annie, about to risk approaching a dangerous-looking group of the damned. Suddenly, Chris sees through the disguise, and snatches "Albert" back, calling him "Ian." When he asks his son why he chose to appear as Albert, the son replies that Albert was the only authority figure that Chris would ever listen to. Chris is impressed by his son, but the Tracker demands that Ian return to Heaven, while he and Chris carry on. In parting, Ian instructs Chris to think about what happened when he and Marie died, and what Chris said to bring Annie back from her mental crisis.

In the topsy-turvy ruins, Chris finds a field full of the faces of the damned, eternally moaning and muttering to themselves. Scenes such as these are direct representations of Dante's Inferno, and the nine stages of Hell reserved for sins of varying degrees. One of the people claims to be Chris's father, but it seems to be a case of mistaken identity. Suddenly, Chris thinks he sees Annie's face, but as he runs towards her, the ground crumbles beneath his feet, and he falls into a vast, upside-down cathedral. At the bottom of it is a twisted mirror-image of their home. The Tracker is surprised that Chris found her; she's inside. However, he warns Chris that if he stays with her for more than several minutes, he may become permanently trapped as well. Before he enters, the Tracker reveals a final secret: he is Albert, who has been waiting for many years to do Chris a favor.

When Chris enters the house, he finds that Annie doesn't recognize him. Pale, gaunt, and miserable, she isn't fully aware that she's dead. He talks to her gently, pretending to be a neighbor, before he is able to gain enough of her trust to reach her for a moment. In guilt and disbelief, Annie screams and pushes him away, and a saddened Chris realizes he has failed. He tells his insane wife a last good-bye, and leaves the house. The Tracker consoles him, and Chris tells him he has given up.

He adds: "...just not the way you think."

He asks the Tracker to give his love to his children, and re-enters the house. Taking his wife's hand, he tells her he won't leave her. He's decided to stay forever in Hell and join her in madness rather than leave her again. Somehow, this sacrifice reaches Annie when nothing else can, and she and Chris pull each other out of the miasma of Hell, narrowly escaping.

Chris and Annie are reunited with their children, but Chris is dissatisfied. He inspires Annie to join him in reincarnation, so they can experience the joy of meeting and falling in love all over again and can make new mistakes along the way.

In a longer, alternate ending (available on the special edition DVD) the reincarnation is not a choice, but is part of the natural order. Chris and Annie will meet again in their new lives, but Annie must atone for killing herself -- her new incarnation will die young, and Chris will spend the remainder of his new life as a widower before the two are once again reunited in Heaven. The film then goes to Sri Lanka where a woman is giving birth to a little girl, which presumably is Annie. The alternate ending, which is actually the one from the novel, was left roughly edited and unfinished.

سردبیر شعر:امین داودی-کوروش آریایی

شهریار

امشب ای ماه  به درد دل من تسکینی

آخر ای ماه تو همدرد من مسکینی

کاهش جان تو من دارم و من می‌دانم

که تو از دوری خورشید چها می‌بینی

تو هم ای بادیه پیمای محبت چون من

سر راحـت ننهادی به سر بالینی

هر شب از حسرت ماهی من و یک دامن اشک

تو هم ای دامن مهتاب پر از پروینی

همه در چشمه‌ی مهتاب غم از دل شویند

امشب ای مه تو هم از طالع من غمگینی

من مگر طالع خود در تو توانم دیدن

که توام آینه‌ی بخت غبار آگینی

نی محزون مگر از تربت فرهاد دمید

که کند شکوه ز هجران لب شیرینی

تو چنین خانه‌کن و دلشکن ای باد خزان

 گر خود انصاف کنی مستحق نفرینی

کی بر این کلبه‌ی طوفان‌زده سر خواهی زد

ای پرستو که پیام‌آور فروردینی

شهریارا گر آئین محبت باشد

چه حیاتی و چه دنیای بهشت آئینی

---------------------------------------------------------------------------------------------------------------------------------

با یاد او غزل «حالا چرا» را مرور می کنیم.

آمدي جانم به قربانت ولي حالا چرا

اين سفر راه قيامت می روی تنها چرا

سردبیر فیلم :یزدان چوب ساز

The Green Mile

From Wikipedia, the free encyclopedia

The Green Mile
Promotional poster for The Green Mile
Directed by	Frank Darabont
Produced by	Frank Darabont David Valdes
Written by	Novel: Stephen King Screenplay: Frank Darabont
Starring	Tom Hanks David Morse Bonnie Hunt Michael Clarke Duncan Barry Pepper James Cromwell Doug Hutchison Sam Rockwell Patricia Clarkson Harry Dean Stanton
Music by	Thomas Newman
Cinematography	David Tattersall
Editing by	Richard Francis-Bruce
Distributed by	Warner Bros. (U.S. Theatrical & worldwide DVD) UIP / Universal (International)
Release date(s)	December 10, 1999
Running time	188 min.
Language	English French
Budget	$60 million
IMDb profile

The Green Mile is an Academy Award-nominated 1999 drama film, directed by Frank Darabont and adapted by him from the 1996 Stephen King novel The Green Mile. The film stars Tom Hanks as Paul Edgecomb and Michael Clarke Duncan as John Coffey.

The movie is primarily about Edgecomb and his life as a corrections officer on Death Row in the 1930s. The movie is told in flashback by the protagonist in a nursing home and follows a string of supernatural and metaphysical events upon the arrival of Coffey, a convicted murderer.

In the 2000 Academy Awards, the movie was nominated for four awards (Best Actor in a Supporting Role, Best Picture, Best Sound, and Best Writing: Screenplay Based on Material Previously Produced or Published).

[edit] Plot

The Green Mile is a story told in flashback by an elderly Paul Edgecomb in a nursing home. He tells a friend about the summer of 1935 when he was a corrections officer in charge of Death Row inmates in Louisiana's Cold Mountain Penitentiary. His domain was called "The Green Mile" because the condemned prisoners walking to their execution are said to be walking "the last mile" here, on a stretch of green linoleum. The main feature of the cellblock was "Old Sparky", the electric chair.

One day, a new inmate arrives. He is 7 foot tall (about 2.13 metres) John Coffey, a black man convicted of raping and killing two young white girls. Coffey immediately shows himself to be a "gentle giant", keeping to himself, afraid of the dark and being moved to tears on occasion. Soon enough, Coffey reveals his extraordinary healing powers by healing Edgecomb's urinary tract infection and resurrecting a mouse. Later, he would heal the terminally ill wife of Warden Hal Moores (James Cromwell). Although it is clear that Coffey has a degree of control over his power, when asked to explain it, he merely says that he "took it back."

At the same time, Percy Wetmore (Doug Hutchison), a vicious, sadistic guard who takes pleasure in intimidating and injuring inmates, exasperates everyone else in the cellblock. He "knows people in high places" (he was the nephew of the governor's wife), in effect preventing Edgecomb or anybody else from doing anything significant to curb his deviant behavior. Wetmore recognizes that the other officers greatly dislike him, and uses that to demand being put "up front" (i.e., in charge) at the next execution. After that, he promises, he will have himself transferred to an administrative post in the Briar Ridge mental hospital, and Edgecomb will never hear from him again. A reluctant agreement is made, but Edgecomb comes to regret it after Wetmore deliberately sabotages the electrocution, inflicting as much pain as possible on Eduard Delacroix (Michael Jeter), a Cajun inmate who had previously embarrassed him.

John Coffey (Duncan) being escorted to his execution by Edgecomb (Hanks) and Brutus Howell (David Morse).

Meanwhile, a violent prisoner named William Wharton (Sam Rockwell) arrives, due to be executed for multiple murders he committed during a robbery. At one point he seizes Coffey's arm, and Coffey senses that Wharton is also the true killer of the two girls, the crime for which Coffey was falsely convicted and sent to death row. Coffey then uses his powers to compel Wetmore to empty his handgun into Wharton, after which Wetmore falls into a permanent catatonic state. Stunned by these events, Edgecomb queries Coffey, who says he "punished them bad men", then takes Edgecomb's hand and imparts the vision that he saw of what really happened to the girls, a vision that Edgecomb finds nearly unbearable to endure. Wharton is dead at Wetmore's hand, and Wetmore ends up as a patient at the very asylum to which he promised Edgecomb he would transfer.

Not withstanding Coffey's incredible abilities and the wrongness of his conviction, he ends up being executed, due in large part to geographically based racial overtones (the movie was set in the American South). The proper story ends there, and Edgecomb says he subsequently transferred from Death Row to a youth detention center, where he spent the remainder of his career. The story then returns to the present, where Edgecomb explains to his friend why he is able to remember the events of 1935: he is in fact 108 years old and still in excellent health. This is apparently a side effect of the life-giving power of Coffey's touch: a significantly lengthened lifespan. Mr. Jingles, the mouse resurrected by Coffey, is also still alive — but Paul believes his outliving all of his relatives and friends to be a punishment from God for not stopping Coffey's execution (although it is not clear whether Paul had the power to do so). As he puts it, he has had to walk his own Green Mile, which "seems so long."

[edit] Cast

[edit] Characters

[edit] John Coffey

Coffey is an enormous black prisoner on Death Row for raping and killing two small girls. It is later revealed that he was innocent and that Wharton, on Death Row for another crime was the girls' rapist/murderer. Coffey is favored by officers and inmates of the prison. Coffey is scared of the dark, and his character is one of an innocent child, making the crime he is accused of somewhat unbelievable. He chooses to be executed partly due to the cruelty he feels in the world. Coffey has the ability to heal.

[edit] Paul Edgecomb

The first of the two protagonists, Edgecomb is the head corrections officer of an Alabama Death Row during the 1930s. He tells his life in flashbacks. Paul is cured of his urinary infection by John Coffey, of whom Edgecombe and the other officers become fond. Later John Coffey show Paul who the real killer of the girls is and as a result Paul is given the gift of life. He is at his wits' ends with the conniving and abusive officer Percy Wetmore, along with the psychotic "Wild Bill" Wharton.

[edit] Brutus "Brutal" Howell

Second-in-charge of Cold Mountain's Death Row, Brutus Howell, often referred to as "Brutal" by the others, is Paul Edgecombe's closest friend. Despite his intimidating name and large frame, Brutal is a calm, easy-going individual, but he does have a temper, which he mostly shows towards Wetmore.

[edit] William "Wild Bill" Wharton

William Wharton, who prefers to be known as "Billy the Kid", but is known to the inmates and officers as "Wild Bill", is the extremely evil individual behind the crime for which John Coffey was convicted. Wharton serves as an antagonist. He is a deranged and psychotic killer. He worked on the farm where the two girls lived. Wharton kidnaps and rapes them. He then kills the girls where they are discovered by Coffey. Wild Bill attacks officers on occasion. He even grabs Coffey's arm, and that's when Coffey discovers Wharton was the true killer of the girls. It is also implied Wharton is racist, as during the film he repeatedly uses the racial slur "nigger". It is implied that he may have homosexual tendencies when he assaults Percy Wetmore in a predatory way. Wharton is later shot to death by Percy, to whom a disease was passed by Coffey.

[edit] Eduard Delacroix

Eduard Delacroix, better known as "Del", is a fairly well-adjusted inmate who becomes a friend of John Coffey. Del discovers a mouse whom he names Mr. Jingles, who becomes his closest friend on death row. He despises Wetmore, who also hates him in return. Del even laughs at Percy after he is attacked by Wharton. Wetmore later severely injures Mr. Jingles, but the mouse is healed by Coffey. Finally, Del's execution is sabotaged by Wetmore in order to inflict maximum pain on him. However, the electrocution gets so out of hand that even the family of Delacroix's victims is horrified.

[edit] Arlen Bitterbuck

Arlen Bitterbuck is a Native American who was in prison when John Coffey arrived at Cold Mountain. Repentant of what he has done, on the night of his execution he confides in Paul Edgecomb about his belief that, if a person were truly sorry for his sins that after his death, he would return to the time he was happiest.

[edit] Percy Wetmore

Wetmore is a cynical and sadistic corrections officer inside the prison who assaults prisoners. He flaunts the fact that his aunt is married to the state governor, therefore allowing him to get away with his unruly behavior. He often uses this to his advantage whenever he is assigned a lousy task by having the state governor call the warden's office to chastise the rest of the staff. At one point, he wickedly crushes Mr. Jingles with his foot. The mouse is brought back to health by Coffey. Wetmore is tormented by Wild Bill, a serial killer in the prison whom he later kills. Wetmore even sabotages prisoner Eduard Delacroix's execution. The other officers later throw Wetmore into the restraining room, bound in a straitjacket due to his wicked ways. Wetmore is released, only to be grabbed by Coffey. Coffey passes the sickness he absorbed from the warden's wife into Wetmore. Wetmore, now cursed with the disease, empties his pistol and kills "Wild Bill" Wharton. Wetmore then goes into a permanent, catatonic state. He is later placed in a mental-health institution which, ironically, is Briar Ridge Mental Hospital, the institution he was applying to for a good job.

[edit] Harold "Hal" Moores

The warden of Cold Mountain Prison, Hal Moores is a friend of the Edgecombes, and his personal life provides much of the drama of the movie. Early on, it was revealed that his wife Melinda had an inoperable brain tumor which was cured when Coffey "took it back" when they snuck him out of E-Block. This sickness was later passed into Percy which caused him to kill Wild Bill.

[edit] Mr. Jingles

A mouse that initially caused a deal of trouble among the inmates and caretakers of E-Block, but was later adopted by Delacroix as a pet. Mr. Jingles nearly got killed when Percy stepped on him. He was later resurrected by Coffey. The mouse has had an extended lifespan, as a side-effect of being in Coffeys hand while he was taking in the pain of Del's execution. The mouse was still alive at the time of Edgecombe's telling of the story.

[edit] Deviations from source material

The book cover

The Green Mile is, for the most part, faithful to Stephen King's original novel. There are, however, a few slight alterations.

• The novel is a written story, delivered by the elderly Edgecombe to his fellow nursing home patient, Elaine. Each of the six volumes includes both an entry in the Green Mile story, as well as brief bookend scenes taking place in a modern day nursing home. These scenes included not only Edgecomb's relationship with Elaine, but also his interaction with a sadistic employee, Brad Dolan, who reminds him of Percy Wetmore, his Green Mile co-worker. It is these interactions that cause him to remember 1932, his last year on the Mile. In the film, Brad Dolan is left out completely, and the bookend sequences only take place at the very beginning and end of the movie. Instead of Dolan, it is watching the 1935 film Top Hat that provokes the flashback, and this film is added to the main storyline as well, in which John Coffey's last request is to be able to see a "flicker show" (motion picture) before he is executed.

• In the book, Hal Moores has an assistant named Curtis Anderson. He does not appear in the film, and his lines and scenes are given to Moores instead. Other inmates on the Green Mile in the book who did not have speaking roles, and are inconsequential to the plot, are also omitted.

• The first and second volumes of the book are told out of chronological order. The first book begins with the arrival of Coffey, and provides details of the murder for which he was convicted. At this point in time, inmate Eduard Delacroix already has his pet mouse, Mr. Jingles, and another inmate, Arlen Bitterbuck, has already been executed. The second book goes back in time, to before Coffey is brought in, to explain where Mr. Jingles came from, and who Bitterbuck was. The film re-arranges these events so that Coffey's arrival is the first event to take place, and all others follow it.

• In the book, strong evidence — ignored by the authorities — is presented to the reader of Coffey's innocence in Edgecomb's eyes: for example, the tracking dogs' confusion at the site of the girls' murder, resulting from the murderer and the girls' bodies leaving in different directions. In the movie, however, Coffey grabs Edgecomb's hand and, along with transferring "life" to him, also shows Edgecomb who really killed the two girls.

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