'The Eagle' - movie review

The Eagle (2011 film)

The Eagle is a 2011 epic historical drama film set in Roman Britain directed by Kevin Macdonald, and starring Channing Tatum, Jamie Bell and Donald Sutherland. Adapted by Jeremy Brock from Rosemary Sutcliff's historical adventure novel The Eagle of the Ninth (1954), the film tells the story of a young Roman officer searching to recover the lost Roman eagle standard of his father's legion in the northern part of Great Britain. The story is based on the Ninth Spanish Legion's supposed disappearance in Britain.

The film was an Anglo-American co-production. It was released in the U.S. and Canada on February 11, 2011, and in the United Kingdom and Ireland on March 25, 2011.

The Eagle is effectively a sequel to the film Centurion, written and directed by Neil Marshall, because Channing Tatum's character in The Eagle is Marcus Flavius Aquila, the son of Titus Flavius Virilus who led the Ninth Legion that was lost in the far north of Britannia, and who was therefore the same person as Dominic West's character Titus Flavius Virilus in Centurion: it continues the story of the disappearance of the Ninth Legion fighting the Picts in what is now northern Scotland, north of Hadrian's Wall by following the leader's son's search to solve the mystery of what happened to his father, and the Legion, and the golden eagle standard that they carried everywhere with them, and to restore his family's honor.

As a historical matter, the purported disappearance of the Ninth Legion in Northern Britain is a subject of debate and dispute (see Legio_IX_Hispana § Theories about the Ninth's disappearance for details.)


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Partial spoiler alert! This review perhaps spoils the first 1/3 of the film....

The premise of the entire movie was the desire of one man, Marcus Flavius Aquila, to put himself at great risk to recapture the lost honor of both the Roman Empire and that of his own family. Since we no longer live in an honor-bound society, this becomes something to really ponder. The symbol of this endeavor was the lost Roman golden eagle standard; a golden Roman eagle which was attached to a pole such as a national flag; a vexillum. Of course, since his own father commanded the 9th Legion, it was both patriotic and personal. The legion contained 5,000 soldiers, a great loss and embarrassment to the empire; similar to the great Roman defeat in the Teutoburg Forest about 130 years earlier.

The 9th Legion was to have disappeared in what was called Caledonia by the Romans, or what is now Scotland. The Picts were not Gaels, but usually thought of as being a Celtic people, although may have been a particular Atlanto-Mediterranean people. The strange sounding language used by the Picts in the film was not the lost and unknown Pictish language, but Scottish Gaelic. In any case, the tribes of Caledonia were so fierce that the Romans constructed a great fortified wall to seal them off, called Hadian's Wall.

The film opens with a Roman military unit traveling through Briton by boat via a river system with heavy foliage and trees. Suddenly a small herd of large steers splashed across in front of them, showing a certain backwardness to this society; although it was under Roman rule for about a century at that point. The boat carried Marcus who was to be the new commander of a certain Roman fortification and territory in northern Briton. As he arrives, there's a certain ominous feeling. There are still strong unconquered elements about them.

There were a few references to "the gods." Marcus prayed to one of the Roman gods, possibly Mithras, on a couple of occasions. He was a man on a mission. There were rumors of Druids about as well, although the Druids were thought to have been long ago defeated. Apparently, though not militaristic, the Druids had organized resistance to Rome in the past in both Briton and Gaul. Soon after assuming command, on a gloomy night, Marcus awoke with a feeling of danger. He got up and went along the outer walls, and heard a certain noise. They tried to figure out if it was a noise from cattle or not.

Marcus made a decision to waken all of the soldiers. They dressed and manned the walls, and waited. It could have ended up as a somewhat embarrassing error by the new commander. However, an army of Britons did attack, and the attack was repelled. For this, the young Marcus gained respect from all. The next morning, the army of Britons showed themselves beyond the walls again. As they started a ritual execution of two Roman soldiers, Marcus ordered a preemptive attack. Again, a great battle ensued.

As Marcus fought, visions of his father fighting some unknown enemy was shown; hinting at a psycho-spiritual connection with something which had occurred years earlier. Although the Romans were victorious, it came at a greater loss than the night prior. Marcus was seriously injured in the battle, and was soon taken away to a different part of Briton. I assume that he was relocated to a more southern location of which the Romans had a better grip on things. There he meets his uncle, who is in some form of command, and begins his rehabilitation. At this point there is a reference to an old Roman proverb, cited in the book 'The Eagle of the Ninth':

Eagle lost, honor lost;
Honor lost, all lost.

During some type of life-and-death battle "games," a young Briton named Esca is about to be put to death with the apparent approval of the crowd. Marcus rises and objects, successfully. Esca is allowed to live, and is given to Marcus as a slave. At one point Esca pulls a small dagger on Marcus and tells him that he hates him and everything he stands for; however, due to the fact that Marcus saved his life, swears eternal loyalty to him and puts the dagger down.

When Marcus finally heals, he begins his quest to find the golden eagle beyond Hadrian's Wall. This is beyond Roman Briton, dark harsh highlands and weather, populated by savage tribes, the unknown, more dangerous than northern Briton, the top of the world. He sets out on horseback with only his slave Esca; and that's where the film really realizes it's aim.

There's a parallel to the movie 'Braveheart', however the film takes no pro or anti Roman slant. Much of the rest of the film is about redemption of Marcus, Esca, and others. Somewhat ironically, "Roman Briton" at a much later point became a new Roman Empire itself. I reviewed 'Centurion' (2010), of which 'The Eagle' was the sequel to, on the other blog... Centurion (movie review).

In ancient legends, the eagle was the symbol of oppression; perhaps more to the point... of a hording of power and knowledge. The serpent was the symbol of liberation and freedom; more to the point... of an opening up of forbidden knowledge and truth. However, it's also been challenged that the eagle is really the liberator and that it symbolizes safety and the rule of law... while the serpent is an anarchist.

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Franco Zeffirelli's 'Jesus of Nazareth' - 40 year anniversary

Jesus Of Nazareth (Full Movie) 1977

Repenttv

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This was a big deal back in 1977... a time when there were five stations on the dial. It tied together the U.S., UK, and Italy in particular... something not likely to happen again given the massive planned changes in society. I was very young, but I remember everyone in the neighborhood seemed to have it on. As twilight and dimly lit windows arrived, that perfect moment in time, there was a certain unity and warmth to it.

When the first episode was broadcast in the United States, it was a major success. The New York Times reported it "swamped all competing programs on Sunday night", with overnight Nielsen ratings of 46% of the total audience in New York and 53% in Los Angeles. The miniseries as a whole received a Nielsen rating of 30.8 points, with each point representing approximately 712,000 television-owning homes, and an audience share of 50% nationwide, on both nights. The company calculated that Jesus attracted about 90 million viewers.

Jesus of Nazareth turned into a massive commercial success and one of the most widely marketed and best-known productions about Christ's life.

NBC rebroadcast the series in 1981 and four more times through 1990.

The mini-series is broadcast every Easter and Christmas in many countries...


 Jesus of Nazareth (miniseries)

Jesus of Nazareth (Italian: Gesù di Nazareth) is a 1977 British-Italian television miniseries directed by Franco Zeffirelli and co-written by Zeffirelli, Anthony Burgess, and Suso Cecchi d'Amico which dramatises the birth, life, ministry, crucifixion and resurrection of Jesus. It stars Robert Powell as Jesus. The miniseries features an all-star cast of famous American and European actors, including seven Academy Award winners: Anne Bancroft, Ernest Borgnine, Laurence Olivier, Christopher Plummer (subsequent winner), Anthony Quinn, Rod Steiger, and Peter Ustinov.

Extra-biblical traditions were used in the writing of the screenplay and some characters (such as Zerah) and situations were invented for the film for brevity or dramatic purposes. Notably, Jesus of Nazareth depicts Judas Iscariot as a well-intentioned man initially, but later as a dupe of Zerah who betrays Jesus largely as a result of Zerah's false platitudes and pretexts. However, in accordance with the Gospels, the film depicts Nicodemus and Joseph of Arimathea as sympathetic members of the Sanhedrin. Many of the miracles of Jesus, such as the changing of water into wine at the wedding at Cana, the transfiguration, and the calming of the storm are not depicted, although Jesus healing the blind man and the crippled woman on Sabbath, the feeding of the multitude, and the raising of Lazarus from the dead are presented here.

Jesus of Nazareth premiered on the Italian channel Rai 1 on 27 March 1977 and was first aired in the United Kingdom on the ITV Network on 3 April 1977. It is generally well-praised, but was not received without controversy.

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'Risen' (2016) - movie review

Risen Official Trailer 1 (2016) - Tom Felton Biblical Movie HD

Movieclips Film Festivals & Indie Films

RESURRECTION tells the epic New Testament story of the first forty days after the Resurrection of Jesus Christ through the eyes of an agnostic Roman Centurion charged by Pontius Pilot to investigate rumors of a risen Jewish Messiah and locate the missing deceased body of Jesus of Nazareth in order to subdue an imminent uprising in Jerusalem.


Risen (2016 film)

Risen is a 2016 American biblical drama film directed by Kevin Reynolds; it was conceived from a screenplay written by Reynolds and Paul Aiello. The film stars Joseph Fiennes, Tom Felton, Peter Firth, and Cliff Curtis, and details a Roman soldier's search for Jesus' body following his Resurrection. Columbia Pictures released the film to theaters nationwide in the United States on February 19, 2016.

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The film begins with the words "Judean Desert AD 33," and a revolt by Judeans against the Roman army. A rather gutty thing to do, as they were poorly armed. In the bigger picture, the Roman provincial prefect Pontius Pilate wanted things to settle down for a coming visit from the Emperor. In a separate early scene, the Crucifixion of "Yeshua" is shown, and the central character Clavius is introduced. He was a high ranking Roman military tribune; likely a fictional character. Roman and Hebrew leadership were portrayed as conspiring together against Yeshua's potential "Messiah" status after his death, and no doubt were doing so when he was alive as far as this movie's depiction.

When guards fell asleep, and the body of Yeshua comes up missing, this coalition goes in panic mode. There is an ambiguous aura around what actually occurred to these two guards, and it remained inconclusive. At one point, Clavius prays to the Roman god Mars in order to garner favor. I don't want to give away too much, although the trailer gives away much of this anyway, but Clavius comes face to face with the "risen" Yeshua and observes supernatural happenings which dramatically transforms his thinking. Later interactions between Yeshua and Clavius are moving.

There are no overzealous attempts by the filmmakers to make Yeshua "bigger than life" or to show him as overly humble or pious, as has been portrayed in past films. In some ways, this added to the character's sincerity, gentle nature, and strength. Yeshua is played by Cliff Curtis, a New Zealander of Maori or part Maori descent... who made a perfectly believable ancient Hebrew... a more accurate Jesus, sort've more Tony Shaloub than Brad Pitt. Clavius is played well by British actor Joseph Fiennes.

Basically, the Hebrews appeared as what we would perceive as like Russian Jews; while the Romans appeared more-or-less accurately as being something of like "Alpine types." There is at least some evidence to suggest that the early Romans were more of a proto-European outfit... rising up against the more Mediterranean Etruscans. Our own Cisalpine culture led the way, in terms of the artistic portrayals of Jesus, centuries later. Needless to say, this movie is very relevant to our culture.

While this film doesn't have a particularly expensive or elaborate setting, it likely shows a more accurate Judea of 2,000 years ago. It shows the characters the way they were to have been, without overstating the point. It's an easy watch; rough without displaying too much overt violence.

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Mary Magdalene is played by Maria Botto, an Argentine actress of Cisalpine descent; and whose family is well represented in the Argentine film industry as can be seen on her link.

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Spoiler alert beyond this point!

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Close to the end of the film, Clavius--after observing numerous supernatual events--opens up to Yeshua. He finally confesses that he partook in the crucifixion, and Yeshua puts him at ease by reminding Clavius of something he had said perhaps the day prior. He had emphatically said something like "there will be no killing today" while defusing a situation. Of course, under normal circumstances, there would be almost no way or very unlikely that Yeshua would know this since he was not present. Sure it may have been possible that someone told him, although there would be no reason to do so. Regardless, Clavius just knew that he was amid a supernatural person... as he had already observed it first hand. This scene displayed the subtle style of the film.

The movie ends with Yeshua saying a few parting words as he walked towards the rising sun, and finally disappears into it. This at least suggests a connection with Horus, Egyptian mythology, and more ancient sun cult stories... and a symbolic tie-in with "the Sun," "the light of the world," or "our risen savior" (every morning). It's possible that this was a more subtle symbol. My guess is that the filmmakers displayed a clear tie-in with Horus. There was also the fish symbolism, which was not nearly as clear or dramatic as the sun symbology.

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'Conquest of Paradise' by Vangelis

Conquest Of Paradise - Vangelis

New Age Music Corner
From the soundtrack of the 1992 film '!492: Conquest of Paradise'

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'The Last Days of Pompeii' (1935) - movie review

The Last Days of Pompeii (1935 film)

The Last Days of Pompeii (1935) is an RKO Radio Pictures film starring Preston Foster and directed by Ernest B. Schoedsack and Merian C. Cooper, creators of the original King Kong. Although inspired by the novel of the same name by Edward Bulwer-Lytton, the film has virtually nothing to do with the book.

This film made good use of artificially generated backgrounds, not entirely unlike computer generated graphics used in films today. The opening scene in Pompeii, with this imagery and music which sounded a bit like the fight song of the University of Southern California, was adequately believable. Black and white films, even through the 50s and even 60s, leave just enough shadow that it somehow allows for a little bit to the imagination.

Preston Foster plays the role of Marcus, a poor honest blacksmith who--through a series of events--ends up as a first rate voluntary gladiator. His character is ambiguous throughout the film. He starts out as a noble-minded and hard-working craftsman; but though some tragic events and great loss, takes on the cold attitude that "money is what really counts." Still, he never quite sells out completely, and the good man underneath remains somewhat dormant. He shows a good heart in adopting the son, named Flavius, of a man he has slain in the arena.

After a profitable period as a gladiator, Marcus becomes a slave trader for a short time, then a seaman and adventurer... something like a soldier of fortune. There are a lot of small but important and prophetic items during a time that he travels with Flavius to the Roman colony of Judea that sets the stage for the rest of the film, but are too numerous to mention in this short review. Now as a man of some fame, he meets the Roman prefect of Judea, Pontious Pilate, and they become close friends after Marcus leads what seems to be an off-the-record raid on a band of Pilate's enemies in the countryside. Pontius Pilate is portrayed as a wise man of some conscience, who seems to feel some guilt for having condemned a particular man to crucifixion. That man, although never named in the movie, was Jesus. They split the loot and Marcus returns to Pompeii.

Although the movie was obscure about it, Marcus and Flavius visited an encampment where Jesus was speaking and was active. At at later point, mentioned only later in the film in reference, they observed
Jesus and others being crucified. Both seemed strongly affected by their encounter with Jesus. Marcus denied the experience outwardly, while the young Flavius never forgot it. Basically this fictional film, through the story of the characters, subtly ties together the destruction of Pompeii with the beginnings of Christianity. When the now wealthy and popular Marcus returns to Pompeii, he becomes the important "head of the arena"; I suppose something equivalent to maybe a former football star becoming a director of football operations. During this mid-point in the film, Mt. Vesuvius is depicted ominously smoldering in the background, with one character making reference to it briefly.

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Spoiler alert beyond this point!

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Pompeii ruins with Mt. Vesuvius in the background

After a major slave revolt and escape, the new prefect for the region was compelled to hunt them down. The penalty for this crime was death. Flavius, with this "Christian ideas," was secretly helping to hide these slaves and making arrangements to lead them to a safe island. When they were all captured, Marcus was pleased and began organizing some arena "games" for them as part of their consequence. After being told just before the games that his son was captured along with them, he naturally goes bananas and tries but fails to free him before the prefect discovers what has happened. Finally, Flavius and the others are put into the arena to fight while Marcus dramatically and unsuccessfully scrambles to do something.

During the chaos, Mt. Vesuvius erupts and there's a very powerful earthquake. Pompeii starts to crumble as lava pours down towards the city. Actually in the real event, it was a type of super-hot and toxic smoke vapor that did in Pompeii and its inhabitants; but perhaps this wasn't known in 1935. After initially breaking down emotionally, Marcus quickly recovers--like the Grinch who stole Christmas--and saves a jailer (and the jailer's young son) who earlier would not accept a bribe to release his own son. He then starts loading children onto boats in the harbor ahead of himself. Eventually he saves his son and finally explicitly risks his life standing up to the prefect and his soldiers who wanted to take a boat for themselves away from some children. Marcus is badly wounded by a spear, but his effort allows that last boat to sail to safety.

As this was happening, the city was finally crushed. The final scene shows Marcus dying amid the ruins as he sees the spirit of Jesus come before him... presumably to reward him for his selfless redeeming efforts. Quite an emotional ending for this old film. This film, as well as numerous other works, was inspired by the 1834 novel 'The Last Days of Pomeii', written by the English author Edward Bulwer-Lytton.

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Bernardo Bertolucci

TRIBUTE TO BERNARDO BERTOLUCCI

estorilfilmfestival

An inevitable name in the worldwide movie scene and impossible not to mention when talking about the so called modern cinema.

Versatile in his style, but always true to himself and his vision, Bernardo Bertolucci has left his mark with one of the most provocative erotic movies ever, Last Tango in Paris; passing through risky social-political pictures such as the epic Novecento; Hollywood kind of projects like The Last Emperor, winner of 9 Academy Awards; and recently returning to more personal movies like The Dreamers.


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Bernardo Bertolucci

Bernardo Bertolucci; born 16 March 1940) is an Italian film director and screenwriter, whose films include The Conformist, Last Tango in Paris, 1900, The Last Emperor, The Sheltering Sky and The Dreamers. In recognition of his work, he was presented with the inaugural Honorary Palme d'Or Award at the opening ceremony of the 2011 Cannes Film Festival.

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Bertolucci is well-known to American audiences. He started out as a protege of Pier Paolo Pasolini. He is of Parmesan paternal descent, and his half-Irish mother was born in Australia.

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Federico Fellini on 'Biography'

Biography: Federico Fellini

Pobednik1985

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Federico Fellini

Federico Fellini (Italian: January 20, 1920 – October 31, 1993) was an Italian film director and scriptwriter. Known for his distinct style that blends fantasy and baroque images with earthiness, he is considered one of the greatest and most influential filmmakers of the 20th century.

In a career spanning almost fifty years, Fellini won the Palme d'Or for La Dolce Vita, was nominated for twelve Academy Awards, and directed four motion pictures that won Oscars in the category of Best Foreign Language Film. In 1993, he was awarded an honorary Oscar for Lifetime Achievement at the 65th Annual Academy Awards in Los Angeles.

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Federico Fellini was of Romagnol ancestry.

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'Pompeii' (film) - movie review

'Pompeii' (film) [Wikipedia]

Pompeii (referred to in marketing as Pompeii in 3D) is a 2014 German-Canadian historical disaster film produced and directed by Paul W. S. Anderson. The film stars Kit Harington, Emily Browning, Carrie-Anne Moss, Adewale Akinnuoye-Agbaje, Jessica Lucas, Jared Harris, and Kiefer Sutherland. It premiered in France, Belgium, and Russia on February 19, 2014 and was released over the course of the next two days in many major territories, including the United States, Canada, India, and Australia.

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'Pompeii' wasn't an "epic" movie, such as 'Spartacus', 'Braveheart', or 'Gladiator'. It was a good movie, and like 'Braveheart', it brought a historical event to life. Apparently, Pompeii was something of a resort city within the Roman Empire... located near modern Naples. It was a major city, and was perhaps more perceived as a "resort town" by Roman authorities.

It would not be giving away the movie to state the obvious... that Pompeii was located right near the foot of Mt. Vesuvius, which was an active volcano which destroyed the city in a horrific manner in 79 AD. Actually it wasn't the lava which destroyed the city and killed its inhabitants, but the real details are too gruesome to go into now. The plot of the movie was fictional.

The film opens with scenes of plaster casts of the victims of Pompeii as quotes on the destruction are made. The opening scene is from the Roman province of Britannia, where Celtic Britons lose in a revolt against the Roman army. The only survivor is a male child named Milo who becomes one of the two chief protagonists. He grows up to be a gladiator in Britannia, and naturally he has a desire for revenge against the Romans in a political and military sense. He is eventually taken to Pompeii to fight in the colosseum arena there, where he meets a princess named Cassia whose father is the city ruler Severus (Jared Harris). Severus' wife, Aurelia, is played by Carrie-Anne Moss. She has such a great character face.

The love affair between Milo (Kit Harington) and Cassia (Emily Browning) is the main plot around which the whole movie revolves. I thought Kiefer Sutherland played the best role, as far as character acting, in the role of Senator Corvus.. a powerful Senator from Rome who was forcing himself on the city's first family while pursuing Cassia for marriage. Naturally Corvus, a classic "bad guy," came into conflict with Milo. This was a very fast-paced film which fits events which would have unfolded over a year or two... into a few days.

The graphics of this movie were very good. Pompeii reminded me of what I perceive Etruscan cities to have looked. The beautiful imagery of the city against the mountains and countryside. During the opening scene in Pompeii.. it was during the "Festival of Vinalia"... a Roman harvest festival held in April and August. Later, the harbor of Pompeii was shown as spectacular and very advanced. Not surprisingly, the special effects of Mt. Vesuvius blowing looked like the end of the world. For the people of Pompeii, it was.

Milo's legitimate issue with Roman authority went along with what was portrayed as a bit of an autonomous feeling by the Pompeiians against Roman dominance over them. The Romans were clearly shown as the antagonists here. One interesting quote from Senator Corvus caught my ear... where he mentions the Roman deities Jupiter and Venus. Jupiter was the god of sky and lightening... symbolized by the eruption of Mt. Vesuvius; while Venus was the goddess of love, beauty, sex, fertility and prosperity... symbolized by Pompeii.

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'The Ballad of the Green Berets' by Ennio Morricone

Ennio Morricone's version of 'The Ballad of the Green Berets'.. 'La Ballata dei Berretti Verdi'. I don't think it was composed for a movie, but I'm not positive about that.

"Wonderful Morricone. He can do it all. Thanks for posting ."
--shelabacon, YouTube user

"Wonderful hymne...thank you SO much!!"
--Pedy1968, YouTube user

The original version of the song was featured in the movie 'The Green Berets' (1968) starring John Wayne.


Part of the lyrics:

"Back at home a young wife waits
Her Green Beret has met his fate
He has died for those oppressed
Leaving her this last request

Put silver wings on my son's chest
Make him one of America's best
He'll be a man they'll test one day
Have him win the Green Beret"


Below, the movie version, with chorus:



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‘Neverlake’ (2013) – movie review

‘Neverlake’ is a 2013 Italian movie, apparently made for an English-speaking audience. I ordered it via pay-per-view due to its theme, which I found interesting:

On a trip home to visit her father, Jenny is thrown into a world of mystery, horror and legend when she is called upon by 3000 year old spirits of the Neverlake to help return their lost artifacts and save the lives of missing children.

Actually, the film description for the PPV described “Etruscan spirits.” There is surprisingly little information online about his film, outside of a few reviews… of which I haven’t read, as I usually like to try to relay my interpretation firsthand. I wasn’t able to find out which lake it was filmed at, as the lake reminded me of pictures I have seen of Lake Nemi in Tuscany… a location of many legends and folklore. I think most of the filming was around Arezzo in eastern Tuscany. Lake Nemi is in the west, but this lake was mysterious-looking in any case… looking beautifully gloomy and surrounded by heavy woods.

Some background to the story was a little bit unclear. The main protagonist was Jenny.. a sixteen year old girl, of apparently Tuscan birth and heritage, who had been sent to live with an aunt in England at a young age, and was currently going to school in New York City. The movie begins with Jenny on the last leg of her trip to spent the Summer with her father in Arezzo, which is evidently in a rural hilly part of Tuscany, dotted with ancient villages.

This is a difficult movie to review because it was a steady advance of strange experiences, but perhaps none of them standing out in particular. Basically, in one form or another, ancient Etruscan spirits of “the Lake of Idols” seem to be sending her clues regarding.. something. Throughout the film, Jenny’s poetry relay some subtle messages.

Just the theme of Etruscan mythology, combined with the gloomy environment, set an interesting mood. Jenny’s father, apparently a doctor and amateur archeologist, was working on a project regarding ancient Etruscan artifacts. On his wall was a painting of Etruscans engaging in a ritual by that particular lake.. of which they believed had supernatural healing properties. He told Jenny that the painting was just an interpretation by the artist of how they may have held rituals on the lake. I don’t know if there really is such a painting of this theme, or if another painting was used to fit the story. The mysterious terrain of the the land, along with the father and his wife’s unusual actions, results in one strongly getting the impression that there are some secrets being kept. Jenny is told that her mother had passed away.

Soon Jenny meets children from a nearby home for orphaned children suffering from various ailments. This home/facility was fairly large and very old, constructed of stone walls and tiled roofs. It sat alone amidst the natural landscape. Jenny befriends them and reads them stories.. for example, writings of Shakespeare. They begin to trust her, and allow her into their world.

Jenny’s father had removed 2,600 to 3,000 year old statues from the lake, which ties into the main plot. Jenny begins to have supernatural experiences, including strange dreams about the lake. I don’t think I would be giving away too much by saying that the “Souls of the Lake” were unhappy with the removal of their statues (figurines). He had been working on his “project” for twenty years.

Etruscan temple

I think part of the theme of this film—for me at least—was a folk-pagan concept of reconnecting with one’s ancestors… with a distinction between a true “folk connection,” and one of mere usury. One curious element in the film was one particular character who appeared perhaps dangerous initially, and another who appeared positive initially… well, it turned out to be quite different…

Although this movie moved along with a slow advance—although I found it to be very relaxing and an escape—the ending ties together a large number of loose ends. The film goes from mystery, to horror, to tearjerker at the end. Many things don’t make sense until the dramatic ending scenes. I wouldn’t say that this movie was an absolute “thriller.” It was suspenseful, an escape into the spiritual, and delving into the sensitive theme of child abuse. I guess one could say that it was a common theme of “good vs. evil”… with the adults being the “evil” force… and with the children receiving help from ancestral spirits when they asked for it.

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Ennio Morricone: Legendary film composer

"If i ruled the world there would be an international Ennio Moricone Day! We all stay home and savour the legends brilliance." --jackthehatuk, YouTube user


Ennio Morricone (Wikipedia)

Also known as: Maestro, Dan Savio, Leo Nichols
Born: November 10, 1928 (age 85)
Origin: Rome, Italy
Genres: Film music, classical, absolute music, pop, jazz, lounge, easy listening, funk
Occupations: Composer, conductor, orchestrator, music director, producer, trumpeter, pianist
Years active: Since 1946
Website: www.enniomorricone.it

Ennio Morricone, Grand Officer OMRI, is an Italian composer, orchestrator, conductor and former trumpet player, who has written music for more than 500 motion pictures and television series, as well as contemporary classical works. His career includes a wide range of composition genres, making him one of the world's most versatile, prolific and influential film composers of all time. Morricone's music has been used in more than 60 award-winning films.

His absolute music production includes over 100 classical pieces composed since 1946. During the late 1950s Morricone served as a successful studio arranger for RCA. He orchestrated over 500 songs and worked with music artists such as Paul Anka, Chet Baker and Mina. However, Morricone gained worldwide fame by composing (during the period 1960-75) the music for Italian westerns by directors such as Sergio Leone, Duccio Tessari and Sergio Corbucci, including the Dollars Trilogy, A Pistol for Ringo, The Big Gundown, Once Upon a Time in the West, The Great Silence, The Mercenary, A Fistful of Dynamite and My Name is Nobody.

During the 1960s and '70s, he built long-term associations with directors such as Gillo Pontecorvo, known for the war film The Battle of Algiers, Bernardo Bertolucci for whom Morricone scored the 1976 epic film Novecento, Henri Verneuil, Pier Paolo Pasolini, Mauro Bolognini, Dario Argento and Elio Petri. Morricone composed music for all film genres, ranging from comedy and drama to action thrillers and historical films. He achieved commercial success with several compositions, including "The Ecstasy of Gold", the theme of The Good, the Bad and the Ugly, A Man with Harmonica, the protest song "Here's to You" sung by Joan Baez and "Chi Mai". Between 1964 and 1980 Morricone was also the trumpet player and a co-composer for the avant-garde free improvisation group Il Gruppo. In 1978, he wrote the official theme for the 1978 FIFA World Cup.

 
Since 1977, Morricone boosted his career in Hollywood by composing music for some of film history's most prolific American directors such as John Carpenter, Brian De Palma, Barry Levinson, Mike Nichols and Oliver Stone. Morricone has composed the music for a number of Academy Award-winning motion pictures including Days of Heaven, The Mission, The Untouchables, Cinema Paradiso and Bugsy. Other noteworthy scores include Exorcist II: The Heretic, The Thing, Casualties of War, In the Line of Fire, Disclosure, Wolf, Bulworth, Mission to Mars and Ripley's Game. In the 1980s and '90s, Morricone continued to compose music for European directors. His music for La Cage aux Folles, Le Professionnel, Once Upon a Time in America and ¡Átame! are among his best-known film scores. He has composed music for numerous television series, including the acclaimed television miniseries Moses the Lawgiver, La Piovra, The Secret of the Sahara, Marco Polo and Nostromo.

He is also associated with the Italian director Giuseppe Tornatore, composing all the music for all his films since Cinema Paradiso (1988), such as award-winning scores for Legend of 1900, Malèna, La Sconosciuta and more recently Baaria (2009) and The Best Offer (2013). Other recent Morricone works include the music for the television series Karol and scores for The End of a Mystery, 72 Meters and Fateless. In the 2000s, Morricone's music has also been reused in movies and television series such as The Sopranos, The Simpsons and Quentin Tarantino's Kill Bill, Death Proof, Inglourious Basterds and Django Unchained.

He has conducted many orchestras worldwide, including the London Philharmonic Orchestra, the New York Philharmonic and the London Symphony Orchestra. Morricone is serving as one of the main conductors of the Orchestra Roma Sinfonietta since the mid-1990s. He has conducted over 200 concerts worldwide since 2001 and is still performing regularly. In November 2013, Morricone began a world tour to coincide with the 50th anniversary of his film music career.

In 2007, Ennio Morricone received the Academy Honorary Award "for his magnificent and multifaceted contributions to the art of film music". He has been nominated for a further five Oscars during 1979-2001. Morricone has won three Grammy Awards, two Golden Globes, five BAFTAs during 1979-92, ten David di Donatello, eleven Nastro d'Argento, two European Film Awards, the Golden Lion Honorary Award and the Polar Music Prize in 2010.

"The good the bad and the ugly - The best theme tune ever" --jordan harding, YouTuber

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"Italian horror movies": Part 2

I have to laugh because I actually had the book to the left when I was very young. I got it for my birthday or Christmas, and it was a very good book. It covered the history up to 1974, including a lot about the Hammer films, with lots and lots of photos. Getting more back on topic, I do know that many people absolutely love Italian horror movies, going back decades. They're like Spaghetti westerns in that they have a certain style all to themselves. I found one piece of text that makes this point well.


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From '12 Classic Italian Horror Movies You Need To See Before You Die' by Clare Simpson:

Hardly anything in the world gives me as much pleasure as Italian horror movies. They just make me really happy. Even the really crappy ones like Manhattan Baby (directed by Lucio Fulci) or – heaven forbid – anything directed by Bruno Mattei. Yes, I will sit down to that man’s films. I love cannibals, I love zombies, i positively adore all sorts of Italian horror based mayhem. I am also a huge fan of Giallo movies, and as some of you may have read, I wrote an article rating the best Giallo movies a while back.

The line dividing Giallo and straight out horror often becomes blurred in Italian cinema. Take a film like Torso (The Bodies Bear Traces of Carnal Violence). On one level it is a typical Giallo concerning a murder-mystery – a who dunnit with a masked killer running around – one of the most obvious motifs in the Giallo genre. On another level, it can be read as a typical straight slasher horror film – which is how it was marketed to overseas audiences.

In this list, I have mainly tried to focus on pure Italian horror, however some Giallo elements inevitably sneak in. There is a lot of pilfering and copying in Italian horror cinema, so I have attempted to pick the most original movies possible as well as the classics we all know and love. So please enjoy 12 Classic Italian Horror Movies – and if you have your own favourites please list them below.


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If you can remember watching television before the cable-age, then you probably saw some of these movies and maybe didn't even realize that they were Italian or European. Someone compiled a list of the 50 top Italian horror directors, which gives a good quick overview of this sub-genre.

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Hardly anything in the world gives me as much pleasure as Italian horror movies. They just make me really happy. Even the really crappy ones like Manhattan Baby (directed by Lucio Fulci) or – heaven forbid – anything directed by Bruno Mattei. Yes, I will sit down to that man’s films. I love cannibals, I love zombies, i positively adore all sorts of Italian horror based mayhem. I am also a huge fan of Giallo movies, and as some of you may have read, I wrote an article rating the best Giallo movies a while back.
The line dividing Giallo and straight out horror often becomes blurred in Italian cinema. Take a film like Torso (The Bodies Bear Traces of Carnal Violence). On one level it is a typical Giallo concerning a murder-mystery – a who dunnit with a masked killer running around – one of the most obvious motifs in the Giallo genre. On another level, it can be read as a typical straight slasher horror film – which is how it was marketed to overseas audiences.
In this list, I have mainly tried to focus on pure Italian horror, however some Giallo elements inevitably sneak in. There is a lot of pilfering and copying in Italian horror cinema, so I have attempted to pick the most original movies possible as well as the classics we all know and love. So please enjoy 12 Classic Italian Horror Movies – and if you have your own favourites please list them below.

Read more at http://whatculture.com/film/12-classic-italian-horror-movies-you-need-to-see-before-you-die.php#t7ZFKkbzaIOWlBm3.99

"Italian horror movies": Part 1

I have a lot of loose-end ideas about this subject, so I think I will just bounce around here a little bit. So, this may not follow any consistent pattern. The horror film genre has long been a sub-industry in of itself, as it has been something basically "apart" from mainstream Hollywood. Every year, going back to the 70s, this genre has produced many low-budget films; as evidenced by all of those late-night movies on second-tier cable networks like Cinemax since the 80s, or the seemingly endless stream of direct-to-video movies that you probably saw in the now disappearing video rental stores.

It has become much more mainstream in recent years, but the independent element is as strong as ever. I have always enjoyed horror movies. I'm not as much for zombie or slasher films. I prefer paranormal or mystery-based thrillers. Horror films seem to be a refreshing creative license for the producers to take chances, be overzealous, be silly, be shocking--without the worry of too much artistic criticism. Of course, there is the more finely artistic element to it. The rest mostly fall into the category of exploitation films.

The Europeans have been at least as much the early pioneers of this genre. The 1922 silent German horror film 'Nosferatu' is regarded as "an influential masterpiece of cinema," and clearly a forerunner of the early classic American horror films. The "Hammer films" from the UK were very popular in the United States going back many decades, especially in the 60s and 70s. Recently I watched again the Hammer film 'Tales from the Crypt (1972), and it was very eery. I think that someone who is not a particular fan of this genre would probably enjoy being creeped out by it. It was eerily though-provoking.

The "cabin in the woods" concept has long been a favorite backdrop; as it forms a little world unto itself... in which the story unfolds. Just last week, the Independent Film Channel had a double-feature of just this theme: 'Cabin Fever' (2002), an American film; and 'The Last House in the Woods' (2006), an Italian film. This popular horror flick was something like an Italian version of 'The Texas Chainsaw Massacre'. I don't know much about Italian horror in particular, but I know that Dario Argento has long been a big name in this genre. I recall watching some of these films as a kid, often late at night, and wasn't even aware that they were from Italy... or Germany, Spain, etc. I specifically remember one called 'Bay of Blood' (1971), directed by Mario Brava.

I recall one time a friend who really knows a lot about the Italian horror genre mentioning that Anna Falchi had appeared in many of these films and is well-known in Europe as a "scream queen." In the United States, to me, Linnea Quigley is one that comes to mind in this category. Elizabeth Kaitan is another one that I really remember. American Theaters which played the exploitation films within this genre were called "Grindhouse" theaters. I don't know of any theater that specifically fits that description anymore, but it's a curious concept. One exploitation horror film which I thought was eerily artistic was Rob Zombie's 'House of 1000 Corpses' (2003).

When I was a child in the Bay Area, there was a program on KTVU called 'Creature Features' (1971-1984). Actually this apparently was a syndicated program, and this was our locally-hosted broadcast. This was a much bigger cultural element since there weren't the cable channels, internet, video games, IPad's, etc. as there is now. This was even before VCR's! Locally it was hosted by the late Bob Wilkins, who was a unique type of host who always kept everyone up-to-date on the horror or similar conventions that would come around. One movie that was frequently broadcast was George Romero's 'Night of the Living Dead' due to its popularity. That movie, and Romero's films since, have directly led to this "zombie craze" that we see today.

I had mentioned earlier the 1922 move 'Nosferatu'. In 2000, there was a British "remake" of a sort called 'Shadow of the Vampire', staring John Malkovich and Willem Dafoe. I thought it was worth a mention because it was somehow an acknowledgement of the whole of this element of our culture since 1922... and it was a good movie. Interestingly, it was a fictional horror movie about the "making" of the original film in Slovakia.

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'Gladiator' movie review

'Gladiator' (2000 film) [Wikipedia]

Gladiator is a 2000 British–American epic historical drama film directed by Ridley Scott, starring Russell Crowe, Joaquin Phoenix, Connie Nielsen, Ralf Möller, Oliver Reed (in his final film role), Djimon Hounsou, Derek Jacobi, John Shrapnel, and Richard Harris. Crowe portrays the fictional character, loyal Roman general Maximus Decimus Meridius, who is betrayed when the emperor's ambitious son, Commodus, murders his father and seizes the throne. Reduced to slavery, Maximus rises through the ranks of the gladiatorial arena to avenge the murder of his family and his emperor.

Released in the United States on May 5, 2000, Gladiator was a box office success, receiving positive reviews, and was credited with rekindling interest in the historical epic. The film was nominated for and won multiple awards, notably five Academy Awards in the 73rd Academy Awards including Best Picture and Best Actor for Crowe.

This is a movie that has been reviewed so many times that I think that I will go a little further along the lines of looking at it from a Cisalpine perspective. Just from the get-go, this was a great movie. Great plot, great flow, great scenes, great performances, and great cinematography. Along with 'Braveheart', this was probably the greatest movie of it's type in the last three decades or more. Of particular interest was the computer-generated imagery.. in this, the digital era of film making.

Unlike 'Braveheart', which presented itself from the opposite perspective of the larger domineering military superpower, 'Gladiator' firmly took the stance that "glorious Rome" had a right to forcefully promote it's benevolent "idea" upon other cultures. Maximus described Rome as "the light" in a cruel dark world; while Senator Falco said in reference to the resisting Germanic tribes: "A people should know when they're conquered." The film seems to have been loosely based upon Julius Caesar and the Roman conquest of Gaul, as well as the Battle of the Teutoburg Forest. Only--in this case--with the Romans winning in Germania.

Set in 180 AD, the protagonist--Maximus--is referred to throughout the film as "the Spaniard." This would mean that he was a Romanized Celtiberian from the Roman province of Hispaniola (Spain), who rose through the military ranks to become a general. In the first scene, the Roman-German battle, the fearsome Roman weapons of war were put on display. Large fireballs were launched from huge catapults, hitting the battlefield like a modern air bombing. Large arrows were cranked up and fired from steel-plated cannons with devastating results. This army would frighten most modern armies in the world.

Leading up to the battle, General Maximus gave one of the great quotes from the movie. This movie was full of them.

[addressing his troops] Maximus: Fratres!
[cavalry addresses Maximus]

Maximus: Three weeks from now, I will be harvesting my crops. Imagine where you will be, and it will be so. Hold the line! Stay with me! If you find yourself alone, riding in the green fields with the sun on your face, do not be troubled. For you are in Elysium, and you're already dead!
[cavalry laughs]

Maximus: Brothers, what we do in life echoes in eternity.

The last line could just stand on it's own as a quote. I thought the earlier part was interesting in that "Elysium" would have apparently been the Roman equivalent of the Odinic "Valhalla." Also, the motivational speech was the 'Gladiator' equivalent to the speech in 'Braveheart'. The one difference being that the Romans were powerful and self-confident; while the Scots in 'Braveheart' needed to gather themselves to fight a larger powerful army... therefore, the more emotional speech.

Another quote which I thought was interesting was a line that Marcus Aurelius said to his daughter Lucilla: "If only you had been born a man, what a Caesar you would have made." It was an indirect reference to his son Commodus not being a viable choice as a successor; and really, for me at least, more of a reflection on the strong and noble character of Lucilla. That's the type of woman that you would want to govern!

In case you didn't know, the acronym "SPQR" is the Roman equivalent of "USA." Senātus Populusque Rōmānus ("The Senate and People of Rome").

Watching the movie, you can't help but notice the similarity between the "bloodsport" of the Roman Colosseum and the very rough modern sporting contests (soccer, rugby, American football, hockey, boxing, UFC, etc.). The first fight scene in the Colosseum reminded me of a football game! The deadly collisions were like big football hits. Even when a sword was tossed up to Maximus on a horse, it was like a quarterback pitching the football to a halfback.

In an earlier bloodsport scene, Maximus--after defeating his opponents in a life-and-death struggle--throws his sword into the columned box where the dignitaries sat (sort've like a press box?), and yelled out with outstretched arms "Are you not entertained! ...... Are you not entertained!!" in what seemed to be a mocking gesture.

Late in yesterday's 49ers-Seahawks game, a 49er defensive back named Eric Wright was kneed in the head and had to leave the game. Since it was a big game, he later returned, and ended up intercepting a pass to secure a victory. He returned from injury to "win" and "entertain" for the crowd. The Maximus line would have been very apt.

I should add that the digital imagery of what the Colosseum really looked like was very interesting, as-well-as much of the background scenery. This is one of those movies that a film buff would have a field day researching and collecting. I can't really do it justice. The acting performances were particularly good.

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Ben-Hur (movie review)

Last evening on TCM, I watched 'Ben-Hur' for the first time in a very long time, and I wanted to review it. It is considered one of the epic movies of all time. One aspect of the film which I overlooked when I had watched it as a boy, was the Christian element to it; as it was subtitled 'A Tale of the Christ'. "Ben-Hur" was apparently not based on a real historical figure, but the film was based on an very popular 1880 fictional novel by Govenor/General Lew Wallace of the same title and subtitle.

There had been a 1907 film and a 1925 film based on the novel, and with the same title and subtitle as well. With the upcoming remake, there will be four different film adaptations of the novel, as well as television and many stage adaptations going back over a century. This is one of those movies where a film buff could have a field day researching, including documentaries about it and of how it was made.

The movie opens just as Christ is born. It doesn't actually show it, but it implies it with powerful symbolism, including the Star of Bethlehem moving in the sky and illuminating the spot where he is born. Ben-Hur seems to be the same age as Jesus, and his life runs parallel to his in many ways. Then the film shoots forward twenty-six years as "XXVI" is then shown on the screen with Jerusalem in the background. At this point, the nation of Judea has been conquered by the Roman Empire.

Judah Ben-Hur, played by Charlton Heston, is a wealthy prince and merchant in Jerusalem. At this point his childhood friend Messala, who had joined up with the Romans, has just returned to Judea to rule it as Roman colonial governor. Initially, they are overjoyed to see each other again, and speak of old times... as they are from the same cultural background. However, this soon changes when they begin to speak of Roman colonization. Messala wants to use Ben-Hur to help him crush the rebellions. The heated conversations they have, in my opinion, are the same arguments that people have had from the dawn of mankind to the present day: "Is it okay to betray your people?" Obviously most people have answered "yes" to this question... sometimes even while wrapped up in a flag.

Both have become important young men now. Messala insists that "it's a Roman world now!," while Ben-Hur believes that the Judean nation should go back to being free and sovereign. Messala wants to crush the resistance, while Ben-Hur calls them "patriots." Although it would be much more practical and easy to join up with Messala, Ben-Hur will not give in as he stated that he believes in both the past and future of HIS people.

Eventually Messala finds a reason to lock up Ben-Hur, and he becomes a galley slave, rowing oars on Roman ships. I won't give the movie away, but just as there are parallels with Jesus and Ben-Hur, there is a long battle between Ben-Hur and Messala that takes many dramatic twists and turns. At one point, while being marched across the desert as a slave, the Roman guards will not allow him to drink. While face down on the sand, Jesus gives him water... and he connects with Jesus in a very dramatic way at the end, but I don't want to give it away.

The one scene which the film is best known for is "the chariot race scene," a dramatic sporting competition in Judea, of chariot riders from different Roman colonies; and of which Messala rides for Rome, while Ben-Hur competes for Judea. I wish I could give thoughts about the entire movie, but I won't... but I highly recommend it for anyone who has not seen it yet. Through much suffering, the ending is... to say the least.. special. The movie, espeically the ending, says a lot about love, character, faith, family, culture, and nation.

I thought some of the scenes from Rome, and even some from Jerusalem--especially at night with backgrounds--reminded me of how I perceive what ancient Etruria was like. Even some of the architecture seemed more Etruscan than Greek or Roman. Some of the grand movies of that time, which were based upon the ancient world, were starting to effectively use background imagery.. which I saw some of in 'Ben-Hur.' Also, for the naval battles, believable-looking miniature models were used. A lot of these and other artifacts are available for public viewing.

Ben-Hur is known for its cinematography, which included tremendous Roman pageantry... of which they retained for applicable scenes... without overdoing it. This was a movie with many dramatic ups and downs. There are a lot of dark scenes. The ending scene from Ben-Hur could be metaphorically tied to the scene in the 'Shawshank Redemption' where Andy Dufresne finally emerges from the sanitation pipe... except even better. There was a great cast, as well as many other remarkable aspects to the film, which you can see some of in the below link:


Ben-Hur (1959 film) [Wikipedia]

Ben-Hur is a 1959 American epic historical drama film set in ancient Rome, directed by William Wyler, produced by Sam Zimbalist and starring Charlton Heston, Stephen Boyd, Jack Hawkins, Hugh Griffith and Haya Harareet. It won a record 11 Academy Awards, including Best Picture, an accomplishment that was not equaled until Titanic in 1997 and then again by The Lord of the Rings: The Return of the King in 2003.

A remake of the 1925 silent film with the same name, Ben-Hur was adapted from Lew Wallace's 1880 novel Ben-Hur: A Tale of the Christ. The screenplay is credited to Karl Tunberg but includes contributions from Maxwell Anderson, S. N. Behrman, Gore Vidal, and Christopher Fry. Ben-Hur had the largest budget and the largest sets built for any film produced. The nine-minute chariot race has become one of cinema's most famous sequences. The score composed by Miklós Rózsa was highly influential on cinema for more than 15 years, and is the longest ever composed for a film.

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Francis of Assisi (1961) - complete film

Francis of Assisi (film) [Wikipedia]

Francis of Assisi is a 1961 DeLuxe CinemaScope film directed by Michael Curtiz, based on the novel The Joyful Beggar by Louis de Wohl. It was shot entirely in Italy. The film was not a box-office success. It starred Bradford Dillman in one of his few sympathetic leading film roles (he usually played a villainous character onscreen, despite having originated the role of Jamie in the original stage version of Eugene O'Neill's Long Day's Journey into Night in 1956).

Two years after the release of Francis of Assisi, Dolores Hart, the 24-year-old actress who plays a nun in the film, became a real-life Roman Catholic nun at the Benedictine Abbey of Regina Laudis in Bethlehem, Connecticut.


Plot

Francis Bernadone (Bradford Dillman) is the son of a wealthy cloth merchant in Assisi, who gives up all his worldly goods to dedicate himself to God. Clare (Dolores Hart) is a young aristocratic woman who, according to the film, is so taken with St. Francis that she leaves her family and becomes a nun. By this time (1212 A.D.), St. Francis has a well-established reputation for his vows of poverty. The movie goes on to note miracles (such as the appearance of the stigmata on Francis's hands and feet) and other aspects of his life, up to and including his death on October 3, 1226.


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I saw where this was on on the Turner Classic Movies network, and found it on YouTube. I watched it today. If you're a Cisalpine, you should see it. Even with religion aside, it's part of our history.

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Oscar-winning film star Ernest Borgnine dies in LA at age 95

Borgnine being honored with the Screen Actors Guild Life Achievement Award in 2011

Oscar-winning film star Ernest Borgnine dies in LA at age 95

Ernest Borgnine, who created a variety of memorable characters in both movies and television and won the best-actor Oscar for his role as a lovesick butcher in "Marty" in 1955, died Sunday. He was 95.

Borgnine's longtime spokesman, Harry Flynn, told The Associated Press that Borgnine died at Cedars-Sinai Medical Center in Los Angeles with his family by his side.

A prolific and talented character actor, Borgnine was known for gruff, villainous roles such as the heavy who beats up Frank Sinatra in "From Here to Eternity" and one of the bad guys who harasses Spencer Tracy in "Bad Day at Black Rock."

Borgnine, who earned a salary of $5,000 for playing his Academy-Award winning role Marty, once said "I would have done it for nothing."

Borgnine, who was born Ermes Effron Borgnino on Jan. 24, 1917 in Hamden, Conn., began acting after serving in the Navy during World War II. He made his film debut in 1951's "Whistle at Eaton Falls" before winning an Academy Award four years later. He appeared in other notable films including "Jubal," "Flight of the Phoenix," "The Dirty Dozen,""The Wild Bunch," "The Poseidon Adventure," "Johnny Guitar," and "Escape from New York."

"No Stanislavsky. I don't chart out the life histories of the people I play," Borgnine told The New York Times in 1973 when asked about his acting methods. "If I did, I'd be in trouble. I work with my heart and my head, and naturally emotions follow."

Sometimes he prayed, he said, or just reflected on character-appropriate thoughts. "If none of that works," he added, "I think to myself of the money I'm making."

He was also known as the Navy officer in the television series "McHale's Navy," which aired from 1962-66. Younger audiences would know him as the voice of Mermaid Man in "Spongebob Squarepants."

Borgnine earned an Emmy Award nomination at age 92 for his work on the series "ER," and was honored with the Screen Actors Guild Life Achievement Award in 2011.

"The Oscar made me a star, and I'm grateful," AP reports that Borgnine told an interviewer in 1966. "But I feel had I not won the Oscar I wouldn't have gotten into the messes I did in my personal life."

The actor was married five times, including to singer Ethel Merman, who became his third wife in 1964. The marriage barely lasted a month.

He is survived by his fifth wife, Tova Traesnaes — whom he married in 1973 —his children Christofer, Nancee and Sharon Borgnine; a stepson, David Johnson; six grandchildren; and his sister, Evelyn Verlardi.

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