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Author - Peter Sciretta
Resume: The official account for . You can still follow Peter over @PeterSciretta!

Reviews: A woman's panicked decision to cover up an accidental killing spins out of control when her conscience demands she return the dead man's body to his family
country: USA
Matthew Pope
Audience Score: 30 votes
Director: Matthew Pope

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Her name in blood 's fxcking awesome band in asian Pls. show in Thailand. Well that just got weird really quickly. Free Watch Blood on Her name generator. True Blood - Season 1 Created by Alan Ball, this TV drama follows Sookie Stackhouse, a barmaid living in Louisiana who can read people's minds, and how her life is turned upside down two years after the invention of a synthetic blood called Tru Blood that has allowed vampires to "come out of the coffin" and allow their presence to be known to mankind. Now they are struggling for equal rights and assimilation, while anti-vampire organizations begin to gain power. Episode: 12 eps Duration: 55 min Quality: HD Release: 2008 IMDb: 8.

昨日のライブ演奏旨すぎて爆上がり！. Time left: 80 years Talks back to mother Time left: About 10 seconds. Watched a movie In one minute and twenty-three seconds. SHOOK. I really dont think ive seen such an amazin trailer before. Trailer Directed by Matthew Pope United States, 2019 Crime, Drama, Thriller Synopsis A woman’s panicked decision to cover up an accidental killing spins out of control when her conscience demands she return the dead man’s body to his family. This film is not currently playing on MUBI but 30 other great films are. See what’s now showing Blood on Her Name Show all (1) Awards & Festivals Fantasia Film Festival 2019 (8) Cast & Crew Director and Screenplay Will Patton Cast Elisabeth Röhm Don M. Thompson Screenplay Bethany Anne Lind Jared Ivers Jimmy Gonzales Jack Andrews Critics reviews Oppressively dark and unrelentingly intense, “Blood on Her Name” packs down-and-dirty performances, and a few surprises, into a tight 85 minutes. Jeannette Catsoulis February 27, 2020 Read full article What are people saying? Be the first to review this film! In these lists Submissions by João R. Films 5514 Followers 36 Related films City of God Fernando Meirelles, Kátia Lund, 2002 Mother Bong Joon-ho, 2009 Lady Vengeance Park Chan-wook, 2005 MUBI Rental Play button Rent for $3. 99 Jackie Brown Quentin Tarantino, 1997 Blood Simple Joel Coen, 1984 Elevator to the Gallows Louis Malle, 1958 Rififi Jules Dassin, 1955 The Silence of the Lambs Jonathan Demme, 1991 Chinatown Roman Polanski, 1974 Peeping Tom Michael Powell, 1960 Reservoir Dogs 1992 The Long Goodbye Robert Altman, 1973.

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Something tells me, I'm gonna need the tissue box handy for this... Free watch blood on her name generator.

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Blood on Her Name

 

 

 

Blood on Her Name - by Nikki, March 03, 2020

4.3/ 5stars

1080i(hd) Blind Eyes Opened Movie

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Geoffrey Rogers / Runtime 1 h 55minute / star Brook Susan Parker / Ratings 6,9 / 10 Star / release date 2020. Blind Eyes Opened movies.

 

Movie blind eyes opened. Blind eyes opened movie times. Blind Eyes Opened movie page. Blind eyes opened movie review. Blind eyes opened movie locations. Blind eyes open movie. Blind eyes opened full movie. Blind eyes open movie fathom events. Blind eyes open movie rating. Moving Documentary, 'BLIND EYES OPENED' Comes to Movie Theaters for One-Night Only Event on January 23, 2020 First-of-a-Kind Documentary Exposes Sex Trafficking Industry in America; Highlights Power of Gospel to Help End Modern Day Slavery NEWS PROVIDED BY Icon Media Group Oct. 16, 2019 TAMPA, Fla., Oct. 16, 2019 / Christian Newswire / -- There are more than 4. 8 million people being sexually exploited worldwide, and more than one million of these are children ( International Labour Organization). According to a recent report by the US State Department, the United States is one of the leading consumers of sex trafficking, as well as leading country of origin for victims. On January 23, 2020, Ships of Tarshish will present BLIND EYES OPENED: The Truth About Sex Trafficking in America, a first-of-its-kind look at the dark roots of sex trafficking, in a one-night-only cinema event. "Once you've learned how to recognize human trafficking, you begin to see it everywhere – it's in every single community, " said Executive Producer of BLIND EYES OPENED and CEO US Institute Against Human Trafficking, Geoffrey Rogers. Six years in the making, BLIND EYES OPENED is a feature-length documentary exploring the growing epidemic of modern-day slavery, the industries feeding as well as fighting it, and the shocking scope of its infiltration into every segment of the U. S. population. Contrasting the darkness, however, the film reveals the power of the Gospel of Jesus Christ to bring healing for victims and freedom to the captives. BLIND EYES OPENED will release in nearly 800 movie theaters nationwide on January 23 at 7:00 p. m. local time. For tickets and a complete list of theater locations, visit. BLIND EYES OPENED features multiple stories of survivors whose journeys with trafficking began when they were small children, many whose parents served as pimps. From runaways and children in the foster care system, to average middle-school girls being recruited under the noses of adults, trafficking of children in the United States has reached epic proportions and concerned parents cannot afford to turn a blind eye. "They stole my purity, my childhood; the joy you're supposed to have as a child, " one victim, Edie, remembers. "There were lots of opportunities for people to see, but they looked the other way. " BLIND EYES OPENED also makes the direct connection between trafficking and the commercial sex industry (strip clubs, escort services, pornography) which fuels demand, as well as the abortion industry where frequent abortions enable girls to be used frequently, covering evidence of abuse. Additional Child Trafficking Statistics: The average age a child first becomes a victim of sex trafficking is between 12-14 (U. Department of Justice) 84% of those in sex slavery were sexually abused as children (World Without Exploitation) The only hope for ending this crisis, says dozens of experts, survivors, government leaders and non-profit ministries featured in BLIND EYES OPENED, is a commitment from the church to intercede and intervene in the world of trafficking. This happens when efforts are made to end the "demand" by tackling the issue of pornography; reducing the "supply" by strengthening families, engaging in the foster care system, and ministering to sex trade workers; and aiding in restoration of victims by supporting recovery efforts and ministries. "We absolutely need the church to engage in this crucial battle; but first, followers of Christ have to allow themselves to see the problem, and that's what this movie aims to do, " said Executive Producer and Writer of BLIND EYES OPENED, Kerri Rogers. "If we're going to truly overcome the evil of sex trafficking, hearts have to change; and this only happens through the love of Christ. " About Ships of Tarshish Ships of Tarshish, Inc. is a 501(c)3 organization established in 2011, and aims to produce high-quality Christian programming that is relevant, exciting and entertaining to watch, showing everyday Christians releasing the Power of God by fulfilling the Great Commission. For more information visit. SOURCE Icon Media Group CONTACT: Paige Collins, 615-934-4162, Related Links.

Michael Foust Contributor 2020 17 Jan COMMENTS Rebekah is an American teenage girl with low esteem. She’s been raped. She’s lost friends. She doesn’t get along with her parents. So, at age 16, she moves out of her parents’ home and starts doing drugs. At age 17 and needing cash, she starts working at a strip club. From there, she meets a handsome man who promises her a place to live and plenty of love. He has a 5, 000-square-foot home. He has secretaries who answer his phone. “He made me feel special, and wanted, and loved – which is what I missed, ” she says. Soon, though, Rebekah is caught up in the underground world of sex trafficking. She is forced into prostitution. The film Blind Eyes Opened – in theaters for one night only, Jan. 23 – tells the story of Rebekah and others like her in what has been dubbed a “first-of-its-kind Christian documentary. ” The film interviews law enforcement officials, lawmakers, trafficking experts and ministry leaders as it exposes a dark underground industry – sex trafficking – that is closer to your city than you might think. It’s one of the best films on the subject and one of the most gripping, too. Here are three things you’ll learn: Photo courtesy: Fathom 1. It’s Happening in your Area The film takes us to several cities – including Tampa, Atlanta and Nashville – where sex trafficking is common. “It’s in every single community, ” an expert on the subject says. Although human trafficking can involve forced labor or involuntary servitude, the film focuses on the most popular form of trafficking in the U. S. : sex trafficking. “Most people think of it as an overseas problem. But the reality is we have a major, major issue here in America inside of our own borders – with our own kids, ” the film’s executive producer, Geoffrey Rogers, told Crosswalk. “We would estimate over 100, 000 kids in America are being trafficked for sex every single day here in our own country. ” The film includes interviews with those who were caught in the web of sex trafficking but escaped. One girl was trafficked at age 12. Most felt they had no choice, and few were raised in a loving, intact family. Most victims, in fact, were sexually abused as children. One girl in the film was trafficked by her father. Traffickers find their victims on social media but also in public places like malls. Other times, traffickers discover their victims in the commercial sex industry, whether in strip clubs or prostitution rings. Photo courtesy: Fathom 2. It Involves Teens Who Have No Hope Most victims of sex trafficking are girls, although 10-15 percent are boys. It’s estimated that one girl can net her boss between $200, 000 and $300, 000 per year. The average sex trafficking victim got into the system between the ages of 12 and 14. Some are runaways. Others grew up in the foster system. “Around 60 percent of kids that are trafficked in America come out of the foster care system, ” Rogers told Crosswalk. “These are U. -born kids, and they're being trafficked by U. citizens and being purchased by U. citizens. The foster care system is the main feeder. ” Traffickers are looking for girls with low self-esteem. “Because she's been growing up in an environment where she didn't have the best loving environment, she doesn't really even understand what true love is. She falls for this guy, head over heels. And he will groom her for six to nine months. And after a certain period of time, he'll flip a switch and say, ‘OK, now you work for me. ’” By then, many of the girls have developed an emotional bond based on trauma (Stockholm syndrome) or they’re addicted to drugs – and they don’t want to run away. Photo courtesy: Fathom 3. It’s Driven by the Porn Industry One of the most popular porn websites in the U. amassed 28 billion visits last year. Many women in the videos were victims of sex trafficking. This means, Rogers said, that porn users are feeding the sex trafficking industry without even knowing it. “We identify pornography as the No. 1 fueling factor to sex trafficking in America, ” Rogers said. It’s estimated that “over half of women involved in sex trafficking” are also forced into pornography, he said. Even worse, some of these porn addicts “then want to begin to actualize what they've been visualizing, ” he said. Blind Eyes Opened is a sobering must-see for Christians who want to know the truth about sex trafficking in the U. – and who want to help fight it. It’s not for children, but for older family members, it sheds light on a subject that too often is swept under America’s social rugs. Learn more at Michael Foust is a freelance writer. Visit his blog,. Photo courtesy: Fathom Michael Foust has covered the intersection of faith and news for 20 years. His stories have appeared in Baptist Press, Christianity Today, The Christian Post, The Leaf-Chronicle, the Toronto Star and the Knoxville News-Sentinel.

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You know the type of story: Somebody gets a new apartment or a new job, and finds a list of weird "rules" to follow. "If someone knocks at 3:11 A. M., meow like a cat but don't answer. " "If the copier starts when nobody's in the copy room, go to the break room for ten minutes. " They break the rules, and awful things happen. One afternoon in my room, Bryan and I were showing each other our favorites on Reddit. He started making up rules for our dorm, Millard Hall. "If you see someone picking their nose, " he said, "chant, 'Snot, Snot, Thanks a lot! ' or you'll get their booger in your nose tomorrow. " I laughed and tried one. "If you penny the door of room 307"—my room—"only use pennies dated 2002. " "Or what? " "Umm… You'll fall asleep in your next test! " The fun of "lists of rules" stories is the weird consequences of breaking the rules. We started trying to think of scarier outcomes, and from there to scarier-sounding rules. Pretty soon Bryan started writing them down. He intended to post them in the lobby as a joke. It was me who suggested slipping them under the doors of freshmen. We were both Resident Assistants: He was RA for second floor north, I was RA for third floor south. So we had an excuse to roam the halls any time of night, and we had lists of which residents were freshmen. Double-plus-uncool behavior for RAs, obviously. But I only intended it as a joke. Over the next couple of days, I kept having to stifle giggles in class, as new rules popped into my head. After class Bryan and I compared notes, culling out the duds. Sometimes we didn't agree. He really wanted a classic "If someone knocks... " rule, and I flatly refused, bored with them. We hammered out a final list: rules only, consequences left to the imagination. This is part of it, the ones that became important: Diet Pepsi At the Pepsi machine in the lobby, NEVER get a Diet Pepsi right after a Diet Mountain Dew. If you're not sure what the last can bought was, buy a Mug root beer first -- That's always safe. Howler If somebody starts howling in the courtyard at about 2-3 a. m. on a Friday night (Saturday morning) don't turn on any lights. You can look out the window, but don't even turn on your phone or a flashlight. They're watching for lights -- They find your room by counting windows. Oven Pizza Don't use the oven to reheat anything from Patsy's Pizza, not even sandwiches. Use the microwave -- Even if it makes the crust soggy. Water Fountain Don't drink from the lobby water fountain whilst there's sunlight on the thumb button -- This only happens near the winter solstice, early morning. Dollar Bill If you find a brand-new dollar bill tacked to your door, Series 2003A, serial number starting with J804, you can take it -- But spend it OFF-CAMPUS. DON'T put it in the lobby bill-changer. Dropping in a church collection plate might be lucky. Movie Poster Sometimes a poster appears on the lobby bulletin board, always on GREEN PAPER -- "Free movie in Chalfont Auditorium, Tuesday at 7:30. " Ignore them -- They go away by morning. DON'T go to Chalfont Tuesday evening. Pay Phone The pay phone off the lobby hasn't been connected for years. But it still rings occasionally -- Don't answer it. Orange Rules Sometimes rules like this appear, printed on HEAVY ORANGE PAPER. If you get one of those, for the love of God DON'T follow the "Room 307" or "Blue Bathroom" rules. I formatted them as a little tri-fold pamphlet and printed off about forty on plain white paper. One night we slipped about twenty under the doors of freshman-only rooms on various floors. The next day I kind of held my breath. But nobody said anything, and we spread about fifteen more that night. The second morning I saw a kid in the lobby with one of our pamphlets. He stopped Stella Palecki, RA for 3 North, and showed it to her. She read it through; I saw a couple of quickly-suppressed grins. She looked up and said deadpan, "Yah? So? " "So are these for real? " "Can't say. They just show up. But the last time somebody broke one, we never saw him again. " The kid left so wide-eyed he looked like a seventh-grader. Stella walked the other way, grinning to herself. I hadn't counted on another RA playing along, but it tickled me. I printed off another twenty or so, and a couple of nights later we spread them to rooms where a freshman and an upper-classman shared. People were talking a lot about them, and texting photos of them to each other. At the lobby Pepsi machine I heard one girl shout at another, "Hey! Buy a Mug first! " People walked faster past the disconnected pay phone, and checked the sunlight before drinking at the fountain. A Post-It appeared on the Pepsi machine that said, STICK ME ON THE LAST BUTTON PRESSED. Twice I saw somebody shift it to the Diet Mountain Dew button, just to be a dick. Bryan said somebody'd given him free root beer, not once but twice, because they didn't want to take a chance. Shawn Brown, RA for 2 South, caught me in the hall one day. "Beth, have you seen these? " I looked at the pamphlet he handed me. Obviously much handled, with penciled notes here and there; "I've heard of 'em, haven't seen one yet. Hey, that's my room number! " I pointed at "Orange Rules". "What an asshole. " "Yeah. Well, Mom Franks"—Millard's dorm mother—"said to keep an eye out for whoever's passing these out. There's a couple of people pretty upset about them. " I felt a twinge of guilt (I remember how stressful freshman year was) and more than a twinge of nerves. This really wasn't good behavior for an RA, maybe even enough to get me or Bryan kicked out. A few people, skeptics and attention-seekers, were deliberately flaunting the rules. Bob Wester hung a Patsy's Pizza box on the oven door, and when a freshman ran in the kitchen all frantic about the rules, Bob's roommate slammed a textbook on a table right behind him. The freshman nearly peed himself. Rosie Crowell, RA for 1 North, made a point of waiting until somebody bought a Diet Dew before she'd buy her Diet Pepsi. Just plain annoyed at how many people took the rules seriously, she was trying to debunk them. And the next two Friday nights, well after midnight, some joker in the courtyard howled, "Aahh- wooooo! " loud enough to wake people. Having a courtyard window myself, I began to wish we'd skipped that particular rule. As nervous as I'd gotten, though, I wasn't done. I printed a poster for a 20th-anniversary showing of The Matrix, on green paper left from a high-school art project (I had about fifteen sheets of orange paper, too). When I snuck it onto the lobby bulletin board, freshmen who'd been settling down freaked all over again. I prepared a second version of the rules: different font, altered formatting, and two new rules: Blue Bathroom - If your suite bathroom suddenly has blue walls one day, prick your finger and spread a drop of blood around the rim of the sink - The bathroom will change back overnight. If you don't, either you or a suite mate will die within a month. Room 307 - If you penny the door of room 307 with pennies dated 2002, you will come into money within a week - at least $125. I finished off my orange paper printing these, but I didn't slip them under doors. Instead I kind of dropped them here and there: lying on the stairs, in the kitchen microwave, tucked between lobby couch cushions. Soon people were arguing about them. I got a big kick out of threatening doom to whoever put my room number in the rules. I did more random hall prowls at odd hours, "looking" for the perpetrators. It was perfect camouflage for my guilty secret. Even better: Someone really did penny my door! If you've never lived in a dorm, know that the room doors open inward. Take two pennies (or three, depending on the door's fit), slide them up to the gap between the door and the metal frame right above the knob, then hammer them into the gap. Pressure on the door latch makes it nearly impossible to turn the knob or, if the door's locked, to draw the deadbolt. In the middle of the night I heard two hard whams on my door; pretty common when people get rowdy. But in the morning I couldn't open my door. I called Bryan, who came across to check. "Yeah, it's pennies. And they're hammered right in there, not gonna be prying them out. " Well, for some students, especially women, that might have been a problem. But I keep a small tool kit, so it only took me a couple of minutes to knock the hinge pins out. Bryan shoved the entire door into my room a few inches. I heard the dull tink of pennies falling, and murmuring from women who'd gathered. "Yeah, they're 2002, " Bryan said. "2002-D. " I heard gasps of fear. Bryan helped me wrestle the heavy door back onto its hinges. "So we just watch for whoever gets a chunk of cash all of a sudden, " I said, "and they can pay the school fine. " I glared at the gathered women. "This's a safety violation, not just a prank. What if there'd been a fire and I couldn't get my door open? " Not really a big concern, the walls and floors are all concrete, but I wanted to keep up my annoyed facade. "But that's an orange rule! " a red-haired freshman protested. "You aren't supposed to follow them! " "Something bad's gonna happen to them! " another girl said. "Serves 'em right, " I grumped, winking at Bryan. I had one more escalation waiting. The "Dollar Bill" description wasn't random: I had about twenty like that, left from forty my dad had given me as a kid, to buy snacks while at church camp. I'd loved the crisp new bills so well I'd avoided spending them. Now I dedicated four to the cause, tacking them to the doors of people who'd been skeptical, like Rosie Crowell and a freshman named Celia. By the next afternoon, everybody in the dorm had seen one. Celia, a plump pretty Hispanic girl, was amused, but Rosie was distinctly rattled. "You can't just run to the ATM and get brand-new sixteen-year-old bills, " she pointed out. She said she'd take hers to church. But Rosie continued to call the rules a prank. So when her Diet Pepsi tried to kill her, it scared the shit out of me. She'd made a point, again, of waiting until somebody bought a Diet Dew before getting her DP, and she'd nearly made herself late for class. So she popped the can, chugged it down, and tossed it in the recycle bin before heading out the door. From my seat in the lobby I heard screaming. Running to the door, I saw Rosie bent over. She'd dropped her pack and sat down cradling her hands, which looked swollen and red. By the time I got down the steps, her fingernails were spurting blood. She was scraping her Nikes on the sidewalk. I bent and unfastened them. I could barely pull the shoes off, her feet were so swollen; her half socks were already sodden red. People were dialing 911. Rosie passed out before the ambulance arrived. Later we heard she got transfusions and drugs to lower her blood pressure. Stella Palecki called Bryan, because I was hysterical. Bryan found me sitting on the blood-spattered sidewalk, one Nike still beside me. I kept crying, "They're not real! They're all fake! " Fortunately, I didn't say, "We made them up, " or some such; I came across as disbelieving, not guilty. Bryan hustled me up to my room, and I told him what had happened. He took it a lot better than I did, even though at this point we still didn't know but what Rosie bled out in the ambulance. "What'd I do? " I kept asking him. "What'd I do? " "You didn't do nothing, " he said. "Hush up. It's not your fault. " I let myself be soothed, that time. But it was hard to convince myself of that when Celia Flores lost three fingers feeding one of my dollar bills to the snack machine. She wanted a cinnamon roll, so she fed in two dollars. Four people nearby said when the second bill sucked in, the machine attacked her. They all told it differently, but it came to this: The panel with the coin slot and push buttons opened up and grabbed her right arm. She tried to pull loose, and it closed on her fingers, chopping off all but her index finger and thumb. Three of them said the machine growled. Two said they heard weird music from it. Two said the room lights dimmed and turned blue. That afternoon I wrapped the rest of my 2003 dollar bills in the rest of my green paper, stuck them in an envelope, and mailed them home. I deleted all the rules files off my laptop, then ran an app to scrub deleted files. I didn't get Bryan's reaction. He was shocked at Celia's injury, but at the same time he seemed excited. We'd dated for over a year, but I began to wonder about him. Friday night I was in Bryan's room working on Psychology when a freshman, all upset, knocked at the open door. Oh, shit, I thought; what now? But he was asking if Bryan could help his roommate with a scholarship problem. "There's a whole office for that in Admin, " Bryan said. "But they're gonna kick him out—he's gotta find three thousand dollars this week! " "Huh? Slow down, what's wrong? " The roommate, Mark, had lost a state scholarship, from misreporting something on his application. But the money was already paid to the school for this semester. Now the state wanted their money back, and the dumb kid was about to get kicked out. Bryan asked an obvious question. "Why are you coming to me? " "Mark's too freaked out. He broke a rule! " I froze, but Bryan burst out laughing. " Mark pennied room 307! Didn't he? " The kid looked guiltily at me, obviously knowing who I was. "Yeah, " he admitted. "And a week later he gets a letter from the state. " He was almost sniffling. "I told him it was an orange rule! " Bryan wasn't just excited, now; he was absolutely hilarious. He chased off the freshman and took one of our original pamphlets off his desk (nothing incriminating; as RAs we'd both collected them). He went down the list, checking some rules, crossing out others, putting a question marks on a couple. "Nah, that's bullshit, " he muttered; "that one; maybe that one? " I jerked the list away. "What's wrong with you? People are getting hurt! Rosie lost her fingernails; Celia lost fingers! Don't you care? " "Yeah, I care, but it's not your fault, so don't get flaky. " I couldn't stand him in that mood. I went back to my room to sleep alone. I woke to the most blood-chilling sound I've ever heard. It was a howl, but way more than that. It went up and down like a yowling cat; it growled and screamed and hooted and wailed. It echoed in the courtyard like the ambulance that had carried off Celia, but I could tell it was a single voice. It wasn't human, but at the same time no one animal should have made all those noises. I knew I should go to the window, try to see who it was—the courtyard's brightly lit—but that horrible howl froze me to my bed. I pulled a blanket over my head and shivered. Then bounced right in the air when somebody pounded on my door. "Beth! Beth! Wake up! " I kicked off the covers and grabbed my phone: 3:07 Saturday. Oh, shit. The girl at the door was a freshman named Carla, half frantic, in T-shirt and panties. "Rayma turned on the light! I told her not to, but she opened the window and called whatever it was an asshole! " I tried to reassure her, but I was too damn scared to be convincing. "Can I stay in your room? I can't stay there! " So I let her sleep on my spare bed, wrapped in my giant bath towel. After the sun came up we went to her room. Rayma, a junior, was gone. I said, "She probably went to breakfast early, " but Carla said Rayma always slept late on weekends. She didn't show up that day, or the next; she hasn't been seen since. I should have made Carla bring Rayma to my room, too. Bryan and I weren't speaking any more. If I'd thought there was anything anybody could do, I'd have confessed to Mom Franks. But there was no explanation for what was happening. We'd made up completely bogus rules, and now people were disappearing and being hurt. But Bryan still acted like it was all a joke. I'd thoughtlessly carried off the list of rules he'd marked up, the one I'd snatched from him. He'd checked or put a question mark on several; they're the ones I listed at the beginning. By now, I'd seen or heard of most of them affecting somebody. Then the rules came after me. The Tuesday morning after Rayma disappeared, I shuffled into the bathroom for my shower. Millard Hall used to be men-only, with big communal bathrooms, then was remodeled into suites, each with two double bedrooms and a shared bath. But the RA rooms, next to the stairs, have just one bedroom and a tiny bathroom. I turned on the shower, grabbed my hairbrush, and started yanking my hair around, waiting for the water to warm up. Looking in the mirror, I realized the wall beside me was blue. The walls in Millard are all a dirty white, the kind that never looks clean. The shower and the cabinets still were. But the concrete-block walls were a pale, powdery blue. I shot out of the bathroom like a spitwad from a straw. The pocket of my robe caught on the doorknob and ripped open. I stood shaking in the middle of my room, trying to remember if I'd seen the walls last night, if anybody could have been in my room. Well, Mom Franks could have been; she had a master key. But the RAs don't get them; if there's a bad problem we have to get her. I sniffed the air. Paint smell lasts for days, and my room smelled just like always. Oh, god, were blue walls an orange rule or not? I couldn't remember. I pulled out the pamphlets I'd collected. "Blue Bathroom": an orange rule. The white rules said to ignore the orange rules, but "Blue Bathroom" said if I didn't do the right thing, "either you or a suite mate will die within a month. " As an RA, I didn't have any suite mates. If it hadn't been for Mark and his lost scholarship, I might have broken down and bloodied my sink. Bless you, Mark, you poor dumbass. I shuddered at a sudden recollection: Just after I printed the orange rules, I imagined it would be hilarious if an orange rule said, "Don't obey the white-paper rules Oven Pizza or Water Fountain. " If I'd actually included that, I wouldn't know which rules to trust, Mark or no Mark. Wednesday morning my bathroom was dirty white again, and I cried with relief. But Wednesday, Thursday, and Friday were rough in Millard Hall. Everybody, freshman to seniors, had shared copies of the rules on their phones, and everybody checked them frequently. When the disconnected pay phone rang Wednesday evening, a girl in the hall screamed and a guy in the lobby fainted. Thursday somebody visiting from Gartner Hall made the mistake of answering the pay phone; whatever he heard made him beat his ear to a bloody pulp with the handset, until he knocked himself out. Some jerk got caught shuffling the Post-It on the Pepsi machine, and a girl knocked him right out with a Calculus textbook. A dozen people saw her do it, but nobody "recognized" who it was. Somebody clogged the spout of the water fountain with superglue. Bob Wester's roommate rewarmed a Patsy's cheese pizza in the kitchen oven, took one bite, then started throwing up blood and huge earthworms. And Friday afternoon somebody else got a bad Diet Pepsi, and was taken away, blood gushing from his hands and feet. Just after midnight on Friday I was startled awake by knocking. "Shit! " I did not want to hear what was wrong now. I jerked open the door, and there stood Bryan, my ex-boyfriend. "What are you doing here? " Though the dorms are coed, we aren't supposed to have opposite-sex visitors in our rooms overnight. I mostly turn a blind eye to discreet overnights, but for RAs the rule is especially important, since we get called out at any hour. He pushed his way in like I'd invited him. "Somebody's gonna talk to you soon, " he said. "You've got to say the right thing. " "Oh, shit, did Admin find out about us? " I pulled on jeans and a flannel shirt, not wanting to talk to him in panties and tee. "Nobody in the school has a damn clue. I'm talking about the Circle. They're witches, a gang of witches. " I laughed out loud. "Witches! " "You're not from around here. You wouldn't laugh if you were. " It's true; a lot of the local kids believe in all sorts of weird shit. They say in the '70s a kid was killed right outside Millard Hall, taken right off the street by a monster from the bird sanctuary. "So, what, some Wiccans did all this shit with our rules? " "Wicca is bullshit for kids. These are real witches, hill magic that really works. And I'm trying to join them. " "You? You're gonna be a warlock? " "Warlock's an insult. I'll be—I am a witch. And this is, like, kind of an audition for the Circle. I mean, at first it was a joke, but then I decided I could use them. " I just looked confused. "I did it, " Bryan said. "I made a spell, that made our rules work, to show the Circle I could. " He pointed a finger at me. "Somebody from the Circle's gonna find you in the next few days. You can tell them—" Live in dorms long enough, you learn to scream in a whisper. " You shithead! Do you know how many people you've hurt? " "That's part of it. Witches can't be bound by human rules. " I raved at him, keeping my voice low to not wake my neighbors. He just laughed off my fury and insisted I tell the Circle how he and I made up the rules between us. I raved some more; even without raising my voice I was getting hoarse. Then my fear of waking people came to squat, because some drunk bitch came upstairs yelling and slamming doors. Bryan wouldn't leave after that, afraid he'd get caught, but I made him use the spare bed. "You're not ever touching me again, " I said. I didn't even undress to sleep. I spent a long time lying awake, angry and scared and wondering if Bryan was just nuts. Witchcraft couldn't be real, but how else could joke rules make people lose fingers and barf worms and disappear in the night? I finally dozed; that godawful hooting wailing howl in the courtyard woke me up. "No lights! " I heard Bryan hiss. "I know! " I hissed back. "It's my floor that lost somebody, dipshit! " I went to the window and looked out, trusting the rules that it was safe. I couldn't see anybody, but I couldn't see the whole courtyard, and who knew but what the Howler was invisible? I didn't let Bryan see the phone in my hand. Quickly, before I changed my mind, I pressed it flat against the glass and hit the power button, and held it there until the screen went back off. Grabbing my keys and my Crocs, I told Bryan, "I'm going downstairs. Don't fuck with my stuff. " I left the door unlocked on my way out; I don't really know if that mattered to the Howler or not. That was three days ago. Nobody's seen Bryan since. I thought if the Howler got Bryan, the spell or curse or whatever he put on the dorm would go away. But today the old pay phone rang again, and I barely stopped a kid from answering. So now I'm hoping somebody from the Circle, whoever they are, really will come talk to me. Maybe they can remove the curse. Does anybody on here know how to undo a curse like this? I haven't been able to get into Bryan's room, to see if he left any instructions or formulas or anything; maybe I can convince Mom Franks I left some personal stuff in there. Maybe from now on we'll have to give everyone in Millard a real list of rules. Update: I've met somebody from the Circle. DTS.

Blind Eyes Opened movie page imdb.
Theatrical Release: January 23, 2020 Synopsis A Christian documentary diving into the sex trafficking industry in the U. S., exposing the darkness that fuels demand, highlighting survivors’ transformations through Christ, and showing Christ as the Hope for all involved. Dove Review Blind Eyes Opened shares alarming statistics that bring awareness to the underexposed human trafficking industry where women, girls, and boys are forcefully exploited. The film reveals that the U. S. is the largest consumer of human trafficking and focuses its message on changing that statistic. Through interviews with Christian ministries, law enforcement, lawmakers, and others, this documentary urges viewers to take action against the problem. The film also brings this issue to light through six brave women who share their personal experiences being sex-trafficked. Each of their stories are different, yet the same. Some were trafficked by family members, others by boyfriends, or someone they thought they could trust. All of them were children when they were first sexually abused, and each suffered for years being repeatedly sexually assaulted and beaten. All of them heroically survived the abuse and eventually discovered hope in Christ. None of them details what led them to accept Jesus, but they do highlight their transformation by God’s love and mercy. Today, each of them publicly shares her survivor story to help sex-trafficked victims, and some have even started their own ministries. The documentary focuses on finding solutions to stop this issue like reducing easy access to pornography—one of the main causes of conditioning that leads to human trafficking—and creating stricter punishment for perpetrators. The film also highlights finding better ways to help victims, like training medical personal and abortion clinic staff to identify possible victims and get them help. Another solution spotlighted in the film is providing education to children so they don’t become easy prey to perpetrators. The A21 Campaign ministry created a curriculum called Bodies Are Not Commodities that equips students with tools to combat human trafficking and is being used in some schools. The overarching theme of Blind Eyes Opened is a call to action. This film helps viewers gain a greater understanding of the human trafficking industry and urges them to get involved in fighting the issue. The film is mainly directed toward Christians to step up and do something to help against human trafficking, like raising awareness, getting involved in ministry, supporting survivors, and praying. Due to sexual content and intense subject matter, we are awarding our Dove Seal for the film’s informative and transformative message at 18+. The film’s powerful message and survivors’ stories need to be heard to help motive viewers to put a stop to this atrocity. The Dove Take: This Christian documentary’s shocking truths about the sex trafficking industry in the U. and heartbreaking testimonies are difficult to hear but a must-see for audiences 18 and older. Content Description Faith: Several Christian ministries share about their outreach programs to victims of human trafficking and encourage believers’ involvement; many references to Scripture are given. Integrity: Women who were victims of human trafficking learn about God’s mercy, accept Christ, and minister to others. Sex: Testimonies of forced underage sex, abortions and watching pornography are mentioned throughout the film. Language: Mentions of sexual language. Violence: Women tell their stories of being repeatedly beaten, verbally abused and sexually assaulted Drugs: Heavy drug use and drinking is mentioned; Cigarette smoking and drinking at a bar is shown Nudity: Women are shown wearing revealing clothing but it is blurred out. Other: Women tell their stories of lying, stealing and participating in illegal activity. Info Company: Ships of Tarshish Genre: Documentary Runtime: 115 min. Industry Rating: Not Rated Reviewer: Karen W.

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Sometimes Always Never is a movie starring Bill Nighy, Sam Riley, and Alice Lowe. A detective fantasy / family drama where a love of words helps a father reconnect with a missing son countries - UK duration - 91Minutes Tomatometers - 6,5 of 10 Genre - Mystery Carl Hunter. Everyone else: Wow, Cole Sprouse did great on this movie! Me: jUGHEAD.

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Oh my. At first, it feels like watching ur friend in a video like auditioning or something. By the end of the video, I feel so excited to watch this movie! Oh my! Gwil. U r more handsome than the real princes of England. A szavak ereje free full version. A szavak ereje free full movie online. A szavak ereje free full body. A szavak ereje free full text. Learn more More Like This Drama 1 2 3 4 5 6 7 8 9 10 5. 6 / 10 X Summertime, 1994. In a quiet mining village just outside Doncaster, a rumour stirs about the legend of a giant carp in the nearby decoy ponds. Trevor takes watch one night at the water's... See full summary » Director: Bill Buckhurst Stars: Tom Varey, Esme Creed-Miles, Angus Imrie Comedy | Music 7. 2 / 10 A troubled young Glaswegian woman dreams of becoming a Nashville country star. Tom Harper Jessie Buckley, Matt Costello, Jane Patterson Biography History 6. 3 / 10 The story of Joan Stanley (Dame Judi Dench), who was exposed as the K. G. B. 's longest-serving British spy. Trevor Nunn Judi Dench, Sophie Cookson, Stephen Campbell Moore 6. 5 / 10 A late night talk show host suspects that she may soon lose her long-running show. Nisha Ganatra Emma Thompson, Mindy Kaling, John Lithgow 6. 6 / 10 A portrait of the artist L. S. Lowry and the relationship with his mother, who tries to dissuade him from pursuing his passion. Adrian Noble Vanessa Redgrave, Timothy Spall, Stephen Lord Crime 7. 3 / 10 The true story of a British whistleblower who leaked information to the press about an illegal NSA spy operation designed to push the UN Security Council into sanctioning the 2003 invasion of Iraq. Gavin Hood Keira Knightley, Matt Smith, Matthew Goode Thriller 6. 2 / 10 A pair of high-frequency traders go up against their old boss in an effort to make millions in a fiber-optic cable deal. Kim Nguyen Jesse Eisenberg, Alexander Skarsgård, Salma Hayek Kenneth Branagh Kenneth Branagh, Ian McKellen 4. 7 / 10 One man learns to die. Another man learns to live. Kenneth R. Frank Chris Mollica, Chandler Rosenthal, Frank Failla 6. 9 / 10 Ten fisherman from Cornwall are signed by Universal Records and achieve a top ten hit with their debut album of Sea Shanties. Chris Foggin James Purefoy, Meadow Nobrega, David Hayman In England in 1987, a teenager from an Asian family learns to live his life, understand his family and find his own voice through the music of American rock star Bruce Springsteen. Gurinder Chadha Billy Barratt, Ronak Singh Chadha Berges, Viveik Kalra Romance The Keeper tells the extraordinary love story between a young English woman and a German PoW, who together overcome prejudice, public hostility, and personal tragedy. While visiting a PoW... See full summary » Marcus H. Rosenmüller David Kross, Freya Mavor, John Henshaw Edit Storyline Alan is a stylish tailor with moves as sharp as his suits. He has spent years searching tirelessly for his missing son Michael who stormed out over a game of scrabble. With a body to identify and his family torn apart, Alan must repair the relationship with his youngest son Peter and solve the mystery of an online player who he thinks could be Michael, so he can finally move on and reunite his family. Plot Summary Add Synopsis Taglines: Sometimes it's hard to find the right words. See more » Details Release Date: 14 June 2019 (UK) Also Known As: Triple Word Score Box Office Cumulative Worldwide Gross: $1, 377, 856 See more on IMDbPro » Company Credits Technical Specs See full technical specs » Did You Know? Trivia The film is based on a short story called Triple Word Score, written by the script writer Frank Cottrrel Boyce. See more » Goofs This movie takes places in the UK; UK Scrabble players will note the following inaccuracies: A character in the movie says that there are 101 two-letters words playable in Scrabble, but the UK list of playable Scrabble words has had 120 or more two-letter words since at least 2003. There was a time when the North Amercan list of playable Scrabble words had exactly 101 playable two-letter words; it is now up to 107. (The UK list is up to 127. ) (Side note: ZO is playable in the UK but not in North America. ) The term "bingo" for playing all seven letters on one's rack in one term is primarily a North American usage; "bonus" is used more often in the UK. See more » Quotes Alan: [ Referring to the buttons of a suit jacket, from top to bottom] What you have to remember about these is: sometimes, always, never. Soundtracks Sometimes Always Never Written by Edwyn Collins and Sean Read Performed by Edwyn Collins, Sean Read and Chay Heney See more ».

A szavak ereje Free full article on foot. This is a remake of a Chilean movie called Gloria which actually was AMAZING... A szavak ereje free full movies. Scrabble-obsessed Merseyside tailor Alan (Bill Nighy) continues the search for his eldest son, who stormed out of the house years earlier after a heated round of the famous board game, never to return. At the same time, he tries to repair his strained relationship with his other son Peter (Sam Riley). Borrowing heavily from the aesthetics of the films of Wes Anderson, Carl Hunter’s debut film, Sometimes Always Never, shares a similar reverence to the American filmmaker for the culture and stylings of the ’60s — in case it wasn’t clear, in the film’s opening moments Alan compliments a group as looking “very Quadrophenia”. The film is awash with pleasant colour and set design to match the performances, particularly that of Bill Nighy — charming but with an undercurrent of grief and waywardness, a desire for familial connection. The obsession with old style permeates the entire film, with fun throwbacks like very deliberately outdated backdrops used for driving sequences. But unfortunately it also appears shabby in ways that aren’t so intentional. In many scenes the quirky, colourful retro set design finds itself short-changed by harsh and stagey lighting. The script is astute and funny. The styling of the film seems to stand separately from the dialogue, which is realistic by comparison. Though there are fleeting delights to be found in the vibrant production design, abundance of symmetrical framing, and frequent use of tongue-in-cheek title cards, the look only serves to distract from it rather than reinforce any emotive power the film might have. A lot of the imagery is pretty in isolation but works against Frank Cottrell Boyce ’s script, which is astute and funny, subverting the melodrama of its premise with a very wry, very English sense of humour and lending some edge to character arcs that could come off as sickly sweet. The artificiality of it all places the characters at a remove, making it hard to focus in on what are fairly low-key performances. When Hunter deviates from this rigid style, the film feels a lot more organic. Despite strong performances and a witty script, Sometimes Always Never lays on the homage a little too thick for its own good, shortchanging itself by imitating a particularly idiosyncratic style.

Whats the name of the song? 🤔. A szavak ereje free full download. Dear all Pro-Choice and Pro-Abortion advocates, I have a serious question for you. At what stage of human development does a human being gain personhood? Please give the exact time and why that standard should be held. Sometimes Always Never Directed by Carl Hunter Written by Frank Cottrell Boyce Starring Bill Nighy Sam Riley Alice Lowe Jenny Agutter Tim McInnerny Release date 12 October 2018 ( BFI London Film Festival) Country United Kingdom Language English Box office $1. 45 million [1] Sometimes Always Never is a 2018 comedy-drama film, directed by Carl Hunter and written by Frank Cottrell Boyce. The film is produced by Sol Papadopoulos, Alan Latham, and Roy Boulter under the banner of Hurricane Films. The film stars Bill Nighy, Sam Riley, Alice Lowe, Jenny Agutter, and Tim McInnerny. Cast [ edit] Bill Nighy as Alan Sam Riley as Peter Alice Lowe as Sue Jenny Agutter as Margaret Tim McInnerny as Arthur Reception [ edit] On the review aggregator Rotten Tomatoes, the film holds an approval rating of 87% based on 47 reviews, and an average rating of 6. 96/10. The website's critical consensus reads, "Like the grieving Scrabble enthusiast at the heart of its unique story, Sometimes Always Never scores high enough to be well worth a play. " [2] Metacritic reports a score of 71/100 based on 9 critics, indicating "generally favorable reviews". [3] Kambole Campbell of Empire wrote, "Despite strong performances and a witty script, Sometimes Always Never lays on the homage a little too thick for its own good, shortchanging itself by imitating a particularly idiosyncratic style. " [4] Wendy Ide of The Guardian wrote, "The danger of an offbeat British film, particularly one that is as emphatically designed as this, is that it could teeter into whimsy and artifice. But thanks to Cottrell Boyce, and the assured direction of first-time feature film-maker Carl Hunter, the emotional beats are authentic and the distinctive look of the film – it takes its aesthetic cues from '60s ties and '70s wallpaper – never upstages the story. " [5] References [ edit] External links [ edit] Sometimes Always Never on IMDb.

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A szavak ereje Free full article on maxi. A szavak ereje free fall. A szavak ereje Free full. A szavak ereje free full time. The only bad thing about this song is that it's only 2 mins and 30 seconds long. Summary: Alan is a stylish tailor with moves as sharp as his suits. But he's spent years searching tirelessly for his missing son, Michael, who stormed out over a game of Scrabble. With a body to identify and his family torn apart, Alan must repair the relationship with his youngest son and identify an online player who he thinks could be Michael, Alan is a stylish tailor with moves as sharp as his suits. With a body to identify and his family torn apart, Alan must repair the relationship with his youngest son and identify an online player who he thinks could be Michael, so he can finally move on and reunite his family. … Expand Genre(s): Drama, Mystery, Comedy Rating: PG-13 Runtime: 91 min.

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A szavak ereje free full moon. A szavak ereje free full episode. This actually looks so good. I can't wait to see it. 4 / 5 stars 4 out of 5 stars. The veteran actor shines as an ageing word wizard searching for his estranged son in Carl Hunter’s kind-hearted debut Beguiling Englishness … Bill Nighy in Sometimes Always Never. T here’s a beguiling Englishness to this elegant, offbeat comedy-drama, terrifically written by Frank Cottrell-Boyce and directed by feature debutant Carl Hunter. It has a wonderful syncopation in its writerly rhythm and narrative surprises. The film positively twinkles with insouciance, and is performed with aplomb, particularly by Bill Nighy, who brings a droll sprightliness and deadpan wit to the lead part, but shows how these mannerisms mask emotional pain. Sam Riley is excellent as the character’s long-suffering son. Nighy plays Alan, a retired Merseyside tailor – and Nighy nails an engaging and consistent voice, sounding like a kind of donnish Ringo Starr. The actor shows how his character, a formidable and quietly intelligent man, has retreated into his habits and eccentricities to shield himself from the cares of the world. Long ago, Alan’s favourite son left home, never to return. In the decades since, Alan has searched for him, a quest that has sparked mixed feelings in the heart of his other, now grownup son Peter (Riley) who feels that he was always second-best. Watch the trailer for Sometimes Always Never But Alan has fixated on one thing in particular: the fact that his son stormed out over an ostensible argument over Scrabble, and whether the two-letter word “Zo” was admissible. Now Alan is obsessed with Scrabble; he is a grandmaster, a black-belt, even hustling unsuspecting players he meets in B&Bs – a funny and unexpected interlude with a couple played by Tim McInnerny and Jenny Agutter. But while staying with Peter, his wife Sue (Alice Lowe) and their withdrawn teen son Jack (Louis Healy), things reach a crisis. Playing Scrabble online, Alan encounters a virtual opponent whose style he recognises – and who deploys the controversial word “Zo”. Is someone trying to get in touch? The Scrabble and Scrabble-obsession are emblems of a complex sort of communication crisis. Alan’s mastery of the game has taken him along a certain type of loneliness spectrum. He is simultaneously very good with words and absolutely terrible with them. He can’t make contact with Peter and Peter can’t make contact with him. And yet, Alan has far from given up on life: to Peter’s exasperation and dismay, he continues to be an assertive personality, airily dapper, liking everything just so in ways that can’t simply be written off as dysfunctional. He has a positive effect on Jack, showing him the correct way to wear a suit (the title refers to the jacket’s three buttons, top, middle, bottom, and which may be done up). The “tailoring-mentoring” scenes here incidentally have a thousand times more wit and humanity than those in the boorish Kingsman films. Riley, Lowe, McInnerny and Agutter are all superb in their roles and the Scrabble face-off with McInnerny in an early scene – together with its highly surprising second encounter the following morning – is carried off with wit and flair. This film is a distinct, articulate pleasure.

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Casts Tanya Reynolds director Autumn de Wilde country UK Jane Austen. Emma. Free. Onnea kihlauksesta!😍. Minkä pituinen olet? video♡. Is it just me or does Emma Watson look absolutely heavenly in this. People who spend 3 hours daily on YouTube are really commenting “this is such a waste of time” no one forced you to watch it😂.

I feel so bad it looks like shes been crying

Emma full movie free online. Emma movie free online. Emma. Free movie page imdb. Emma's chance free online movie. Emma. free movie downloads. Emma's chance full movie free. That would be a good trailer for the novel. So one assumes the film will be wonderful. Love this movie❤❤. Emma free movie. Emma Title page of first edition, volume 1 of 3 Author Jane Austen Country United Kingdom Language English Genre Novel of manners Published 23 December 1815 [1] (title page gives 1816) John Murray Preceded by Mansfield Park Followed by Northanger Abbey Emma, by Jane Austen, is a novel about youthful hubris and romantic misunderstandings. It is set in the fictional country village of Highbury and the surrounding estates of Hartfield, Randalls, and Donwell Abbey and involves the relationships among people from a small number of families. [2] The novel was first published in December 1815, with its title page listing a publication date of 1816. As in her other novels, Austen explores the concerns and difficulties of genteel women living in Georgian – Regency England. Emma is a comedy of manners, and depicts issues of marriage, sex, age, and social status. Before she began the novel, Austen wrote, "I am going to take a heroine whom no one but myself will much like. " [3] In the first sentence, she introduces the title character as "Emma Woodhouse, handsome, clever, and rich, with a comfortable home and a happy disposition... and had lived nearly twenty-one years in the world with very little to distress or vex her. " [4] Emma is spoiled, headstrong, and self-satisfied; she greatly overestimates her own matchmaking abilities; she is blind to the dangers of meddling in other people's lives; and her imagination and perceptions often lead her astray. Emma, written after Austen's move to Chawton, was her last novel to be published during her life, [5] while Persuasion, the last novel Austen wrote, was published posthumously. This novel has been adapted for several films, many television programmes, and a long list of stage plays. It is also the inspiration for several novels. Plot summary [ edit] Emma Woodhouse has just attended the wedding of Miss Taylor, her lovely friend and former governess, to Mr. Weston. Having introduced them, Emma takes credit for their marriage and decides that she likes matchmaking. After she returns home to Hartfield with her father, Emma forges ahead with her new interest against the advice of her sister's brother-in-law, Mr. Knightley, and tries to match her new friend Harriet Smith to Mr. Elton, the local vicar. First, Emma must persuade Harriet to refuse the marriage proposal from Robert Martin, a respectable, educated, and well-spoken young farmer, which Harriet does against her own wishes. But Mr. Elton, a social climber, thinks that Emma is in love with him and proposes to her. When Emma tells him that she had thought him attached to Harriet, he is outraged. After Emma rejects him, Mr. Elton leaves for a stay at Bath and returns with a pretentious, nouveau-riche wife, as Mr. Knightley expected. Harriet is heartbroken, and Emma feels ashamed about misleading her. Frank Churchill, Mr. Weston's son, arrives for a two-week visit to his father and makes many friends. Frank was adopted by his wealthy and domineering aunt, and he has had very few opportunities to visit before. Mr. Knightley suggests to Emma that, while Frank is intelligent and engaging, he is also a shallow character. Jane Fairfax also comes home to see her aunt, Miss Bates, and grandmother, Mrs. Bates, for a few months, before she must go out on her own as a governess due to her family's financial situation. She is the same age as Emma and has been given an excellent education by her father's friend, Colonel Campbell. Emma has not been as friendly with her as she might because she envies Jane's talent and is annoyed to find all, including Mrs Weston and Mr. Knightley, praising her. The patronizing Mrs. Elton takes Jane under her wing and announces that she will find her the ideal governess post before it is wanted. Emma begins to feel some sympathy for Jane's predicament. Emma decides that Jane and Mr. Dixon, Colonel Campbell's new son-in-law, are mutually attracted, and that is why she has come home earlier than expected. She shares her suspicions with Frank, who met Jane and the Campbells at a vacation spot a year earlier, and he apparently agrees with her. Suspicions are further fueled when a piano, sent by an anonymous benefactor, arrives for Jane. Emma feels herself falling in love with Frank, but it does not last to his second visit. The Eltons treat Harriet poorly, culminating with Mr. Elton publicly snubbing Harriet at the ball given by the Westons in May. Knightley, who had long refrained from dancing, gallantly steps in to dance with Harriet. The day after the ball, Frank brings Harriet to Hartfield; she had fainted after a rough encounter with local gypsies. Harriet is grateful, and Emma thinks this is love, not gratitude. Meanwhile, Mrs. Weston wonders if Mr. Knightley has taken a fancy to Jane, but Emma dismisses that idea. When Mr. Knightley mentions the link he sees between Jane and Frank, Emma denies them, while Frank appears to be courting her instead. He arrives late to the gathering at Donwell in June, while Jane leaves early. Next day at Box Hill, a local beauty spot, Frank and Emma continue to banter together and Emma, in jest, thoughtlessly insults Miss Bates. 1898 illustration of Mr. Knightley and Emma Woodhouse, Volume III chapter XIII When Mr. Knightley scolds Emma for the insult to Miss Bates, she is ashamed and tries to atone with a morning visit to Miss Bates, which impresses Mr. Knightley. On the visit, Emma learns that Jane had accepted the position of governess from one of Mrs. Elton's friends after the outing. Jane now becomes ill and refuses to see Emma or receive her gifts. Meanwhile, Frank was visiting his aunt, who dies soon after he arrives. Now he and Jane reveal to the Westons that they have been secretly engaged since the autumn, but Frank knew that his aunt would disapprove. The strain of the secrecy on the conscientious Jane had caused the two to quarrel, and Jane ended the engagement. Frank's easygoing uncle readily gives his blessing to the match, and the engagement becomes public, leaving Emma chagrined to discover that she had been so wrong. Emma is confident that Frank's engagement will devastate Harriet, but instead, Harriet tells her that she loves Mr. Knightley, although she knows the match is too unequal, Emma's encouragement and Mr. Knightley's kindness have given her hope. Emma is startled and realizes that she is the one who wants to marry Mr. Knightley returns to console Emma from Frank and Jane's engagement thinking her heartbroken. When she admits her foolishness, he proposes, and she accepts. Now Harriet accepts Robert Martin's second proposal, and they are the first couple to marry. Jane and Emma reconcile, and Frank and Jane visit the Westons. Once the period of deep mourning ends, they will marry. Before the end of November, Emma and Mr. Knightley are married with the prospect of "perfect happiness". Principal characters [ edit] Emma Woodhouse, the protagonist of the story, is a beautiful, high-spirited, intelligent, and 'slightly' spoiled young woman from the landed gentry. She is twenty when the story opens. Her mother died when she was young. She has been mistress of the house (Hartfield) since her older sister got married. Although intelligent, she lacks the discipline to practice or study anything in depth. She is portrayed as compassionate to the poor, but at the same time has a strong sense of class status. Her affection for and patience towards her valetudinarian father are also noteworthy. While she is in many ways mature, Emma makes some serious mistakes, mainly due to her lack of experience and her conviction that she is always right. Although she has vowed she will never marry, she delights in making matches for others. She has a brief flirtation with Frank Churchill; however, she realises at the end of the novel that she loves Mr. Knightley. George Knightley is a neighbour and close friend of Emma, aged 37 years (16 years older than Emma). He is her only critic. Knightley is the owner of the estate of Donwell Abbey, which includes extensive grounds and farms. He is the elder brother of Mr. John Knightley, the husband of Emma's elder sister Isabella. He is very considerate, aware of the feelings of the other characters and his behaviour and judgement is extremely good. Knightley is furious with Emma for persuading Harriet to turn down Mr. Martin, a farmer on the Donwell estate; he warns Emma against pushing Harriet towards Mr. Elton, knowing that Mr. Elton seeks a bride with money. He is suspicious of Frank Churchill and his motives; he suspects that Frank has a secret understanding with Jane Fairfax. Frank Churchill, Mr. Weston's son by his first marriage, is an amiable young man, who at age 23 is liked by almost everyone, although Mr. Knightley sees him as immature and selfish for failing to visit his father after his father's wedding. After his mother's death, he was raised by his wealthy aunt and uncle, the Churchills, at the family estate Enscombe. His uncle was his mother's brother. By his aunt's decree, he assumed the name Churchill on his majority. Frank is given to dancing and living a carefree existence, and is secretly engaged to Miss Fairfax at Weymouth, although he fears his aunt will forbid the match because Jane is not wealthy. He manipulates and plays games with the other characters to ensure his engagement to Jane remains concealed. Jane Fairfax is an orphan whose only family consists of her aunt, Miss Bates, and her grandmother, Mrs. Bates. She is a beautiful, bright, and elegant woman, with the best of manners. She is the same age as Emma. She is extraordinarily well-educated and talented at singing and playing the piano; she is the sole person whom Emma envies. An army friend of her late father, Colonel Campbell, felt responsible for her, and has provided her with an excellent education, sharing his home and family with her since she was nine years old. She has little fortune, however, and is destined to become a governess – a prospect she dislikes. The secret engagement goes against her principles and distresses her greatly. Harriet Smith, a young friend of Emma, just seventeen when the story opens, is a beautiful but unsophisticated girl. She has been a parlour boarder at a nearby school, where she met the sisters of Mr. Martin. Emma takes Harriet under her wing early on, and she becomes the subject of Emma's misguided matchmaking attempts. She is revealed in the last chapter to be the natural daughter of a decent tradesman, although not a gentleman. Harriet and Mr. Martin are wed. The now wiser Emma approves of the match. Robert Martin is a well-to-do, 24-year-old farmer who, though not a gentleman, is a friendly, amiable and diligent young man, well esteemed by Mr. George Knightley. He becomes acquainted and subsequently smitten with Harriet during her 2-month stay at Abbey Mill Farm, which was arranged at the invitation of his sister, Elizabeth Martin, a school friend of Harriet's. His first marriage proposal, in a letter, is rejected by Harriet under the direction and influence of Emma, (an incident which puts Mr. Knightley and Emma in a disagreement with one another), who had convinced herself that Harriet's class and breeding were above associating with the Martins, much less marrying one. His second proposal of marriage is later accepted by a contented Harriet and approved by a wiser Emma; their joining marks the first out of the three happy couples to marry in the end. Philip Elton is a good-looking, initially well-mannered, and ambitious young vicar, 27 years old and unmarried when the story opens. Emma wants him to marry Harriet; however, he aspires to secure Emma's hand in marriage to gain her dowry of £30, 000. Elton displays his mercenary nature by quickly marrying another woman of lesser means after Emma rejects him. Augusta Elton, formerly Miss Hawkins, is Mr. Elton's wife. She has 10, 000 pounds, but lacks good manners, committing common vulgarities such as using people's names too intimately (as in "Jane", not "Miss Fairfax"; "Knightley", not "Mr. Knightley"). She is a boasting, pretentious woman who expects her due as a new bride in the village. Emma is polite to her but does not like her. She patronises Jane, which earns Jane the sympathy of others. Her lack of social graces shows the good breeding of the other characters, particularly Miss Fairfax and Mrs. Weston, and shows the difference between gentility and money. Mrs. Weston was Emma's governess for sixteen years as Miss Anne Taylor and remains her closest friend and confidante after she marries Mr. She is a sensible woman who loves Emma. Mrs. Weston acts as a surrogate mother to her former charge and, occasionally, as a voice of moderation and reason. The Westons and the Woodhouses visit almost daily. Near the end of the story, the Westons' baby Anna is born. Mr. Weston is a widower and a business man living in Highbury who marries Miss Taylor in his early 40s, after he bought the home called Randalls. By his first marriage, he is father to Frank Weston Churchill, who was adopted and raised by his late wife's brother and his wife. He sees his son in London each year. He married his first wife, Miss Churchill, when he was a Captain in the militia, posted near her home. Weston is a sanguine, optimistic man, who enjoys socialising, making friends quickly in business and among his neighbours. Miss Bates is a friendly, garrulous spinster whose mother, Mrs. Bates, is a friend of Mr. Woodhouse. Her niece is Jane Fairfax, daughter of her late sister. She was raised in better circumstances in her younger days as the vicar's daughter; now she and her mother rent rooms in the home of another in Highbury. One day, Emma humiliates her on a day out in the country, when she alludes to her tiresome prolixity. Mr. Henry Woodhouse, Emma's father, is always concerned for his health, and to the extent that it does not interfere with his own, the health and comfort of his friends. He is a valetudinarian (i. e., similar to a hypochondriac but more likely to be genuinely ill). He assumes a great many things are hazardous to his health. His daughter Emma gets along with him well, and he loves both his daughters. He laments that "poor Isabella" and especially "poor Miss Taylor" have married and live away from him. He is a fond father and fond grandfather who did not remarry when his wife died; instead he brought in Miss Taylor to educate his daughters and become part of the family. Because he is generous and well-mannered, his neighbors accommodate him when they can. Isabella Knightley (née Woodhouse) is the elder sister of Emma, by seven years, and daughter of Henry. She is married to John Knightley. She lives in London with her husband and their five children (Henry, 'little' John, Bella, 'little' Emma, and George). She is similar in disposition to her father and her relationship to Mr. Wingfield, (her and her family's physician) mirrors that of her father's to Mr. Perry. John Knightley is Isabella's husband and George's younger brother, 31 years old (10 years older than Jane Fairfax and Emma). He is an attorney by profession. Like the others raised in the area, he is a friend of Jane Fairfax. He greatly enjoys the company of his family, including his brother and his Woodhouse in-laws, but is not the very sociable sort of man who enjoys dining out frequently. He is forthright with Emma, his sister-in-law, and close to his brother. Minor characters [ edit] Mr. Perry is the apothecary in Highbury who spends a significant amount of time responding to the health issues of Mr. He and Mrs. Perry have several children. He is also the subject of a discussion between Miss Bates and Jane Fairfax that is relayed in a letter to Mr. Frank Churchill that he inadvertently discloses to Emma. He is described as an "telligent, gentlemanlike man, whose frequent visits were one of the comforts of Mr. Woodhouse's life. [6] " Mrs. Bates is the widow of the former vicar of Highbury, the mother of Miss Bates and the grandmother of Jane Fairfax. She is old and hard of hearing, but is a frequent companion to Mr. Woodhouse when Emma attends social activities without him. Mr. & Mrs. Cole have been residents of Highbury who had been there for several years, but have recently benefited from a significant increase in their income that has allowed them to increase the size of their house, number of servants and other expenses. In spite of their "low origin" in trade, their income and style of living has made them the second most prominent family in Highbury, the most senior being the Woodhouses at Hartfield. They host a dinner party that is a significant plot element. Mrs. Churchill was the wife of the brother of Mr. Weston's first wife. She and her husband, Mr. Churchill, live at Enscombe and raised Mr. Weston's son, Mr. Frank Churchill. Although never seen directly, she makes demands on Frank Churchill's time and attention that prevent him from visiting his father. Her disapproval is the reason that the engagement between Frank Churchill and Jane Fairfax is kept secret. Her death provides the opportunity for the secret to be revealed. Colonel and Mrs. Campbell were friends of Jane Fairfax's late father. After a period of time when Jane was their guest for extended visits, they offered to take over her education in preparation for potentially serving as a governess when she grew up. They provided her every advantage possible, short of adopting, and were very fond of her. Mrs. Goddard is the mistress of a boarding school for girls in which Harriet Smith is one of the students. She is also a frequent companion to Mr. Woodhouse along with Mrs. Bates. Mr. William Larkins is an employee on the Donwell Abbey estate of Mr. He frequently visits the Bateses, bringing them gifts, such as apples, from Mr. Knightley. Publication history [ edit] Title page from 1909 edition of Emma. Emma was written after the publication of Pride and Prejudice and was submitted to the London publisher John Murray II in the autumn of 1815. He offered Austen £450 for this plus the copyrights of Mansfield Park and Sense and Sensibility, which she refused. Instead, she published two thousand copies of the novel at her own expense, retaining the copyright and paying a 10% commission to Murray. The publication in December 1815 (dated 1816) consisted of a three-volume set in duodecimo at the selling price of £1. 1s (one guinea) per set. [7] Prior to publication, Austen's novels had come to the attention of the Prince Regent, whose librarian at Carlton House, a Mr. Clarke, showed her around the Library at the Prince Regent's request, and who suggested a dedication to the Prince Regent in a future publication. This resulted in a dedication of Emma to the Prince Regent at the time of publication and a dedication copy of the novel sent to Carlton House in December 1815. [8] In America, copies of this first publication were sold in 1818 for $4 per copy, as well as an American edition published by Mathew Carey of Philadelphia in 1816. The number of copies of this edition are not known. A later American edition was published in 1833 [9] and again in 1838 by Carey, Lea, and Blanchard. [10] A French version was published in 1816 by Arthus Bertrand, publisher for Madame Isabelle De Montolieu. [11] A second French version for the Austrian market was published in 1817 Viennese publisher Schrambl. [12] Richard Bentley reissued Emma in 1833, along with Austen's five other novels, in his series of Standard Novels. This issue did not contain the dedication page to the Prince Regent. [13] These editions were frequently reprinted up until 1882 with the final publication of the Steventon Edition. [14] Emma has remained in continuous publication in English throughout the remainder of the nineteenth century and into the twentieth and twenty-first centuries. In addition to the French translation already mentioned, Emma was translated into Swedish and German in the nineteenth century and into fifteen other languages in the twentieth century including Arabic, Chinese, Danish, Dutch, German and Italian. [15] Reception [ edit] Prior to publishing, John Murray's reader, William Gifford, who was also the editor of the Quarterly Review, said of the novel that "Of Emma I have nothing but good to say. I was sure of the writer before you mentioned her. The MS though plainly written has yet some, indeed many little omissions, and an expression may now and then be amended in passing through the press. I will readily undertake the revision. " [16] Early reviews of Emma were generally favourable, and were more numerous than those of any other of Austen's novels. [17] One important review, requested by John Murray prior to publication by Sir Walter Scott, appeared anonymously in March 1816 in the Quarterly Review, although the date of the journal was October 1815. [18] [17] He writes: [19] The author is already known to the public by the two novels announced in her title page, and both, the last especially, attracted, with justice, an attention from the public far superior to what is granted to the ephemeral productions which supply the regular demand of watering- places and circulating libraries. They belong to a class of fictions which has arisen almost in our own times, and which draws the characters and incidents introduced more immediately from the current of ordinary life than was permitted by the former rules of the novel... Emma has even less story than either of the preceding author's knowledge of the world, and the peculiar tact with which she presents characters that the reader cannot fail to recognize, reminds us something of the merits of the Flemish school of painting. The subjects are not often elegant, and certainly never grand: but they are finished up to nature, and with a precision which delights the reader. Two other unsigned reviews appeared in 1816, one in The Champion, also in March, and another in September of the same year in Gentleman's Magazine. [20] Other commenters include Thomas Moore, the Irish poet, singer and entertainer who was a contemporary of Austen's; he wrote to Samuel Rogers, an English poet, in 1816: [21] "Let me entreat you to read Emma - it is the very perfection of novel-writing - and I cannot praise it more highly than by saying it is often extremely like your own method of describing things - so much effect with so little effort! " A contemporary Scottish novelist, Susan Edmonstone Ferrier, wrote to a friend, also in 1816: [22] "I have been reading Emma, which is excellent; there is no story whatever, and the heroine is not better than other people; but the characters are all true to life and the style so piquant, that it does not require the adventitious aids of mystery and adventure. " There was some criticism about the lack of story. John Murray remarked that it lacked "incident and Romance"; [23] Maria Edgeworth, the author of Belinda, to whom Austen had sent a complimentary copy, wrote: [23] there was no story in it, except that Miss Emma found that the man whom she designed for Harriet's lover was an admirer of her own – & he was affronted at being refused by Emma & Harriet wore the willow – and smooth, thin water-gruel is according to Emma's father's opinion a very good thing & it is very difficult to make a cook understand what you mean by smooth, thin water-gruel!! Austen also collected comments from friends and family on their opinions of Emma. [24] Writing several years later, John Henry Newman observed in a letter about the novel: [25] Everything Miss Austen writes is clever, but I desiderate something. There is a want of body to the story. The action is frittered away in over-little things. There are some beautiful things in it. Emma herself is the most interesting to me of all her heroines. I feel kind to her whenever I think of other women, Fairfax, is a dolt- but I like Emma. Later reviewers or commenters on the novel include Charlotte Brontë, George Henry Lewes, Juliet Pollock, Anne Ritchie, Henry James, Reginald Farrer, Virginia Woolf, and E. M. Forste r. [26] Other reviewers include Thomas Babington Macauley who considered Austen to be a "Prose Shakespeare", [27] and Margaret Oliphant who stated in Blackwood's Edinburgh Magazine in March that she prefers Emma to Austen's other works and that it is "the work of her mature mind". [28] Although Austen's Pride and Prejudice is the most popular of her novels, critics such as Robert McCrum suggest that "Emma is her masterpiece, mixing the sparkle of her early books with a deep sensibility" [29] [30] and John Mullan has argued that Emma was a revolutionary novel which changed the shape of what is possible in fiction" because "The novel bent narration through the distorting lens of its protagonist’s mind" [31]. Themes [ edit] Highbury as a character [ edit] The British critic Robert Irvine wrote that unlike Austen's previous novels, the town of Highbury in Surrey emerges as a character in its own right. [32] Irvine wrote that: "In Emma, we find something much closer to a genuinely communal voice, a point of view at work in the narrative that cannot be reduced to the subjectivity of any one character. This point of view appears both as something perceived by Emma, an external perspective on events and characters that the reader encounters as and when Emma recognises it; and as an independent discourse appearing in the text alongside the discourse of the narrator and characters". [32] Irvine used as an example the following passage: "The charming Augusta Hawkins, in addition to all the usual advantages of perfect beauty and merit, was in possession of as many thousands as would always be called ten; a point of some dignity, as well as some convenience: the story told well; he had not thrown himself away-he had gained a woman of £10, 000 or therebouts; and he had gained with delightful rapidity-the first hour of introduction he had been so very soon followed by distinguishing notice; the history which he had to give Mrs Cole of the rise and progress of the affair was so glorious". [33] Irvine points out the adjective "charming" appears to the narrator speaking, but notes the sentence goes on to associate "perfect" with "usual", which he pointed out was an incongruity. [34] Irvine suggested the next sentence "would always be called ten" is in fact the voice of the community of Highbury, which wants the fiancée of Mr. Elton to be "perfect", whom the narrator sarcastically calls the "usual" sort of community gossip is about a new arrival in Highbury, whom everyone thinks is "charming". [34] Since the character of Mrs. Elton is in fact far from "charming", the use of the term "charming" to describe her is either the gossip of Highbury and/or the narrator being sarcastic. [34] Likewise, the Australian school John Wiltshire wrote one of Austen's achievements to "give depth" to the "Highbury world". [35] Wiltshire noted that Austen put the population of Highbury as 352 people, and wrote though clearly most of these people don't appear as characters or as minor characters at best, that Austen created the impression of Highbury as a "social commonwealth". [35] Wiltshire used as an example of Mr. Perry, the town doctor who is frequently mentioned in the town gossip, but never appears in the book, having a "kind of familiarity by proxy". [35] Wiltshire also noted that the scene where Emma and Harriet visit a poor cottage on the outskirts of Highbury, and during their walk, it is made clear from Emma's remarks that this part of Highbury is not her Highbury. [35] The character of Frank is a member of the "discursive community" of Highbury long before he actually appears, as his father tells everyone in Highbury about him. [34] Emma forms her judgement of Frank based on what she hears about him in Highbury before she meets him. [36] Irvine wrote that Austen's use of three different voices in Emma —the voice of Highbury, the narrator's voice, and Emma's voice, can at times make it very confusing to the reader about just whom is actually speaking. [36] However, Irvine wrote that one accepts that the voice of Highbury is often speaking, then much of the book makes sense, as Emma believes she has a power that she does not, to make Frank either love or not via her interest or indifference, which is explained as the result of the gossip of Highbury, which attributes Emma this power. [36] This is especially the case as Emma is born into the elite of Highbury, which is portrayed as a female-dominated world. [37] Irvine wrote that Elizabeth Bennet in Pride and Prejudice and Fanny Price in Mansfield Park enjoy the moral authority of being good women, but must marry a well-off man to have the necessary social influence to fully use this moral authority whereas Emma is born with this authority. [37] Emma herself acknowledges this when she says to Harriet that she possesses: "none of the usual inducements to rtune I do not want; employment I do not want; consequence I do not want". [37] However, political power still resides with men in the patriarchal society of Regency England as the book notes that Mr. Knightley is not only a member of the gentry, but also serves as the magistrate of Highbury. [37] Emma clashes with Knightley at the beginning of the novel over the all-important "distinctions of rank", namely does Harriet Smith belong with the yeoman class together with Robert Martin, or the gentry class that Emma and Knightley are both part of. [38] Knightley declares his respect for both Smith and Martin, but argues that as part of the yeomen class, that neither belongs with the gentry, while Emma insists on including her best friend/protegee in with the gentry. [39] In Regency England and in Emma, the term friendship describes a power relationship where one higher party can do favors for the lower party while the term "claim intimacy" is a relationship of equals. [39] Mrs. Elton has "friendship" with Jane Fairfax while "claims intimacy" with Mr. [40] The use of the these terms "friendship" and "claim intimacy" refers to the question of who belongs to the local elite. [41] Neither Emma nor Mr. Knightley question the right of the elite to dominate society, but rather their power struggle is over who belongs to the elite, and who has the authority to make the decision about whom to include and whom to exclude, which shows that in a certain sense that Emma is just as powerful socially as is Mr. [42] Further complicating this power struggle is the arrival of Mrs. Elton, who attempts to elevate Jane Fairfax into the elite. [42] This is a cruel struggle as Jane is not rich enough to properly belong to the elite, and Mrs. Elton is showing Jane a world to which she can never really belong, no matter how many parties and balls she attends. [42] In addition to her annoyance at Mrs. Elton's relationship with Jane, Emma finds Mrs Elton an "upstart", "under-bred" and "vulgar", which adds venom to the dispute between the two women. [43] Mrs. Elton is only a first generation gentry, as her father bought the land that she grew up on with money he had raised in trade. Her snobbery is therefore that of a nouveau riche, desperately insecure of her status. [43] When Mrs. Elton boasted that her family had owned their estate for a number of years, Emma responds that a true English gentry family would count ownership of their estate in generations, not years. [43] Of Emma's two rivals for social authority, one shares a common class while the other a common sex. [43] The marriage of Emma to Mr. Knightley consolidates her social authority by linking herself to the dominant male of Highbury and pushes Mrs. Elton's claims aside. [43] Irvine wrote: "On this view, and in contrast to Austen's two previous novels, Emma works to legitimate established gentry power defined in opposition to an autonomous feminine authority over the regulation of social relations, and not through the vindication of such autonomous authority". [43] However, as the novel goes, such a reading is countered by the way that Emma begins to take in the previously excluded into the realm of the elite, such as visiting the poor Miss Bates and her mother, and the Coles, whose patriarch is a tradesman. [43] Likewise, Jane Fairfax, who is too poor to live off her wealth and must work forever as a governess, which excludes her from the female social elite of Highbury, does marry well after all, which makes her the story of one real feminine worth triumphing over the lack of wealth in Emma. [44] Gendered space [ edit] Wiltshire wrote about Austen's use of "gendered space" in Emma, noting the female characters have a disproportionate number of scenes in the drawing rooms of Highbury while the male characters often have scenes outdoors. [45] Wiltshire noted that Jane Fairfax cannot walk to the post office in the rain to pick up the mail without becoming the object of town gossip while Mr. Knightley can ride all the way to London without attracting any gossip. [45] Wiltshire described the world that the women of Highbury live in as a sort of prison, writing that in the novel ".. 's imprisonment is associated with deprivation, with energies and powers perverted in their application, and events, balls and outings are linked with the arousal and satisfaction of desire". [45] Wealth [ edit] Emma unlike other heroines in Jane Austen's novels is a wealthy young lady having a personal fortune amounting to £30, 000. Therefore, there is little pressure on her to find a wealthy partner. Nationhood and the "Irish Question" [ edit] The novel is set in England, but there are several references to Ireland, which were related to the ongoing national debate about the "Irish Question". [46] In 1801, the Act of Union had brought Ireland into the United Kingdom, but there was a major debate about what was Ireland's precise status in the United Kingdom; another kingdom, province or a colony? [46] Austen satirizes this debate by having Miss Bates talk about Mrs. Dixon's new house in Ireland, a place that she cannot decide is a kingdom, a country or a province, but is merely very "strange" whatever its status may be. [46] Austen also satirized the vogue for "Irish tales" that become popular after the Act of Union as English writers started to produce picturesque, romantic stories set in Ireland to familiarize the English people with the newest addition to the United Kingdom. [47] The travel itinerary that Miss Bates sketches out for the Campbells' visit to Ireland is satire of a typical "Irish tale" novel, which was Austen's way of mocking those who had a superficial appreciation of Irish culture by buying the "Irish tales" books that presented Ireland in a very stereotypical way. [46] Austen further alludes to the Society of United Irishmen uprising in 1798 by having the other characters worry about what might happen to the Dixons when they visit a place in the Irish countryside called "Baly-craig", which appears to be Ballycraig in County Antrim in what is now Northern Ireland, which had been the scene of much bloody fighting between the United Irishmen Society and the Crown in 1798, an enduring testament to Ireland's unsettled status with much of the Irish population not accepting British rule. [48] The American scholar Colleen Taylor wrote about Austen's treatment of the "Irish Question": "That Emma applies a distant and fictionalized Irish space to her very limited and dissimilar English circle, turning a somewhat ordinary English young woman, Jane Fairfax, into an Irish scandal, proves that the object of English humor is--for once--not the stage Irishman but the privileged English woman who presumes to know what he and his culture are really like. " [46] Romance [ edit] In contrast to other Austen heroines, Emma seems immune to romantic attraction, at least until her final self-revelation concerning her true affections. Unlike Marianne Dashwood, who is attracted to the wrong man before she settles on the right one, Emma generally shows no romantic interest in the men she meets and even her flirting with Churchill seems tame. She is genuinely surprised (and somewhat disgusted) when Mr Elton declares his love for her, much in the way Elizabeth Bennet reacts to the obsequious Mr. Collins, also a parson. Her fancy for Frank Churchill represents more of a longing for a little drama in her life than a longing for romantic love. For example, at the beginning of Chapter XIII, Emma has "no doubt of her being in love", but it quickly becomes clear that, even though she spends time "forming a thousand amusing schemes for the progress and close of their attachment", we are told that "the conclusion of every imaginary declaration on his side was that she refused him ". [49] It is only Mr. Knightley who can willingly share the burden of Emma's father, as well as providing her with guidance, love and companionship. He has been in love with her since she was 13 years old, but neither he nor she have realized that there is a natural bond between them. He declares his love for her: "What did she say? Just what she ought, of course. A lady always does. " [50]. Female empowerment [ edit] In Emma, Emma Woodhouse serves as a direct reflection of Jane Austen's feminist characterization of female heroines, in terms of both female individuality and independence (romantically, financially, etcetera). In terms of romantic independence, Emma's father, Henry Woodhouse, very consistently preaches against the idea of marriage. He plays an integral role in Emma's own initial perception of matrimony, leading her to make use of her free time by becoming the town “matchmaker, ” which leaves her happily single and unwed for the majority of the novel. One of the predominant reasons Emma is able to live a comfortable and independent lifestyle is her gifted inheritance—given to her by a past family member—which allows her to depend on no one other than herself for a sustainable, wealthy, and self-sufficient life. Austen portrays Emma as educated and capable, and despite not constantly being in pursuit of/pursued by a man, is extremely popular and well-liked in her hometown of Highbury. Literary scholar Laurence Mazzeno addresses Austen's narrative in regard to female individualism and empowerment, stating, “…Austen deals honestly and with skill in treating relationships between men and women, and insists Austen presents women of real passion — but not the flamboyant, sentimental kind that populate conventional is not “narrow” in her treatment of character, either; her men and women furnish as broad a view of humanity as would be obtained by traveling up and down the was conservative in both her art and her politics — suggesting that, even from a woman's point of view, Austen was hardly out to subvert the status quo. " [51] In the Bedford Edition of Emma edited by Alistair M. Duckworrth, there are five essays to accompany the text that discuss contemporary critical perspectives. One of which is about the Feminist Criticism. The Feminist Criticism essay was written by Devooney Looser. In her essay, she proposes the question of if Jane Austen is a feminist. She also states in her essay that ones answer to the question not only depends on if one understands Austen's novels, but also how one defines feminism. Looser states that if you define feminism broadly as a movement attending to how women are limited and devalued within a culture then Austen's work applies to this concept of feminism. Looser also states that if you define feminism as a movement to eradicate gender, race, class, and sexual prejudice and to agitate for a change, then Austen's work doesn't really apply to this concept of feminism. The Bedford Edition essay on Feminist Criticism also includes the perspectives of French, British, and American feminists from the 1970s and early 1980s. Thinking about how each group looks at feminism can also help to expand one's own thinking of the feminist critique and gain a better understanding of feminism in Emma and in Austen's other works. Parenting [ edit] Mr. Woodhouse adopted a laissez faire parenting style when it came to raising Emma. In fact, most of the time it seems that Emma is parenting her father, taking on the role of both daughter and mother, at the young age of twelve, in the wake of her mother's death. Emma is entirely responsible for the wellbeing of her father and therefore encumbered to stay with him. Her father is a selfish but gentle man and does not approve of matrimony. If Emma were to marry he would lose his caretaker. This is not to say that Emma feels restrained by her father, in fact quite the opposite, Emma has the power over the world she inhabits. The narrator announces at the start of the novel: “The real evils of Emma’s situation were the power of having rather too much of her own way, and a disposition to think a little too well of herself; these were the disadvantages which threatened alloy to her many enjoyments” (Austen, 1). While Mr. Woodhouse lacks as a father figure, Mr. Knightley acts as a surrogate father to Emma. [52] Mr. Knightley is not afraid to correct Emma's behavior and tell her what she needs to hear. Knightley reprimands Emma when he learns of her match-making games and later when Emma is extremely rude to Miss Bates. Still, the reader cannot ignore the developmental damage that has been caused by Mr. Woodhouse's indifferent parenting style as Emma struggles to form healthy adult relationships. Class [ edit] Class is an important aspect to Emma. The distinctions between the classes is made explicitly clear to the reader by Emma and by Austen's descriptions. The social class structure has the Woodhouses and Mr. Knightley at the top, the Eltons, the Westons, Frank Churchill and Jane Fairfax below them, and even further down the line Harriet, Robert Martin, and the Bates. This social class map becomes important when Emma tries to match Mr. Elton and Harriet together. Harriet is not considered a match for Elton due to her lowly class standing, despite what Emma encourages her to believe. Emma's initial disregard for class standing (in regards to Harriet at least) is brought to light by Mr. Knightley who tells her to stop encouraging Harriet. The scholar James Brown argued the much quoted line where Emma contemplates the Abbey-Mill Farm, which is the embodiment of "English verdure, English culture, English comfort, seen under a sun bright, without being oppressive" is a fact meant to be ironic. [53] Brown wrote Austen had a strong appreciation of the land as not only a source of aesthetic pleasure, but also a source of money, an aspect of pre-industrial England that many now miss. [54] In this sense, the beauty of the Abbey-Mill Farm is due to the hard work of Mr. Knightley's tenant, the farmer Robert Martin, a man whom Emma dismisses as the sort of person "with whom I feel I can have nothing to do" while Knightley praises him as "open, straight forward, and very well judging". [55] Brown argued that the disconnect between's Emma's contempt for Mr. Martin as a person and her awe at the beauty that is the result of his hard work was Austen's way of mocking those in the upper classes who failed to appreciate the farmers who worked the land. [56] Food [ edit] There is an abundance of food language in Jane Austen's Emma. Food is given, shared, and eaten by characters in almost every chapter. Most of the research on Jane Austen's food language is found in Maggie Lane's book titled Jane Austen and Food. [57] Lane's text provides a general examination of the symbolism of food in Emma and invites further interpretations. Food is used as a symbol to convey class hierarchy, stereotypes and biases throughout the novel. [58] The language and actions that surround food bring the characters of Highbury's inner circle closer together. For Emma Woodhouse, food is a symbol of human interdependence and goodwill. [57] No one in Highbury is starving; everyone is well-fed and takes part in the giving and receiving of food. However, food is a strong class divider though it is rarely openly discussed by characters in the novel. There are a few instances when characters allude to lower class individuals outside of their well-fed society. For instance, when Emma discusses her charitable visit with a poor family, Harriet's encounter with the gypsy children, and Highbury's mysterious chicken thieves. For the most part, the poor in Emma are overlooked by the characters in the novel due to their socioeconomic status. The constant giving and receiving of food in the novel does not occur without motive. [57] Characters are either trying to climb the social ladder or gain the approval or affections of another. The interpretation of the giving and receiving of food in Emma can be taken in these different directions; however in terms of love: “The novel (... ) is stuffed with gifts of food: Mr. Knightley sends the Bates family apples; Mr. Martin woos Harriet with some walnuts; and, to further her son's suit, Mrs. Martin brings Mrs. Goddard a goose”. [59] These gifts are not without motive, and food—as it pertains to Emma Woodhouse—only becomes interesting when it pertains to love. “[R]omance is a far more interesting subject than food. Emma quickly reduces the topic of eating to a bottom-of-the-barrel ‘any thing, ’ and arbitrary and empty screen that only becomes interesting when projected on by those in love”. [60] This becomes evident to the reader when Emma overestimates Mr. Elton's affections for Harriet from their engaging conversation about the food at the Cole's party. Emma Woodhouse interprets food conversation and gifts of food as means of affection between two lovers. Masculinity [ edit] Austen explores the idea of redefining manhood and masculinity with her male characters: particularly Mr. Knightley, Mr. Woodhouse, and Frank Churchill. In Emma, Austen includes typical ideals of English masculinity, including, “familial responsibility, sexual fidelity, and leadership transition…” [61] Mr. Woodhouse is portrayed chiefly as a fool and an incompetent father figure. Clark comments on Mr. Woodhouse's age and how this affects his masculine identity. He resists change and pleasure, yet he is still respected in the community. Knightley is Jane Austen's perfect gentleman figure in Emma. He has manners, class, and money. Further, he is presented as, “a well-adjusted alternative to these more polarized understandings of masculinity seen in characters of John Willoughby and Edward Ferrars. ” [61] Men in Emma are more representative of modern-day intersectionalities of masculinity. Allusions to real places [ edit] The fictional Highbury is said to be in Surrey, 16 miles (26 km) from London and 8 miles (13 km) from Richmond. (It must not be confused with the real Highbury, which is 4. 5 miles (7. 2 km) north of Charing Cross, now part of inner London but in Austen's day was in Middlesex). Highbury was not modelled on a specific village; however, it is likely that it is modelled after several that Austen knew, such as Cobham and Box Hill. Leatherhead, Surrey is another town that could have been a source of inspiration for Highbury. There is a Randalls Road in the town, which is an important name within Emma. It has also been noted that there is a Mr Knightly mentioned in Leatherhead Church. [62] Emma's sister Isabella and her family live in Brunswick Square, between the City of London and the West End; the fields had just been transformed at the turn of the century into terraces of Georgian houses. Richmond, where Frank Churchill's aunt and uncle settle in the summer, is now part of the greater London area, but then was a separate town in Surrey. Most of the other places mentioned are in southern England, such as the seaside resort towns of Weymouth, Dorset, South End, and Cromer in Norfolk. Box Hill, Surrey is still a place of beauty, popular for picnics. Bath, where Mr. Elton went to find a bride, is a well-known spa city in the southwest. The place furthest away is the fictional Enscombe, the estate of the Churchills, in the real Yorkshire, in the north. Mrs. Elton frequently refers to the upcoming visit of her well-married sister, who will certainly arrive in their barouche - landau. This was an expensive carriage for summer use. [63] [64] The school is based on Reading Abbey Girls' School, which Austen and her sister attended briefly [65]: "not of a seminary, or an establishment, or any thing which professed, in long sentences of refined nonsense, to combine liberal acquirements with elegant morality upon new principles and new systems — and where young ladies for enormous pay might be screwed out of health and into vanity — but a real, honest, old-fashioned Boarding-school, where a reasonable quantity of accomplishments were sold at a reasonable price, and where girls might be sent to be out of the way and scramble themselves into a little education, without any danger of coming back prodigies. " Adaptations [ edit] Emma has been the subject of many adaptations for film, TV, radio and the stage. The profusion of adaptations based on Jane Austen's novels has not only created a large contemporary fan base but has also sparked extensive scholarly examination on both the process and effect of modernizing the narratives and moving them between mediums. Examples of this critical, academic work can be found in texts such as Recreating Jane Austen by John Wiltshire, [66] Jane Austen in Hollywood edited by Troost and Greenfield, [67] and Jane Austen and Co. : Remaking the Past in Contemporary Culture edited by Pucci and Thompson [68] and Adapting Jane Austen: The Surprising Fidelity of 'Clueless' by William Galperin [69] to name a few. Film [ edit] 1995: Clueless, a loose American modern adaptation of the novel, set in Beverly Hills and starring Alicia Silverstone as Cher Horowitz (Emma) [70] [71] 1996: Emma, an American comedy starring Gwyneth Paltrow as Emma [72] 2010: Aisha, an Indian modern adaptation of the novel, starring Sonam Kapoor as Aisha (Emma). [73] 2020: Emma., [a] directed by Autumn de Wilde, starring Anya Taylor-Joy as Emma Woodhouse and Johnny Flynn as Mr Knightley. [75] Television [ edit] 1948: Emma, live BBC TV broadcast, starring Judy Campbell (who also wrote the screenplay) as Emma, and directed and produced by Michael Barry [76] 1954: Emma, live NBC TV broadcast, starring Felicia Montealegre as Emma [76] 1957: Emma, another live NBC TV broadcast in their Matinee Theater series, starring Sarah Churchill as Emma [76] 1960: Emma, live BBC TV serial in six parts, starring Diana Fairfax as Emma and directed by Campbell Logan [76] 1960: Emma, live CBS TV broadcast in their Camera Three series, starring Nancy Wickwire as Emma. [76] 1972: Emma, a six-part BBC miniseries, starring Doran Godwin as Emma 1996: Emma, an ITV TV film, starring Kate Beckinsale as Emma 2009: Emma, a four-part BBC miniseries, starring Romola Garai as Emma [77] Web [ edit] 2013: Emma Approved, a YouTube web series produced by Pemberley Digital and developed by Bernie Su, starring Joanna Sotomura as Emma. [78] [79] 2017: The Emma Agenda, a YouTube web series produced by Quip Modest Productions, starring Selis Maria Vargas as Emma. In this version, The role of Mr Knightley is a female hence makes it the first lesbian version of Emma on screen. Stage [ edit] 1991: Emma, a stage adaptation by British playwright Michael Fry, first produced by the Cloucester Stage Company in 1991, and since then produced by a number of theatre companies in Britain and the US [80] [81] 2000: Emma, a musical written by Stephen Karam and first showed by the Brownbrokers student theatre group at Brown University under the direction of Darius Pierce. [82] In 2004 Karam's musical was played at the New York Musical Theatre Festival under the direction of Patricia Birch. [83] A theatrical adaptation by Michael Napier Brown was performed at the Royal Theatre in Northampton in 2000 [84] 2007: Jane Austen's Emma – A Musical Romantic Comedy, a musical written by Paul Gordon, which premiered at TheatreWorks in Menlo Park, California. [85] This musical has since been performed at the Cincinnati Playhouse, The Repertory Theatre of St. Louis and the Old Globe Theatre in San Diego. [76] 2009: Emma, a stage adaption by Rachel Atkins for the Book-It Repertory Theatre in Seattle, directed by Marcus Goodwin with Sylvie Davidson in the title role [76] [86] Fiction [ edit] Joan Aiken wrote a companion novel, Jane Fairfax: The Secret Story of the Second Heroine in Jane Austen's Emma. [87] Alexander McCall Smith has written a modern version, titled Emma: A Modern Retelling (2014) [88] Reginald Hill wrote Poor Emma in 1987, included in the 2007 paperback There is no ghost in the Soviet Union, where finance plays a crucial role. The importance of being Emma, a novel published in 2008 by Juliet Archer, is a modern version of Emma Emma and the Werewolves: Jane Austen and Adam Rann, Adam Rann, is a parody of Emma which by its title, its presentation and its history, seeks to give the illusion that the novel had been written jointly by Adam Rann and Jane Austen, that is, a mash-up novel. Emma and the Vampires, a 2010 installation of the Jane Austen Undead Novels by Wayne Josephson, preserves the basic plot of Austen's original while adding contemporary humor and a thematic flair for the undead. [89] The Matchmaker: An Amish Retelling of Jane Austen's Emma (2015) by Sarah Price Emma Ever After, a 2018 modern retelling of Emma by Brigid Coady. In this version, Emma is a PR manager for celebrities and George "Gee" Knightley is the former member of a boy band. Manga [ edit] In June 2015, manga adaptation was published by Manga Classics Inc. was adopted by Crystal S. Chan, art by Po Tse. [90] Critical editions [ edit] Jane Austen, Emma (Wordsworth Classics, 2000), ed. Nicola Bradbury, ISBN 978-1853260285 Bibliography [ edit] Cano, Marina (2017). Jane Austen and Performance. Cham, Switzerland: Palgrave Macmillan. Especially Chapter 5 "Re-inscribing Emma". ISBN 978-3-319-43987-7. Notes [ edit] References [ edit] ^ Advertisement in The Morning Chronicle 23 December 1815 p. 1. ^ Austen-Leigh, William and Richard Arthur (1965). Jane Austen: Her Life and Letters. New York: Russell and Russell. p. 237. ^ Austen-Leigh, James Edward (1882). A Memoir of Jane Austen. London: Richard Bentley & Sons. p. 157. ^ Austen, Jane (2012). Justice, George (ed. ). Emma (4th Norton Critical ed. New York: W. W. Norton & Co. ISBN 978-0-393-92764-1. ^ Burrows, John Frederick Burrows (1968). Jane Austen's Emma. Australia: Sydney University Press. p. 7. ^ Austen, Jane (2012). p. 15. ISBN 978-0-393-92764-1. ^ Baker, William (2008). Critical Companion to Jane Austen: A Literary Reference to Her Life and Work. New York: Facts on File: an imprint of Infobase Publishing. p. 37. ISBN 978-0-8160-6416-8. ^ LeFaye, Deidre (2004). Jane Austen: A Family Record (2nd ed. Cambridge: Cambridge University Press. pp. 225–227. ISBN 978-0-521-53417-8. ^ Gilson, David (1982). A Bibliography of Jane Austen. Oxford: Clarendon Press. pp. 97–98. ISBN 978-0-19-818173-6. ^ Gilson, David (1982). 239. 161. 164. 211, 218. 225–234. 135–207. Oxford: Oxford University Press. 66–67. ISBN 978-0-19-818173-6. ^ a b Gilson, David (1982). 69. ISBN 978-0-19-818173-6. ^ "The Quarterly review. v. 14 (Oct 1815-Jan 1816)". HathiTrust. Retrieved 15 September 2017. ^ Southam, B. C. (1979). Jane Austen: The Critical Heritage Vol I 1811-1870. Routledge. pp. 64, 69, 71. ISBN 978-0-203-19671-7. ^ Byrne, Paula, ed. (2004). Jane Austen's Emma: A Sourcebook. pp. 40–42. ISBN 978-0-415-28651-0. ^ Dowden, Wilfred S. (1964). The Letters of Thomas Moore. p. 396. ^ Doyle, John A. (1898). Memoir and correspondence of Susan Ferrier, 1782-1854. London: John Murray. p. 128. ^ a b Todd, Janet (2006). The Cambridge Introduction to Jane Austen. Cambridge University Press. p. 94. ISBN 978-0-521-85806-9. ^ Austen, Jane (2012). "The Reception of Jane Austen 1815-1950". In Justice, George (ed. pp. 363–364. Critical Companion to Jane Austen: A Literary Reference to Her Life and Works. New York: Facts on File Inc. p. 97. ISBN 978-0-8160-6416-8. ^ Austen, Jane (2012). pp. 366–377. ISBN 978-0-393-92764-1. ^ Southam, B. Jane Austen: The Critical Heritage, Vol I 1811–1870. London: Routledge. pp. 117–118, 130. ISBN 978-0-203-19671-7. ^ Southam, B. Jane Austen: The Critical Heritage, Vol I. 1811-1870. pp. 221–229. ISBN 978-0-203-19671-7. ^ The 100 best novels: No 7 – Emma by Jane Austen (1816) The Guardian 4-Nov-2013] ^ Susan Morgan. In the Meantime. The University of Chicago Press, Chapter One, "Emma and the Charms of Imagination, " pp23-51. ^ How Jane Austen’s Emma changed the face of fiction The Guardian 5-Dec-2015 ^ a b Irvine, Robert Jane Austen, London: Routledge, 2005 page 72. ^ Irvine, Robert Jane Austen, London: Routledge, 2005 pages 72-73. ^ a b c d Irvine, Robert Jane Austen, London: Routledge, 2005 page 73. ^ a b c d Wiltshire, John " Mansfield Park, Emma, Persuasion " pages 58-83 from The Cambridge Guide To Jane Austen, Cambridge: Cambridge University Press, 1997 page 68. ^ a b c Irvine, Robert Jane Austen, London: Routledge, 2005 page 74. ^ a b c d Irvine, Robert Jane Austen, London: Routledge, 2005 page 75. ^ Irvine, Robert Jane Austen, London: Routledge, 2005 pages 75-76. ^ a b Irvine, Robert Jane Austen, London: Routledge, 2005 page 76. ^ Irvine, Robert Jane Austen, London: Routledge, 2005 page 76 ^ Irvine, Robert Jane Austen, London: Routledge, 2005 page 77 ^ a b c Irvine, Robert Jane Austen, London: Routledge, 2005 page 77. ^ a b c d e f g Irvine, Robert Jane Austen, London: Routledge, 2005 page 78. ^ Irvine, Robert Jane Austen, London: Routledge, 2005 page 80. ^ a b c Wiltshire, John " Mansfield Park, Emma, Persuasion " pages 58-83 from The Cambridge Guide To Jane Austen, Cambridge: Cambridge University Press, 1997 page 69. ^ a b c d e Taylor, Collen "Austen answers the Irish question: satire, anxiety, and Emma's, allusory Ireland" from Persuasions, Volume 38, August 2016 page 218. ^ Taylor, Colleen "Austen answers the Irish question: satire, anxiety, and Emma's, allusory Ireland" from Persuasions, Volume 38, August 2016 page 218. ^ Taylor, Colleen: "Austen answers the Irish question: satire, anxiety, and Emma's, allusory Ireland" from Persuasions, Volume 38, August 2016 page 218. ^ Austen, Jane. Emma. Oxford University Press, Oxford, 2008. ^ Wikiquote Emma, Etiquette quotes ^ Mazzeno, Laurence (May 2017). "Traditional Approaches to Austen, 1991–2008". Jane Austen: Two Centuries of Criticism. Jane Austen. pp. 210–237. doi: 10. 7722/j. ctt81z9p. 13. JSTOR 10. 13. ^ De Vink, Sarah. “Austen's Representations of Parenthood in Pride and Prejudice, Emma, and Persuasion. ” Thesis, Utrecht University, 2008, pp. 27–33. ^ Brown, James "Jane Austen's Mental Maps" pages 20-41 from Critical Survey, Vol. 26, 2014 page 31. ^ Brown, James "Jane Austen's Mental Maps" pages 20-41 from Critical Survey, Vol. 26, 2014 pages 30-31. ^ a b c Lane, Maggie (2007). Jane Austen and Food. London Hambledon Press. ^ Kirkley, Laura (2008). "Review of Jane Austen and the Theatre, Jane Austen and Food". The Historical Journal. 51: 814–817. 1017/S0018246X08006870. ^ Seeber, Barbara K. (2002). "Nature, Animals, and Gender in Jane Austen's Mansfield Park and Emma". Lit: Literature Interpretation Theory. 13 (4): 269–285. 1080/10436920290095776. ^ Lee, Michael Parrish (September 2012). "The Nothing in the Novel: Jane Austen and the Food Plot". Novel. 45 (3): 368–388. 1215/00295132-1722998. ^ a b Clark, Alyssa (Summer 2015). "Jane Austen's world". Thesis, San Diego State University. ^ Herbert, David (April 2017). "Place and Society in Jane Austen's England". Geography. 76 (3): 193–208. JSTOR 40572081. ^ Ratcliffe, Ed (2012). "Transports of Delight: How Jane Austen's Characters Got Around". The Inkwell. Menlo Park, California: Jane Austen Society of North America. Archived from the original on 20 July 2013. Retrieved 14 June 2015. ^ Ratcliffe, Ed (2012). "Transports of Delight: How Jane Austen's Characters Got Around" (PDF). JASNA NorCa. Archived from the original (PDF) on 18 June 2015. Retrieved 14 June 2015. ^ Corley, T. A. B. (1998). "Jane austen's "real, honest, old-fashioned boarding-school": Mrs. La Tournelle and Mrs. Goddard". Women's Writing. 5 (1): 113–130. 1080/09699089800200035. ^ Wiltshire, John (2001). Recreating Jane Austen. ISBN 978-0521002820. ^ Troost, Linda, and Sayre Greenfield, editors. Jane Austen in Hollywood. The University Press of Kentucky, 1998. ISBN 0813120845 ^ Pucci, Suzanne R., and James Thompson, editors. Jane Austen and Co. : Remaking the Past in Contemporary Culture. State University of New York Press, 2003. ISBN 0791456161 ^ Galperin, William. "Adapting Jane Austen: The Surprising Fidelity of 'Clueless ' ". Wordsworth Circle. ^ Mazmanian, Melissa. "Reviving Emma" in a Clueless World: The Current Attraction to a Classic Structure. Persuasions Online: Occasional Papers No. 3. Fall 1999. Jane Austen Society of North America website. Accessed 12 November 2013. ^ Stern, Lesley. "Emma in Los Angeles" Clueless as a remake of the book and the city. Archived 6 October 2013 at the Wayback Machine Australian Humanities Review website, 1997. Accessed 12 November 2013. ^ Di Paolo, Marc (2007). Emma Adapted: Jane Austen's Heroine from Book to Film. New York: Peter Lang Publishing. p. 85. ISBN 9781433100000. ^ "Aisha based on Jane Austen's novel Emma". Indiatimes. Archived from the original on 6 September 2010. Retrieved 11 November 2015. ^ "Emma. director Autumn de Wilde explains the film's unusual punctuation". Radio Times. ^ The first trailer for 'Emma' gives a peek at an updated classic ^ a b c d e f g The Emma Adaptations Pages: Other Versions. Retrieved 27 December 2011 ^ Moore, Charles (27 October 2009). "This misjudged 'Emma' is a pedant's dream". The Telegraph. Retrieved 4 February 2019. ^ "Pemberley Digital - About". Retrieved 17 April 2014. ^ "I am Emma Woodhouse - Emma Approved": Ep 1 - Youtube. Retrieved 17 April 2014. ^ "The Emma Adaptations Pages: Emma by Michael Fry". Retrieved 27 December 2011 ^ Culturvulture November 2004: Emma at Aurora Theatre Company in Berkley Archived 12 May 2012 at the Wayback Machine ^ The Providence, Phoenix, 7 December 2000: Emma Rewards Archived 15 April 2012 at the Wayback Machine. Retrieved 27 December 2011 ^ TheaterMania 2004: Emma (NYMF). Retrieved 27 December 2011 ^ 'Set Play' – Emma, Times Educational Supplement, 25 February 2000 ^ Broadway World, 17 August 2007: "World Premiere Emma Steps into TheatreWorks 8/22". Retrieved 27 December 2011 ^ Seattle Times 16 October 2009: "Attention, Austen fans: Emma Comes to Book-It". Retrieved 27 December 2011 ^ Aiken, Joan (1997). Jane Fairfax: The Secret Story of the Second Heroine in Jane Austen's Emma. St. Martin's Press. ISBN 9780312157074. ^ Emma: A Modern Retelling (2014), Harper Collins, London. ISBN 978-0-00-755386-0 ^ Josephson, Wayne (2010). Emma and the Vampires. Sourcebooks Landmark. ISBN 978-1402241345. ^ Manga Classics: Emma (2015) Manga Classics Inc. ISBN 978-1927925362 External links [ edit] Wikiquote has quotations related to: Emma.

This movie brings me memories because I would watch this when I was still in school, it brings me the memories of being in high school. Critics Consensus Other adaptations may do a better job of consistently capturing the spirit of the classic source material, but Jane Austen fans should still find a solid match in this Emma. 84% TOMATOMETER Total Count: 180 73% Audience Score Verified Ratings: 836 Emma. Ratings & Reviews Explanation Tickets & Showtimes The movie doesn't seem to be playing near you. Go back Enter your location to see showtimes near you. Emma. Videos Photos Movie Info Jane Austen's beloved comedy about finding your equal and earning your happy ending, is reimagined in this delicious new film adaptation of EMMA. Handsome, clever, and rich, Emma Woodhouse is a restless queen bee without rivals in her sleepy little town. In this glittering satire of social class and the pain of growing up, Emma must adventure through misguided matches and romantic missteps to find the love that has been there all along. Rating: PG (for brief partial nudity) Genre: Directed By: Written By: In Theaters: Feb 21, 2020 limited Studio: Focus Features Cast News & Interviews for Emma. Critic Reviews for Emma. Audience Reviews for Emma. Emma. Quotes Movie & TV guides.

Emma. Free movie reviews. Autumn de Wilde’s adaptation ramps up the comedy, but Anya Taylor-Joy remains wonderfully edgy as Jane Austen’s meddling heroine 3 / 5 stars 3 out of 5 stars. Mia Goth, left, as Harriet Smith with the ‘remarkable’ Anya Taylor-Joy as Emma Woodhouse. Photograph: Focus Features W ith its heady mix of social satire, romantic intrigue and endlessly reinterpretable gender politics, Jane Austen’s 1815 novel Emma has long proved catnip for film-makers. The 2009 TV miniseries starring Romola Garai followed a string of small-screen productions, dating back to such offerings as a 1948 BBC “telefilm” with Judy Campbell. Recent big-screen adaptations have ranged from Douglas McGrath’s 1996 hit featuring Gwyneth Paltrow (for which composer Rachel Portman won an Oscar) to the 2010 Hindi-language romcom Aisha with Sonam Kapoor. For many, however, Amy Heckerling’s 1995 “queen bee” treat Clueless remains a favourite, astutely transposing the British riffs of Austen’s source to the modern milieu of an American high school. This latest colourful incarnation boasts the remarkable Anya Taylor-Joy as Austen’s “handsome, clever and rich” heroine Emma Woodhouse, spoilt daughter of a doting widowed father, who has lived nearly 21 years “with very little to distress or vex her”. With no responsibility beyond the care of her draught-obsessed papa (a mournful Bill Nighy, dressed to accentuate his pipe-cleaner limbs), Emma entertains herself by match-making, presumptuously manipulating the relationships of those around her. When the comparatively lowly Harriet (played by Mia Goth with an infantile innocence that extends from saucer-wide eyes to a gambolling playground gait) falls into Miss Woodhouse’s circle, Emma rudely diverts her from the course of true love. Instead, she sets her sights on the clearly unattainable – and entirely inappropriate – Mr Elton (Josh O’Connor, oozing insufferable divinity). Meanwhile, neighbouring friend-in-law Mr Knightley (Johnny Flynn, combining vulnerability with a weapons-grade animal magnetism notably absent from Austen’s novel) circles Emma with an air of both adoration and exasperation, lamenting her casual cruelty while secretly admiring her wit and beauty. Directed by rock photographer and music-video veteran Autumn de Wilde, from a script by Man Booker prize winner Eleanor Catton, this latest Emma. (self-consciously styled in the title with a full stop) takes flirtatious liberties with Austen, to often hilarious effect. There’s a strong element of screwball comedy at play (De Wilde cites Bringing Up Baby as an inspiration alongside John Hughes’s coming-of-age movies), an approach that pays crowd-pleasing dividends, even as it reduces the complexities of the original text to a rather more caricatured screen romp. Anya Taylor-Joy (Emma) with Johnny Flynn as Mr Knightley. Photograph: Box Hill Films / Focus Features Having introduced Mr Knightley galloping gamely on a steed before watching him strip naked, De Wilde employs a mirrored bum-flashing motif that playfully suggests fleshy passions in her otherwise politely distanced leads. Later, the sturdy cinematic spectacle of dance doesn’t so much whisper what is left unsaid by the dialogue as scream it, ensuring that cinema audiences know exactly what’s going on, even as readers are still figuring it out. Elsewhere, scenes of near-slapstick mastication rub shoulders with moments in which existential unease mutates into something closer to sitcom-style silliness – flimsy, but great fun. Musically, Emma. juxtaposes folk tunes with operatic voices as the action traverses social boundaries, with composers Isobel Waller-Bridge and David Schweitzer linking characters to instruments (a harp for Emma, a bassoon for Mr Knightley) in their cues. Live performances play a key role, too, from the piano duelling of Emma and Jane Fairfax (the multitalented Amber Anderson) to a duet in which Knightley sings and plays violin while Emma seethes silently from a distance. The impressive ensemble cast includes Miranda Hart, who gets the balance between pathos and pratfalls just right as the loquacious but unjustly wounded Miss Bates. As the abrasive Mrs Elton, Tanya Reynolds deploys a raised chin and the merest hint of a sneer to excellent effect, while Callum Turner’s Frank Churchill is the cad incarnate. In the lead role, Anya Taylor-Joy creates an admirably spiky character who is less likable than some of her screen predecessors, and all the better for it. There’s a touch of Liza Minnelli in the juxtaposition of Taylor-Joy’s angular face and window-to-the-soul eyes, something that enables her to telegraph contradictory emotions with apparent ease – a silent-movie quality perfectly suited to this role. As production designer, Kave Quinn conjures a lavish environment in which the possibility of treading mud into cloistered enclaves remains a perceived threat, and costume designer Alexandra Byrne dresses the cast in a series of intrusively high collars that appear to offer everyone’s head on a platter – a neat visual metaphor for Austen’s guillotine-sharp social satire. The film may blunt some of the edges of that satire for the multiplex market, but it’s still in there, continuing to inspire new adaptations of what remains a timeless text. Watch a trailer for Emma,.

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Emma free movie online. Bellissime le parole e il significato. Hunting emma free movie. Won 1 Oscar. Another 2 wins & 7 nominations. See more awards » Videos Learn more More Like This Comedy | Drama Romance 2 3 4 5 6 7 8 9 10 7. 1 / 10 X At 10, Fanny Price, a poor relation, goes to live at Mansfield Park, the estate of her aunt's husband, Sir Thomas. Clever, studious, and a writer with an ironic imagination and fine moral... See full summary » Director: Patricia Rozema Stars: Frances O'Connor, Jonny Lee Miller, Alessandro Nivola 7. 6 / 10 Rich Mr. Dashwood (Tom Wilkinson) dies, leaving his second wife and her three daughters poor by the rules of inheritance. The two eldest daughters are the title opposites. Ang Lee Emma Thompson, Kate Winslet, James Fleet 8. 1 / 10 Emma Woodhouse (Romola Garai) seems to be perfectly content, to have a loving father for whom she cares, friends, and a home. But Emma has a terrible habit, matchmaking. She cannot resist... See full summary » Romola Garai, Michael Gambon, Jonny Lee Miller 7. 5 / 10 Royal Navy captain Wentworth was haughtily turned down eight years ago as suitor of pompous baronet Sir Walter Elliot's daughter Anne, despite true love. Now he visits their former seaside... See full summary » Adrian Shergold Sally Hawkins, Alice Krige, Anthony Head 7. 3 / 10 A young woman's penchant for sensational Gothic novels leads to misunderstandings in the matters of the heart. Jon Jones Geraldine James, Michael Judd, Julia Dearden Biography A biographical portrait of a pre-fame Jane Austen and her romance with a young Irishman. Julian Jarrold Anne Hathaway, James McAvoy, Julie Walters 8 / 10 Widow Dashwood and her three unmarried daughters, Elinor, Marianne and Margaret, inherit only a tiny allowance. So they move out of their grand Sussex home to a more modest cottage in... See full summary » Dominic Cooper, Charity Wakefield, Hattie Morahan 8. 9 / 10 While the arrival of wealthy gentlemen sends her marriage-minded mother into a frenzy, willful and opinionated Elizabeth Bennet matches wits with haughty Mr. Darcy. Colin Firth, Jennifer Ehle, Susannah Harker 7. 8 / 10 Sparks fly when spirited Elizabeth Bennet meets single, rich, and proud Mr. Darcy. But Mr. Darcy reluctantly finds himself falling in love with a woman beneath his class. Can each overcome his or her own pride and prejudice? Joe Wright Keira Knightley, Matthew Macfadyen, Brenda Blethyn 6. 3 / 10 At age 10, Fanny Price is sent by her destitute mother to live with her aunt and uncle, Sir Thomas and Lady Bertram. As a child she was often made to feel that she was the poor relation but... See full summary » Iain B. MacDonald Julia Joyce, Douglas Hodge, Maggie O'Neill Emma (TV Movie 1996) 7 / 10 While matchmaking for friends and neighbors, a young 19th-century Englishwoman nearly misses her own chance at love. Diarmuid Lawrence Kate Beckinsale, Bernard Hepton, Mark Strong 8. 6 / 10 North and South is a four part adaptation of Elizabeth Gaskell's love story of Margaret Hale, a middle class southerner who is forced to move to the northern town of Milton. Daniela Denby-Ashe, Richard Armitage, Tim Pigott-Smith Edit Storyline Emma Woodhouse is a congenial young lady who delights in meddling in other people's affairs. She is perpetually trying to unite men and women who are utterly wrong for each other. Despite her interest in romance, Emma is clueless about her own feelings, and her relationship with gentle Mr. Knightly. Written by Philip Brubaker <> Plot Summary Add Synopsis Taglines: Cupid is armed and dangerous! Details Release Date: 30 August 1996 (USA) See more » Box Office Budget: $6, 000, 000 (estimated) Opening Weekend USA: $240, 649, 4 August 1996 Cumulative Worldwide Gross: $22, 231, 658 See more on IMDbPro » Company Credits Technical Specs Color: Color (Technicolor) See full technical specs » Did You Know? Trivia Mrs. Bates and Miss Bates, mother and daughter in the film, are played by real-life mother and daughter Phyllida Law and Sophie Thompson (who are also real-life mother and sister to Academy-Award-winning actress and screenwriter Emma Thompson). Thompson revealed that it was a coincidence that she and her mother were cast alongside each other, as the casting director had their names on separate lists. See more » Quotes Emma Woodhouse: Mr. Elton just dropped this off at my house. He claims it is a riddle for your collection, but I think it is something much better. [ hands the paper to Harriet] Harriet Smith: [ after reading the riddle] Is it about sharks? Good heavens, why would he write a riddle about sharks? Crazy Credits Thanks to... the people of Evershot. See more » Connections Version of Emma (2009) Soundtracks Virgins Are Like the Fair Flower from "The Beggar's Opera" by John Gay (1728) Composed by John Pepusch (uncredited) Revised by Frederic Austin Performed by Polly Walker and Ewan McGregor ©Boosey & Hawkes Music Publishers Ltd. See more ».

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Emma. Free movie. Learn more More Like This Adventure | Drama Family 1 2 3 4 5 6 7 8 9 10 6. 9 / 10 X A sled dog struggles for survival in the wilds of the Yukon. Director: Chris Sanders Stars: Harrison Ford, Omar Sy, Cara Gee Horror Mystery Sci-Fi 7. 5 / 10 When Cecilia's abusive ex takes his own life and leaves her his fortune, she suspects his death was a hoax. As a series of coincidences turn lethal, Cecilia works to prove that she is being hunted by someone nobody can see. Leigh Whannell Elisabeth Moss, Oliver Jackson-Cohen, Harriet Dyer Romance 8 / 10 Jo March reflects back and forth on her life, telling the beloved story of the March sisters - four young women each determined to live life on their own terms. Greta Gerwig Saoirse Ronan, Emma Watson, Florence Pugh 8. 2 / 10 On an isolated island in Brittany at the end of the eighteenth century, a female painter is obliged to paint a wedding portrait of a young woman. Céline Sciamma Noémie Merlant, Adèle Haenel, Luàna Bajrami Fantasy 4. 6 / 10 A horror adaptation of the popular '70s TV show about a magical island resort. Jeff Wadlow Michael Peña, Maggie Q, Lucy Hale Animation Comedy 7. 7 / 10 Set in a suburban fantasy world, two teenage elf brothers embark on a quest to discover if there is still magic out there. Dan Scanlon Tom Holland, Chris Pratt, Julia Louis-Dreyfus 4. 9 / 10 Barely escaping an avalanche during a family ski vacation in the Alps, a married couple is thrown into disarray as they are forced to reevaluate their lives and how they feel about each other. Directors: Nat Faxon, Jim Rash Julia Louis-Dreyfus, Will Ferrell, Miranda Otto 5. 9 / 10 Satire about the world of the super-rich. Michael Winterbottom Steve Coogan, Isla Fisher, Shirley Henderson 5. 5 / 10 A physician who can talk to animals embarks on an adventure to find a legendary island with a young apprentice and a crew of strange pets. Stephen Gaghan Robert Downey Jr., Antonio Banderas, Michael Sheen Action Crime 8. 1 / 10 An American expat tries to sell off his highly profitable marijuana empire in London, triggering plots, schemes, bribery and blackmail in an attempt to steal his domain out from under him. Guy Ritchie Matthew McConaughey, Charlie Hunnam, Michelle Dockery 6. 5 / 10 After splitting with the Joker, Harley Quinn joins superheroes Black Canary, Huntress and Renee Montoya to save a young girl from an evil crime lord. Cathy Yan Margot Robbie, Rosie Perez, Mary Elizabeth Winstead Sport 7. 3 / 10 Jack Cunningham was a HS basketball phenom who walked away from the game, forfeiting his future. Years later, when he reluctantly accepts a coaching job at his alma mater, he may get one last shot at redemption. Gavin O'Connor Ben Affleck, Janina Gavankar, Michaela Watkins Edit Storyline Jane Austen's beloved comedy about finding your equal and earning your happy ending, is reimagined in this. Handsome, clever, and rich, Emma Woodhouse is a restless queen bee without rivals in her sleepy little town. In this glittering satire of social class and the pain of growing up, Emma must adventure through misguided matches and romantic missteps to find the love that has been there all along. Written by Focus Features Plot Summary Plot Synopsis Taglines: Love knows best. See more » Details Release Date: 6 March 2020 (USA) Box Office Opening Weekend USA: $234, 482, 23 February 2020 Cumulative Worldwide Gross: $20, 892, 065 See more on IMDbPro » Company Credits Technical Specs See full technical specs » Did You Know? Trivia All of the music performances in the film are real, played by the actors in character. None are staged. See more » Quotes Miss Bates: Oh, oh Mother, do you hear? MISS WOODHOUSE HAS INVITED US TO HARTFIELD! Connections Version of Emma (1972) See more ».

Emma. Free movies. So powerful I can't even describe it. Emma. Free movie page. Já bych chtěl poděkovat Marpovi že se podělil s písničkou pro svou dceru s náma všema. Díky. Emma& 39;s chance free online movie. Emma. the movie. Pecka song. BIG LIKE. . A Gotta vystřídal Klus ve výhře slavíku avšak dědo myslím si že asi jenom na chvilku.

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. Rating: 8,8 / 10. Writers: Randall Wallace. duration: 178min. Rating: 918545 vote. Year: 1995. Braveheart movie font. Braveheart movie music. Braveheart movie images.

When I first saw this film I was impressed, however this was on an aeroplane flying over the Atlantic and not the best place to formulate an opinion. It was a few years before I saw it again and had a chance to fully appreciate what an entertaining film it really is. All the elements are there, romance, violence, comedy, and a superb cast to go along. The english king was brilliantly nasty and really justified the scottish feeling towards him at the time. There were two beautiful love interests but my favourites were Wallace's men who supplied the bulk of the action and humour, especially Stephen who had me laughing at the most serious of points. Both Robert the Bruce and Wallaces characters are seen to develope and change as the film goes on, out of necessity for the roles they must play in history. The ending was a tear jerker and the final image on the battlefield had even the most english of hearts willing them on. Overall a brilliant story which is not so much about Scottish versus English as revolution against oppression.

Braveheart movie clips. Braveheart movie download. Braveheart movie download dual audio 720p. One thing the Irish and Scottish have in common is no real love towards the English. I cried a lot 😢 these two music pieces reminded me the days my dad when he was teaching me playing piano with his soft violin, till he he had cancer and passed away. It was the most beautiful unended love story between me and my father when we play music together and make people around us feel life. May God bless him in heaven, I miss you Dad😢.

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Braveheart movie actress. 0:54 Excellent. Gracias por compartir tu escencia en esta bella melodía. No está demás mencionar el efecto de viaje que arranca al nada más ver las estimulantes películas de focos de colores y luz. Creo que hemos sido esas mismas luces, que se encienden y apagan como conciencias. Desde lo más pequeño a lo más grande de esta inmensidad. This film is not a film for great thinkers, this is a film for battlers and dreamers who crave the courage to fight for what they believe in. This movie has more heart than any others I have seen, inc. the Great Escape, What a wonderful life and Romeo and Juliet. This film is pure inspiration. It's almost impossible for a Scotsman to watch this film and not think about overthrowing the English, who we are still ruled by no matter how "independant" we are.

Rest in peace James Horner may the angels fly thee home. Braveheart movie online free. Scots, not Scotts. Unless there are a lot guys called Scott taking part. Braveheart movie quotes. Everyone saying he's playing 3 instruments. he's also playing percussion on his axe. When i was watching this I discovered a movie mistake go to 1:51 and quickly pause look in the left corner there is a car didn't know cars were around then very interesting Lol.

J'avais adorer Braveheart étant petite ! Un de mes films d'aventure guerre préfèrer Sophie Marceau jouer pas mal dedans aussi. Some people need meaning more than comfort in their life. Actually only such people can be called humans. Beautiful moments of two souls. No horses are harmed in the making of this film. Time to update the 'quality' lads.

This is one of my favourite historical movies I've seen. While most of it is just complete bogus and fantasy, it still doesn't hinder my enjoyment. Flower of Scotland. Braveheart movie length. (Watch 2018 Online MOJOboxoffice) The website Braveheart. Yep, that's how I converse with the Almighty as well... Asking a movie for historical accuracy is an invitation to disappointment, and flicks set during medieval times have especially bad track records. So it was with some trepidation that we sat down to watch Outlaw King, Netflix's recently released prestige drama starring Chris Pine as Robert the Bruce. You might remember Robert from 1995's Braveheart, and given that these movies cover the Wars of Scottish Independence nearly back-to-back in the early 1300s, with only some years overlapping, it's impossible not to compare them. This is not a discussion of which movie is better (though Braveheart has better pacing and dramatic payoff). Instead, this is a category by category analysis of the essential historic accuracy between the two movies. Like a duel, whichever film scores the most points wins. Story Chris Pine as Robert the Bruce in Outlaw King. Netflix No matter which biopic wins, the loser will be Andrew de Moray, the Scottish freedom fighter that both movies ignore. He was a contemporary of William Wallace and the two were named co-protectors of Scotland. After some Scottish military gains, the English defeated de Moray and Wallace, and a grueling guerrilla campaign followed. Wallace was captured and executed, and finally Robert the Bruce stop vacillating between sides, backed independence, and rose to become the King of Scotland. Both films show Bruce’s wavering support for the resistance and his eventual leadership as an essentially self-made monarch. But Braveheart has a larger scope—and makes bigger mistakes. Mel Gibson's movie muffs essential parts of what is known about the real William Wallace. For example, the fact that he was a lesser noble, not a humble farmer as the film portrays. Wallace also rubs elbows with people in anachronistic ways, including romantic interest Princess Isabella, who was only three when Wallace died. The movie accepts the most romantic motivations for Wallace’s rebellion, doubling down on sketchy information about a woman who was executed for helping him escape the English. Braveheart has a larger scope—and makes bigger mistakes. Bruce has a more established personal angle, since he definitely had a queen who was held captive until he could garner enough prisoners of war to exchange for her. Likewise, his streamlined story is held up by more historically established tentpoles that the screenplay follows fairly faithfully. That includes the protagonist’s prominent murder of a rival in a church and a series of setbacks before winning on the battlefield. Bruce plays a prominent role in Braveheart, showing up on battlefields and betraying Wallace in ways the available facts don’t support. In Outlaw King, Wallace shows up only in name and reputation. The closest viewers get to him is a severed limb on a pole. The English did spread Wallace’s remains around Scotland as a warning to other would-be rebels, making the gruesome cameo true to life. Winner: Outlaw King, despite a contrived battlefield duel between Bruce and the Prince of Wales. Weapons William Wallace's (unrealistic) sword. Both movies feature convincingly visceral, graphic depictions of medieval warfare, and so the weapons of the era are on gory display. The basics are there on both sides—bows, axes, spears, and two-handed swords are the tools of choice. We know a lot about the Scottish gear, since in 1318 (shortly after the years shown in the movies) Bruce decreed what kinds of arms and armor his forces would need to carry. It was broken down by economic status: Those having goods to the value of a cow had to supply their own spear, sword, or a bow with 24 arrows. Glenn J. Mason Wikimedia Commons Both films have these cornerstone weapons in abundance, but Braveheart puts one blade on center stage, William Wallace’s two-handed sword. The most iconic image from Braveheart includes his impaling the ground with it after a victory. As can be said of the movie as a whole, the depiction of the sword is more inspired by myth than reality. The movie sword very much looks like the Wallace Sword that is on display at the National Wallace Monument in Stirling. The problem with that is the sword on display was not likely ever used by the famed rebel, or anyone else, in combat. For starters, it’s obnoxiously huge. To wield it effectively would require someone as tall as six foot seven inches, according to one BBC-curated page on the history of Scotland. “Maybe it doesn't matter if the sword isn't the one used in battle by Wallace, ” David Caldwell, National Museum of Scotland, told the BBC. “It's now the main focus of the cult that has developed around his memory. In the popular imagination it's highly appropriate—large, plain, and businesslike for a man of action. ” There is one thing conspicuously absent from the Braveheart sword. The longer a blade, the more its weight becomes a liability. These things were made for bonebreaking hacking and bloody slashing, which are both energy-intensive attacks. Stabbing is best reserved for short swords that can poke holes between a knight's plate metal. “Maybe it doesn't matter if the sword isn't the one used in battle by Wallace…in the popular imagination it's highly appropriate—large, plain, and businesslike for a man of action. " Moving fast and preserving stamina were life-and-death battlefield attributes. To shave weight from swords, nearly every blacksmith designed a groove in the blade called a fuller to make them as much as 25 percent lighter. This was not an expensive option in the 1300s, but a standard feature of military blades. These grooves have nothing to do with blood, despite the feature’s popular nickname, “blood gutters, " and they actually made blades structurally stronger as well. On closer inspection, there are nearly zero fullers on the blades in Braveheart, whereas nearly all the swords of the Outlaw King have them. What’s funny is that Robert the Bruce is widely credited with using a two-handed Claymore sword during some of his famous battles, but in the movie he never touches one. The filmmakers probably wanted to avoid as many comparisons as possible. Winner: Since the Braveheart sword is so front and center and its depiction is wrong, Outlaw King takes the category. Also, the Netflix movie gets serious props for showing the improbably massive catapult called the War Wolf, which the English did indeed build and field in Scotland. Clothes and Armor Netflix Braveheart indulges in some visual telegraphing of the fight between ragtag Scots and the mighty English military. The English troops are all wearing the same orange uniform, wielding almost identical gear. This is not how England fought in the 1300s. “The majority of the English infantry forces…were made up of ‘mixed’ fighting men, armed and armored in a heterogeneous way, ” reports. “A wide range of weapons was employed, including long-hafted axes, swords and bucklers, and short infantry spears. ” Outlaw King does a better job of this, with only a few indulgences to indicate the English from the Scots when the dirt, blood, and horse sweat starts flowing. But it’s not perfect—there certainly are more soldiers wearing expensive sets of chainmail than there would have been in reality. Instead, the more common armor was called jack—thick cloth padding studded with whatever pieces of metal could be sewn into the fabric. “The yellow war shirt is never shown in any film or popular image and yet it is something that all the original writers comment on. " The Scots in the 1300s also looked and fought like the English. One exception was the long, cavalry-defeating spears that appear in both movies. Neither film truly captures the use of the Scots’ schiltron spears—clusters of men would huddle groups, bristling with spear tips in hedgehog fashion. This not only spooked and disabled horses, but forced the cavalry into muddy terrain or manmade obstacles. Away from the battlefield, both films do a decent but imperfect job dressing nobility and peasants. One thing to keep an eye on are fabric’s colors. Seeing a peasant wearing red is improbable, but the abundance of woad makes blue dyes commonplace even among peasants. Another common dye color is yellow—one researcher recently said that yellow would have been the preferred color for most Scots on the battlefield as well, using the all-to-common ingredient of horse urine to color clothes. So not only would a tunic, rather than armor, be the most common site on the medieval battlefield, in Scotland many would be bright yellow. “The yellow war shirt is never shown in any film or popular image and yet it is something that all the original writers comment on, ” writes author Fergus Cannan. Get those kilts out of here! Icon Entertainment Now we must bring up one of Braveheart ’s most conspicuous costuming errors—dressing Scots in kilts hundreds of years too soon. This bit of myth-building is a useful way to tie the movie’s events with later independence efforts, but it’s far from the way Scots looked on or off the battlefield. Winner: Outlaw King really had to screw up to be beaten on this category, and it didn’t. There’s not a single tartan to be seen. Big Battles Marquee battles are at the narrative heart of both movies. Braveheart features the Battle of Stirling, where the Scots used long spears to disable fearsome English cavalry. Outlaw King climaxes with the battle of Loudoun Hill, which the Scots won by using long spears to disable the fearsome English cavalry. Both movies make similar mistakes when they pose this tactic as a surprise—the Scots use of the long spears and hedgehog formations were well-known. It also came with drawbacks, especially to mobility. It’s hard for groups of men in hedgehog groups to move around a battlefield. It was the terrain, not just the spears, that made the big difference in both battles. At Sterling, the Scots positioned themselves on one side of a bridge that funneled and neutralized the overwhelming English forces. The movie shows no such bridge. At Loudoun, a much smaller battle, Bruce built trenches and positioned his troops near a bog that slowed down the English horses and funneled the English into the waiting spearpoints. Bruce made sure both sides shared his troops’ lack of mobility. (The Scots used horses to get to and around the battlefield but fought dismounted. ) Outlaw King does a decent job of showing these tactics, but doesn’t clearly show the funneling effect. Winner: Despite better cinematography and drama, Outlaw King does a better job of showing the preparation and execution of the actual battle strategy than Braveheart. Humorously, both films ignore and change their representations to avoid the onscreen battles’ similarities to the Battle of Bannockburn, where Robert the Bruce won a bigger, more important victory over the English. And the winner is… Outlaw King. Braveheart has been called one of the least accurate historical movies ever made, a harsh critique when you consider films like 10, 000 BC, Pocahontas, JFK, and Pearl Harbor. Even though Braveheart won big at the Oscars, Outlaw King does a better job of picturing Scotland as it actually was in the 1300s.

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Writed by - Satoshi Kon runtime - 92 minutes Japan 8 of 10 resume - On Christmas Eve, three homeless people living on the streets of Tokyo find a newborn baby among the trash and set out to find its parents release Date - 2003.
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In continuing my trip into the late Satoshi Kon's all-too-small body of work (four feature films as director and one television series that is MUCH too hard to track down) I now come across this film, 2003's Tokyo Godfathers, which I unfortunately missed when it was first released and was actually the first time I had heard of the director. I was happy to finally come across a copy and pop it in. only to find that it was not at all what I was expecting from the director of such mind-benders as Perfect Blue and Paprika. This is both good and not-so-good. It's certainly not a bad film, nor one that is distasteful. It's a sentimental piece of pap that has the ambition to the Japanese anime answer to It's a Wonderful Life: a Christmas story that is not necessarily all about Christmas that has supernatural (or "miracle" overtones, and goes sometimes into dark places. The short of it: three homeless people, one a bearded guy with a family that he left behind, a transvestite who insists on being called a woman's name and is so flamboyant as to make Harvey Fierstein jealous, and a young runaway girl whose father is a cop. They come across a baby abandoned in a dump where they dwell at night, and decide to take it to the police. well, not unanimously anyway, the transvestite wants to hold on to it and mother it. But they come across some hijinks and problems along the way, including the woman who comes back to find the baby again. I could go on about the plot, but it should only be the short of it not so that I'll reveal anything so surprising, but there is TOO much to try and reveal in a plot synopsis. Like many anime films and series I can think of (on the action-side Dragonball Z and on the more adult side Princess Mononoke) the story can get complicated, if not impossible to follow. In this case though it's a holiday family film (yes, family film, despite its dark corridors its meant for ma and pa and the kids sitting around the fire) and in the last fifteen minutes or so complications, coincidences and/or contrivances get piled on, leading up to a big chase scene up a building. This would all be fine if the film itself didn't become so sentimental. It's hard to take that in Hollywood movies, but with Kon, and he has the best intentions believe me, it becomes a tale so squishy that you can feel it slipping from your fingers. It is pap, but not the kind of enjoyable pap that the original John Ford entertainer 3 Godfathers was back in 1948 (same premise, three men and a baby, but with the Duke in one of his best performances, but I digress it's good. Here the characters end up being more of service to Kon's 'Wonderful Life' tale, yet this does come after some time developing them. We get back-story, and later some contradiction to the back-story, and some visual aids such as a flashback to the transvestite's story as a singer who got in to a big fight with a heckler. Sure, the film has beautiful animation. Kon is one of the forerunners of Miyazaki as one of the greats in his time of modern anime in Japan, changing the game and surprising at many turns. At the least Tokyo Godfathers is pretty to look at, a kind of urban fairy tale with lots of snow and harder-edged buildings and grit, with some blasts of big humor and some deserved heart. If only the story didn't sink into its sappy moments so much - though for some this will be just the thing that will take them in, and I can't blame them. Perhaps it's the Grinch in me. Facebook is showing information to help you better understand the purpose of a Page. See actions taken by the people who manage and post content. Page created - January 23, 2018 Prestação de contas O Pequeno David esteve com a gente para retirar uma órteses articulada que auxiliará em seu tratamento. Agradeço ao Padrinho doador que através desse item nos permitiu auxiliar mais uma família.... See More meu filho jhonatas já teve ajuda fomos bem recebidos pelo lindo trabalho que fazem. pelas as pessoas que voces ajudam e muito dificil precisar ajudar do que precisar... ou precisando de uma cadeira de rodas pra meu neto de 5 anos ir pra escola sentindo na pele a dificuldade See More Correia Lemos é a Patrocinadora oficial dos Padrinhos de Coração. /2020/ Reporter: Gabriel Cavalcante Bio Um primata weirdo e nerd qualquer. Curso Economia. Gosto muito de cultura japonesa e amo artes marciais. - Keep endeavouring! ᕙ(: ˘ ∧ ˘:)ᕗ.

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T c3 b4ky c3 b4 goddof c3 a2z c3 a2zu free watch medical. Director Satoshi Kon took his inspiration, and part of his title, from Jon Ford's western 3 Godfathers (1948) in which three rough and ready outlaws find themselves caring for a baby. At heart it's a Christmas card to Tokyo, and expression of good will and a reminder to spread a little kindness in a world that is increasingly cold and intolerant. The film mixes comedy, drama, pathos and action. There are, of course, Christmas references galore. There are also references to a Tokyo many anime fans may find as incredible as Santa Claus. Kon reminds us this is no fairyland, but a real, living city with 21st century problems that no robot army can solve - shanty towns, tramps scavenging in graveyards, predatory teenagers beating up old men, and illegal immigrants scraping a living in the black economy. Above all else, though, there's a happy ending, without which no Christmas film could possibly be a Christmas film. It comes, not from any flashy bit of magic, but from the everyday miracles in the hearts of ordinary people whose humanity redeems their failings. Kon captures the beguiling neon glow of Tokyo in the film's many night scenes, turning the city into a magical setting for a tale of Christmas miracles.

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