레이블이 Somerset Bookings인 게시물을 표시합니다. 모든 게시물 표시
레이블이 Somerset Bookings인 게시물을 표시합니다. 모든 게시물 표시

2013년 11월 28일 목요일

오전 2:29

By Palmer Muszynski

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About 'somerset hotel london'|Albustan Palace Hotel Oman







About 'somerset hotel london'|Albustan Palace Hotel Oman








Ｗｅｓｔｆｒｏｎｔ               1918               (1930,               ｄｉｒｅｃｔｅｄ               ｂｙ               Ｇ.

Ｗ.

Ｐａｂｓｔ,               4               ｓｔａｒｓ)               ａ               ｍｏｖｉｅ               ａｂｏｕｔ               Ｇｅｒｍａｎ               ｉｎｆａｎｔｒｙｍｅｎ               ｎｅａｒ               ｔｈｅ               ｅｎｄ               ｏｆ               ｔｈｅ               ｔｒｅｎｃｈ               ｗａｒｆａｒｅ               ｏｆ               Ｗｏｒｌｄ               Ｗａｒ               Ｉ               ｔｈａｔ               ｍａｎａｇｅｄ               ｔｏ               ｓｈｏｗ               ｔｈａｔ               ｓｏｕｎｄ               ｍｏｖｉｅｓ               ｎｅｅｄ               ｎｏｔ               ｂｅ               ｖｉｓｕａｌｌｙ               ｓｔａｔｉｃ,               ａｎｄ               ｓｈｏｃｋｅｄ               1930               ａｕｄｉｅｎｃｅｓ               ｗｉｔｈ               ａ               ｒｅａｌｉｓｍ               ａｂｏｕｔ               ｃｏｍｂａｔ.

Ｉ               ｔｈｉｎｋ               ｉｔ               ｉｓ               ｏｆ               ｍｏｒｅ               ｔｈａｎ               ｈｉｓｔｏｒｉｃａｌ               ｉｎｔｅｒｅｓｔ.

Ｅｖｅｒ               ｓｉｎｃｅ               ｗａｔｃｈｉｎｇ               "Ｃａｐｔｕｒｅｄ               ｏｎ               Ｆｉｌｍ,"               ｔｈｅ               2001               ｄｏｃｕｍｅｎｔａｒｙ               ｏｎ               Ｍａｒｉｏｎ               Ｄａｖｉｅｓ,               Ｉ               ｈａｄ               ｗａｎｔｅｄ               ｔｏ               ｓｅｅ               ｏｎｅ               ｏｆ               ｔｈｅ               ｍｏｖｉｅｓ               ｏｆ               ｔｈｅ               ｍｉｓｔｒｅｓｓ               ｏｆ               Ｓａｎ               Ｓｉｍｅｏｎ,               ｗｈｏ               ａｌｓｏ               ｗａｓ               ｏｎｃｅ               ａ               ｖｅｒｙ               ｐｏｐｕｌａｒ               ｃｏｍｅｄｉｅｎｎｅ.

Ｃｏｎｓｉｄｅｒｉｎｇ               ｔｈｅ               ｒｅｃｅｎｔ               ｅｌｅｖａｔｉｏｎ               ｏｆ               ｔｈｅ               ｒｅｐｕｔａｔｉｏｎ               ｏｆ               ｐｌａｙｗｒｉｇｈｔ               Ｇｅｏｒｇｅ               Ｓ.

Ｋａｕｆｍａｎ               (ｅｎｓｈｒｉｎｅｄ               ｉｎ               ｔｈｅ               Ｌｉｂｒａｒｙ               ｏｆ               Ａｍｅｒｉｃａ)               ａｎｄ               ｔｈａｔ               ｈｅ               ｗｒｏｔｅ               "Ａｎｉｍａｌ               Ｃｒａｃｋｅｒｓ"               ａｎｄ               "Ａ               Ｎｉｇｈｔ               ａｔ               ｔｈｅ               Ｏｐｅｒａ"               ｆｏｒ               ｔｈｅ               Ｍａｒｘ               Ｂｒｏｔｈｅｒｓ,               Ｉ               ｅｘｐｅｃｔｅｄ               ｔｏ               ｂｅ               ａｍｕｓｅｄ               ｂｙ               Ｎｏｔ               Ｓｏ               Ｄｕｍｂ               (ｐｒｏｄｕｃｅｄ               ｂｙ               Ｄａｖｉｅｓ,               ｄｉｒｅｃｔｅｄ               ｂｙ               Ｋｉｎｇ               Ｖｉｄｏｒ,               1930,               1.2               ｓｔａｒｓ).

Ｉ               ｗａｓ               ｎｏｔ               (ａｔ               ａｌｌ),               ｌｅａｖｉｎｇ               ｍｅ               ｕｎｓｕｒｅ               ｗｈｅｔｈｅｒ               ｉｔ               ｗａｓ               ｔｈｅ               ｖｅｈｉｃｌｅ               ｏｒ               ｔｈｅ               ｓｔａｒ.

Ｃｅｒｔａｉｎｌｙ,               ｔｈｅ               ｐｌｏｔ               ａｎｄ               ｔｈｅ               ｌｉｎｅｓ               ａｒｅ               ｓｔｕｐｉｄ               (ｉｓ               ｔｈｅ               ｔｉｔｌｅ               ｓｕｐｐｏｓｅｄ               ｔｏ               ｒｅｆｅｒ               ｔｏ               Ｋａｕｆｍａｎ'ｓ               ｐｌａｙ,               "Ｄｕｌｃｙ,"               ｃｏａｕｔｈｏｒｅｄ               ｗｉｔｈ               Ｍａｒｃ               Ｃｏｎｎｅｌｌｙ,               ｒａｔｈｅｒ               ｔｈａｎ               ｔｏ               Ｄｕｌｃｙ,               ｉｔｓ               ｈｅｒｏｉｎｅ?).

Ｔｈｅ               ｍａｉｎ               ｃｈａｒａｃｔｅｒ               ｉｓ               ｖｅｒｙ               ａｎｎｏｙｉｎｇ,               ｈｅｒ               ｃｈａｔｔｅｒ               ｈｅａｖｉｌｙ               ｌａｄｅｎ               ｗｉｔｈ               ｃｏｎｔｒｉｖｅｄ               ｍａｌａｐｒｏｐｉｓｍｓ.

Ａｌｔｈｏｕｇｈ               ｏｎｌｙ               ｒｕｎｎｉｎｇ               76               ｍｉｎｕｔｅｓ,               ｔｈｅ               ｍｏｖｉｅ               ｃｒｅａｋｅｄ               ａｎｄ               ｗａｓ               ｐａｉｎｆｕｌ               ｔｏ               ｗａｔｃｈ.
               Ｐａｒｄｏｎ               Ｕｓ               (1931,               2.3               ｓｔａｒｓ),               ｔｈｅ               ｆｉｒｓｔ               Ｌａｕｒｅｌ               ａｎｄ               Ｈａｒｄｙ               ｓｏｕｎｄ               ｆｅａｔｕｒｅ,               ｒｕｎｓ               ｏｎｌｙ               56               ｍｉｎｕｔｅｓ,               ｂｕｔ               ｓｔｉｌｌ               ｄｒａｇｓ               ｏｆｔｅｎ,               ｐａｒｔｉｃｕｌａｒｌｙ               ｉｎ               ｅｘｔｅｎｄｅｄ               ｍｕｓｉｃａｌ               ｎｕｍｂｅｒｓ               (ｉｎ               ａ               ｐｒｉｓｏｎ               ｍｏｖｉｅ!),               ｂｕｔ               ｈａｓ               ｓｏｍｅ               ｍｏｍｅｎｔｓ               ｏｆ               ｉｎｓｐｉｒｅｄ               ｌｕｎａｃｙ.

Ｉ               ｗａｓ               ｅｘｐｅｃｔｉｎｇ               ｔｈｅ               ｗｏｒｓｔ               ｗｈｅｎ               ｔｈｅｙ               ｗｅｎｔ               ｉｎｔｏ               ｂｌａｃｋｆａｃｅ,               ｂｕｔ               ｔｈｅｒｅ               ｗａｓｎ'ｔ               ａｎｙｔｈｉｎｇ               ｐａｒｔｉｃｕｌａｒｌｙ               ｏｆｆｅｎｓｉｖｅ.
               Ｂｌｅｓｓｅｄ               Ｅｖｅｎｔ               (1932,               ｄｉｒｅｃｔｅｄ               ｂｙ               Ｒｏｙ               Ｄｅｌ               Ｒｕｔｈ,               3.4               ｓｔａｒｓ)               ｗａｓ               ｉｎｔｅｎｄｅｄ               ｆｏｒ               Ｊａｍｅｓ               Ｃａｇｎｅｙ,               ｂｕｔ               ｂｅｃａｍｅ               ａ               ｖｅｈｉｃｌｅ               ｆｏｒ               ｔｈｅ               ｋｉｎｄ               ｏｆ               ｅｘｐｌｏｉｔａｔｉｖｅ               ｃｙｎｉｃ               Ｌｅｅ               Ｔｒａｃｙ               ｐｌａｙｅｄ               ｉｎ               ａ               ｓｕｃｃｅｓｓｉｏｎ               ｏｆ               ｆｉｌｍｓ               (ｏｆ               ｗｈｉｃｈ               ｔｈｅ               ｂｅｓｔ               ｗｅｒｅ               ｔｈｅ               ｐｕｂｌｉｃｉｓｔ               ｈｅ               ｐｌａｙｅｄ               ｉｎ               "Ｔｈｅ               Ｈａｌｆ-Ｎａｋｅｄ               Ｔｒｕｔｈ"               ｗｉｔｈ               ａ               ｓｅｍｉ-ｄｒｅｓｓｅｄ               Ｌｕｐｅ               Ｖｅｌｅｚ               ａｎｄ               ｔｈｅ               ｐｕｂｌｉｃｉｓｔ               ｈｅ               ｐｌａｙｅｄ               ｆｏｒ               ａ               "Ｂｏｍｂｓｈｅｌｌ"               ａｓ               ｐｕｔ-ｕｐｏｎ               ａｓ               Ｊｅａｎ               Ｈａｒｌｏｗ               ｗｈｏ               ｐｌａｙｅｄ               ｔｈｅ               ｔｉｔｌｅ               ｒｏｌｅ               ａｎｄ               ａ               ｐｕｂｌｉｃｉｓｔ               ｆｒｏｍ               ａ               ｄｒｕｎｋａｒｄ               ａｃｔｏｒ               ｎｏｔ               ｕｎｌｉｋｅ               Ｊｏｈｎ               Ｂａｒｒｙｍｏｒｅ               ｉｎ               "Ｄｉｎｎｅｒ               ａｔ               Ｅｉｇｈｔ")..

Ｔｈｅｒｅ               ｉｓ               ａ               ｒｕｎｎｉｎｇ               ａｎｉｍｏｓｉｔｙ               ｂｅｔｗｅｅｎ               ｔｈｅ               ｇｏｓｓｉｐ-ｍｏｎｇｅｒ               Ｔｒａｃｙ               ｐｌａｙｅｄ               ｉｎ               "Ｅｖｅｎｔ"               ａｎｄ               ｔｈｅ               ｃｒｏｏｎｅｒ               ｎｏｔ               ｕｎｌｉｋｅ               Ｄｉｃｋ               Ｐｏｗｅｌｌ               ｔｈａｔ               Ｄｉｃｋ               Ｐｏｗｅｌｌ               ｐｌａｙｅｄ               .

Ｔｈｅ               ｅｎｄｉｎｇ               ｉｓ               ａ               ｍｕｓｈｙ               ｒｅｄｅｍｐｔｉｏｎ               ｏｆ               ｔｈｅ               ｒｏｇｕｅ..
               Ｂｌｏｎｄｉｅ               Ｏｆ               Ｔｈｅ               Ｆｏｌｌｉｅｓ               (1932,               ｄｉｒｅｃｔｅｄ               ｂｙ               Ｅｄｍｕｎｄ               Ｇｏｕｌｄｉｎｇ,               3.2               ｓｔａｒｓ)               ｉｓ               ａ               ｐｒｅ-Ｃｏｄｅ               ｒｅｐｒｅｓｅｎｔａｔｉｏｎ               ｏｆ               ａ               ｗｏｍａｎ               ｆｒｏｍ               ａ               ｗｏｒｋｉｎｇ-ｃｌａｓｓ               ｂａｃｋｇｒｏｕｎｄ               ｆｉｎｄｉｎｇ               ａ               ｓｕｇａｒ               ｄａｄｄｙ               ａｎｄ               ｂｅｃｏｍｉｎｇ               ａ               ｓｈｏｗ               ｇｉｒｌ               (ｒｅｖｅｒｓｉｎｇ               ｔｈｅ               ｕｓｕａｌ               ｏｒｄｅｒ               ｏｆ               ｂｅｉｎｇ               ｐｉｃｋｅｄ               ｏｕｔ               ｏｆ               ａ               ｃｈｏｒｕｓ               ｌｉｎｅ               ａｎｄ               ｄｅｂａｕｃｈｅｄ).

Ｍａｒｉｏｎ               Ｄａｖｉｅｓ               ｉｓ               ｐｌｕｃｋｙ               ａｎｄ               ｌｉｋａｂｌｅ               ｉｎ               ｔｈｅ               ｔｉｔｌｅ               ｒｏｌｅ.

Ａｌｔｈｏｕｇｈ               ｎｏｔ               ｐｒｉｍａｒｉｌｙ               ａ               ｃｏｍｅｄｙ               (ａｎｄ               ｎｏｔ               ａｔ               ａｌｌ               ａ               ｍｕｓｉｃａｌ),               Ｄａｖｉｅｓ               ｇｅｔｓ               ｔｏ               ｄｏ               ａ               ｐａｒｏｄｙ               ｏｆ               Ｇｒｅｔａ               Ｇａｒｂｏ               ｐａｒｔｎｅｒｅｄ               ｗｉｔｈ               Ｊｉｍｍｙ               Ｄｕｒａｎｔｅ               ｄｏｉｎｇ               ａ               ｐａｒｏｄｙ               ｏｆ               Ｊｏｈｎ               Ｂａｒｒｙｍｏｒｅ               (ｉｎ               "Ｇｒａｎｄ               Ｈｏｔｅｌ,"               ｗｈｉｃｈ               Ｇｏｕｌｄｉｎｇ               ｈａｄ               ｊｕｓｔ               ｄｉｒｅｃｔｅｄ)               ｔｈａｔ               ｉｓ               ｖｅｒｙ               ｆｕｎｎｙ.

Ｍｅａｎｗｈｉｌｅ,               Ｂｉｌｌｅ               Ｄｏｖｅ               ｄｏｅｓ               ｓｏｍｅｔｈｉｎｇ               ｏｆ               ａ               Ｇａｒｂｏ               ｎｕｍｂｅｒ               ａｓ               ｔｈｅ               ｕｓｅｄ-ｕｐ               ａｎｄ               ｄｉｓｃａｒｄｅｄ               ｐｌａｙｔｈｉｎｇ               ｏｆ               ｐｌａｙｂｏｙ               Ｒｏｂｅｒｔ               Ｍｏｎｔｇｏｍｅｒｙ.
               Ｔｈｅ               Ｔｅｓｔａｍｅｎｔ               ｏｆ               Ｄｒ.

Ｍａｂｕｓｅ               (ｄｉｒｅｃｔｅｄ               ｂｙ               Ｆｒｉｔｚ               Ｌａｎｇ               ｉｎ               1932,               ｏｎ               ｔｈｅ               ｅｖｅｎ               ｏｆ               ｔｈｅ               Ｎａｚｉ               ｔａｋｅｏｖｅｒ               ｏｆ               ｐｏｗｅｒ,               4               ｓｔａｒｓ)               ｂｅｇｉｎｓ               ａｎｄ               ｅｎｄｓ               ｗｅｌｌ,               ａｎｄ               Ｉ               ｅｓｐｅｃｉａｌｌｙ               ｌｉｋｅ               ｔｈｅ               ｅｃｈｏ               ｏｆ               "Ｍｅｔｒｏｐｏｌｉｓ"               ｏｆ               ｔｈｅ               ｒｉｓｉｎｇ               ｗａｔｅｒｓ.

Ｔｈｅ               ｂｅｇｉｎｎｉｎｇ,               ｗｈｅｎ               ｔｈｅ               ａｕｄｉｅｎｃｅ               ｈａｓ               ｎｏ               ｉｄｅａ               ｗｈｏ               ｉｓ               ｌｕｒｋｉｎｇ               ａｎｄ               ｔｈｅｎ               ｉｎ               ｇｒａｖｅ               ｐｅｒｉｌ               ｉｓ               ｇｒｉｐｐｉｎｇ,               ｂｕｔ               ｔｈｅｒｅ'ｓ               ｔｏｏ               ｍｕｃｈ               ｍｉｄｄｌｅ,               ....

ａｎｄ,               ａｌａｓ,               ｔｈｅ               Ｇｅｒｍａｎ               ｐｅｏｐｌｅ               ｄｉｄ               ｎｏｔ               ｈｅｅｄ               ｔｈｅ               ｗａｒｎｉｎｇ               ａｇａｉｎｓｔ               Ｈｉｔｌｅｒ.
               Ｔｈｅ               ｌｏｎｇ-ｕｎａｖａｉｌａｂｌｅ               Ｔｈｅ               Ｏｌｄ               Ｄａｒｋ               Ｈｏｕｓｅ               (1932,               ｄｉｒｅｃｔｅｄ               ｂｙ               Ｊａｍｅｓ               Ｗｈａｌｅ,               2.5               ｓｔａｒｓ)               ｉｓ               ｎｅｉｔｈｅｒ               ｖｅｒｙ               ｆｕｎｎｙ               ｎｏｒ               ｖｅｒｙ               ｓｃａｒｙ,               ｂｕｔ               ｓｈｏｗｃａｓｅｓ               Ｍｅｌｖｙｎ               Ｄｏｕｇｌａｓ,               Ｃｈａｒｌｅｓ               Ｌａｕｇｈｔｏｎ,               Ｒａｙｍｏｎｄ               Ｍａｓｓｅｙ,               ａｎｄ               Ｇｌｏｒｉａ               Ｓｔｕａｒｔ               ｓｅｅｋｉｎｇ               ｓｈｅｌｔｅｒ               ｆｒｏｍ               ａ               ｓｔｏｒｍ               ａｎｄ               ｈａｖｉｎｇ               ｔｏ               ｄｅａｌ               ｗｉｔｈ               Ｂｏｒｉｓ               Ｋａｒｌｏｆｆ,               ｅｔ               ａｌ.

Ｉｔ'ｓ               ｎｏｔ               ｅｖｅｎ               ｃｌｏｓｅ               ｔｏ               ｂｅｉｎｇ               ａｓ               ｅｎｔｅｒｔａｉｎｉｎｇ               ａｓ               Ｗｈａｌｅ'ｓ               "Ｔｈｅ               Ｂｒｉｄｅ               ｏｆ               Ｆｒａｎｋｅｎｓｔｅｉｎ,"               ａｌｔｈｏｕｇｈ               ｔｈｅｒｅ               ａｒｅ               ｓｏｍｅ               ｆｉｎｅ               ｂ&ｗ               ｖｉｓｕａｌ               ｃｏｍｐｏｓｉｔｉｏｎｓ.
               Ｐａｒｄｏｎ               Ｕｓ               (1931,               2.3               ｓｔａｒｓ),               ｔｈｅ               ｆｉｒｓｔ               Ｌａｕｒｅｌ               ａｎｄ               Ｈａｒｄｙ               ｓｏｕｎｄ               ｆｅａｔｕｒｅ,               ｒｕｎｓ               ｏｎｌｙ               56               ｍｉｎｕｔｅｓ,               ｂｕｔ               ｓｔｉｌｌ               ｄｒａｇｓ               ｏｆｔｅｎ,               ｐａｒｔｉｃｕｌａｒｌｙ               ｉｎ               ｅｘｔｅｎｄｅｄ               ｍｕｓｉｃａｌ               ｎｕｍｂｅｒｓ               (ｉｎ               ａ               ｐｒｉｓｏｎ               ｍｏｖｉｅ!),               ｂｕｔ               ｈａｓ               ｓｏｍｅ               ｍｏｍｅｎｔｓ               ｏｆ               ｉｎｓｐｉｒｅｄ               ｌｕｎａｃｙ.

Ｉ               ｗａｓ               ｅｘｐｅｃｔｉｎｇ               ｔｈｅ               ｗｏｒｓｔ               ｗｈｅｎ               ｔｈｅｙ               ｗｅｎｔ               ｉｎｔｏ               ｂｌａｃｋｆａｃｅ,               ｂｕｔ               ｔｈｅｒｅ               ｗａｓｎ'ｔ               ａｎｙｔｈｉｎｇ               ｐａｒｔｉｃｕｌａｒｌｙ               ｏｆｆｅｎｓｉｖｅ.
               Ｔｈｅ               1932               Ｔｉｇｅｒ               Ｓｈａｒｋ               ｗａｓ               ｔｈｅ               ｆｉｆｔｈ               ｓｏｕｎｄ               ｆｉｌｍ               ｄｉｒｅｃｔｅｄ               ｂｙ               Ｈｏｗａｒｄ               Ｈａｗｋｓ               (ａｆｔｅｒ               ｔｈｅ               ｇｒｅａｔ               ｓｕｃｃｅｓｓｅｓ               ｏｆ               "Ｄａｗｎ               Ｐａｔｒｏｌ"               ａｎｄ               "Ｓｃａｒｆａｃｅ"               ａｎｄ               ｔｗｏ               ｌｏｎｇ-ｆｏｒｇｏｔｔｅｎ               ｏｎｅｓ,               "Ｔｈｅ               Ｃｒｉｍｉｎａｌ               Ｃｏｄｅ"               ｓｔａｒｒｉｎｇ               Ｗａｌｔｅｒ               Ｈｕｓｔｏｎ,               ａｎｄ               "Ｔｈｅ               Ｃｒｏｗｄ               Ｒｏａｒｓ"               ｓｔａｒｒｉｎｇ               Ｊａｍｅｓ               Ｃａｇｎｅｙ).
               Ｗｈａｔ               ｗａｓ               ｇｏｉｎｇ               ｔｏ               ｈａｐｐｅｎ               ｗａｓ               ｏｂｖｉｏｕｓ               ｔｏ               ｍｅ               ｗｉｔｈ               ｔｈｅ               ｆｉｒｓｔ               ｅｎｃｏｕｎｔｅｒ               ｂｅｔｗｅｅｎ               Ｐｉｐｅｓ               Ｂｏｌｅｙ               (Ｒｉｃｈａｒｄ               Ａｒｌｅｎ)               ａｎｄ               Ｑｕｉｔａ               Ｓｉｌｖａ               (Ｚｉｔａ               Ｊｏｈａｎｎ).

Ｉ               ｔｒｉｅｄ               ｔｏ               ｔｅｌｌ               ｍｙｓｅｌｆ               ｔｈａｔ               ｔｈｅ               ｐｌｏｔ               ｍｉｇｈｔ               ｎｏｔ               ｈａｖｅ               ｂｅｅｎ               ａｓ               ｐｒｅｄｉｃｔａｂｌｅ               ｉｎ               1932,               ｔｈｏｕｇｈ               ｔｈｅ               ｗｉｆｅ               ｍａｒｒｙｉｎｇ               ｏｕｔ               ｏｆ               ｇｒａｔｉｔｕｄｅ,               ｔｈｅ               ｈｕｓｂａｎｄ               ｕｎｃｏｎｃｅｒｎｅｄ               ｂｙ               ｈｅｒ               ｔｅｌｌｉｎｇ               ｈｉｍ               (ｂｅｆｏｒｅ               ｍａｒｒｙｉｎｇ               ｈｉｍ)               ｔｈａｔ               ｓｈｅ               ｄｏｅｓ               ｎｏｔ               ｌｏｖｅ               ｈｉｍ,               ｔｈｒｏｗｉｎｇ               ｈｅｒ               ｉｎ               ｆｒｅｑｕｅｎｔ               ｃｏｎｔａｃｔ               ｗｉｔｈ               ｈｉｓ               ｈａｎｄｓｏｍｅ               ａｎｄ               ｔｒｕｓｔｅｄ               ｂｅｓｔ               ｆｒｉｅｎｄ,               ｔｈｅｉｒ               ａｔｔｒａｃｔｉｏｎｓ               ｏｖｅｒｃｏｍｉｎｇ               ｔｈｅｉｒ               ｓｃｒｕｐｌｅｓ               (ａｎｄ               ｃａｕｔｉｏｎ,               ｓｏ               ｔｈａｔ               ｔｈｅｙ               ａｒｅ               ｃａｕｇｈｔ               ｉｎ               ｅａｃｈ               ｏｔｈｅｒｓ'               ａｒｍｓ)               ｉｓ               ｎｏｔ               ｔｈａｔ               ｄｉｆｆｅｒｅｎｔ               ｔｈａｎ               Ａｒｔｈｕｒ,               Ｇｕｉｎｅｖｅｒｅ,               ａｎｄ               Ｌａｎｃｅｌｏｔ.
               Ｅｄｗａｒｄ               Ｇ.

Ｒｏｂｉｎｓｏｎ               ｐｌａｙｅｄ               ｔｈｅ               ｏｐｅｎ-ｈｅａｒｔｅｄ               ｆｉｓｈｉｎｇ               ｂｏａｔ               ｃａｐｔａｉｎ               ｗｉｔｈ               ａｎ               ｅａｒ-ｒｉｎｇ               ａｎｄ               ａｎ               ａｃｃｅｎｔ,               ｔｈｏｕｇｈ               ｔｈｅ               ｌａｔｔｅｒ               ｓｏｕｎｄｓ               ｍｏｒｅ               Ｉｔａｌｉａｎ               ｔｈａｎ               Ｐｏｒｔｕｇｕｅｓｅ               (ｗｈｉｃｈ               ｉｓ               ｗｈａｔ               ｉｔ               ｉｓ               ｓｕｐｐｏｓｅｄ               ｔｏ               ｂｅ).

Ｚｉｔａ               Ｊｏｈａｎｎ               (ｗｈｏ               ｐｌａｙｅｄ               ｔｈｅ               ｆｅｍａｌｅ               ｌｅａｄ               ｉｎ               ｔｈｅ               ｏｒｉｇｉｎａｌ               "Ｔｈｅ               Ｍｕｍｍｙ"               ａｎｄ               ｗｈｏ               ｒｅｔｉｒｅｄ               ｆｒｏｍ               ａｃｔｉｎｇ               ｗｈｅｎ               ｓｈｅ               ｗｅｄ               Ｊｏｈｎ               Ｈｏｕｓｅｍａｎ)               ｐｌａｙｅｄ               ｔｈｅ               ａｐｅｘ               ｏｆ               ｔｈｅ               ｔｒｉａｎｇｌｅ.

ＷＷＩ               Ｃａｎａｄｉａｎ               ｆｌｙｉｎｇ               ａｃｅ               Ｒｉｃｈａｒｄ               Ａｒｌｅｎ               (Ｗｉｎｇｓ),               ｗｈｏｓｅ               ｋｉｎｄ               ｏｆ               ｈａｎｄｓｏｍｅｎｅｓｓ               ｈａｓ               ｇｏｎｅ               ｏｕｔ               ｏｆ               ｓｔｙｌｅ,               ｐｌａｙｅｄ               ｔｈｅ               ｃｈａｒａｃｔｅｒ               ｗｈｏ               ｔｒｉｅｓ               ｔｏ               ｐｒｏｔｅｃｔ               ｔｈｅ               ｆｒｉｅｎｄ               ｗｈｏ               ｓａｖｅｄ               ｈｉｓ               ｌｉｆｅ.
               Ｔｈｅ               ｂｅｓｔ               ｓｃｅｎｅｓ               ａｒｅ               ｔｈｏｓｅ               ｉｎｖｏｌｖｉｎｇ               ｔｈｅ               ｓｋｉｆｆ               ａｎｄ               ｔｈｅ               ｔｗｏ               ｍｅｎ               ｉｎ               ｅｘｔｒｅｍｉｓ               (ｐｈｙｓｉｃａｌ               ｉｎ               ｔｈｅ               ｆｉｒｓｔ               ｏｎｅ,               ｐｓｙｃｈｏｌｏｇｉｃａｌ               ｉｎ               ｔｈｅ               ｓｅｃｏｎｄ),               ａｎｄ               ｍａｎｙ               ｈｕｎｇｒｙ               ｓｈａｒｋｓ.

Ｔｈｅ               ｓｃｅｎｅｓ               ｏｆ               ｅａｒｌｙ-1930ｓ               ｔｕｎａ-ｆｉｓｈｉｎｇ               ｔｅｃｈｎｉｑｕｅｓ               ａｒｅ               ａｌｓｏ               ｉｎｔｅｒｅｓｔｉｎｇ.

Ｔｈｅ               ｗｏｒｓｔ               ｓｃｅｎｅｓ               ｉｎｖｏｌｖｅ               Ｒｏｂｉｎｓｏｎ               ｂｅｉｎｇ               ｔｈｅ               ｈｅａｒｔｙ,               ｓｉｍｐｌｅ-ｍｉｎｄｅｄ               Ｐｏｒｔｕｇｕｅｓｅ               ｆｉｓｈｅｒｍａｎ-ｗｉｔｈ               ｓｅｎｔｉｍｅｎｔａｌ               ｉｍａｇｉｎｉｎｇｓ               ｏｆ               ｅｎｃｏｕｎｔｅｒｓ               ａｔ               ｔｈｅ               ｇａｔｅｓ               ｏｆ               ｈｅａｖｅｎ               ｗｉｔｈ               ｔｈｅ               ｆｉｓｈｅｒｍａｎ               Ｓｔ.

Ｐｅｔｅｒ               ｓｅｎｔｉｍｅｎｔａｌ               ｉｎ               ｗａｙｓ               ｒｅｍｉｎｉｓｃｅｎｔ               ｍｏｒｅ               ｏｆ               Ｊｏｈｎ               Ｆｏｒｄ               ｔｈａｎ               Ｈｏｗａｒｄ               Ｈａｗｋｓ.

(Ｒｏｂｉｎｓｏｎ               ｗａｓ               ａ               ｍｏｒｅ               ｉｎｔｅｒｅｓｔｉｎｇ               ｄｅｌｕｓｉｏｎａｌ               ｓｈｉｐ               ｃａｐｔａｉｎ               ｉｎ               "Ｓｅａ               Ｗｏｌｆ.")
               Ｍａｎｙ               ｌａｔｅｒ               Ｈａｗｋｓ               ｄｒａｍａｓ               ｓｉｍｉｌａｒｌｙ               ｉｎｖｏｌｖｅｄ               ｎｏｎｓｅｘｕａｌ               ｍａｌｅ-ｍａｌｅ               ｃａｍａｒａｄｅｒｉｅ               ａｎｄ               (ａｔ               ｌｅａｓｔ               ｓｏｍｅｗｈａｔ)               ｒｅｓｏｕｒｃｅｆｕｌ               ａｎｄ               ｉｎｄｅｐｅｎｄｅｎｔ               ｗｏｍｅｎ               ｕｎｓｅｔｔｌｉｎｇ               ｔｈｅ               ｍａｌｅ-ｍａｌｅ               ｒｅｌａｔｉｏｎｓｈｉｐｓ,               ａｎｄ               ｍａｎｙ               ｉｎｖｏｌｖｅｄ               ｒｏｕｇｈ               ｍａｌｅ               ｐｕｒｓｕｉｔｓ,               ｓｏ               ｔｈｅ               ｍｏｖｉｅ               ｆｉｔｓ               ｗｅｌｌ               ｗｉｔｈ               ａｕｔｅｒｉｓｔ               ｔｈｅｍｅ-ｃｏｎｔｉｎｕｉｔｙ               ｅｍｐｈａｓｉｓ               (Ｔｈｏｍａｓ               Ｍｉｔｃｈｅｌｌ               ａｎｄ               Ｃａｒｙ               Ｇｒａｎｔ               ｉｎ               ｔｈｅ               1939               "Ｏｎｌｙ               Ａｎｇｅｌｓ               Ｈａｖｅ               Ｗｉｎｇｓ"               ｌｅａｐｓ               ｔｏ               ｍｉｎｄ,               ｐａｒｔｉｃｕｌａｒｌｙ               ｉｎ               ｔｈｅ               ｓｉｍｉｌａｒ               ｅｎｄｉｎｇｓ               ｏｆ               ｔｈｅｓｅ               ｔｗｏ               Ｈａｗｋｓ               ｍｏｖｉｅｓ.

Ｈｉｓ               ｎｅｘｔ               ｍｏｖｉｅ               ａｆｔｅｒ               "Ｔｉｇｅｒ               Ｓｈａｒｋ,"               Ｔｏｄａｙ               Ｗｅ               Ｌｉｖｅ               (1933)               ｒｅｐｅａｔｅｄ               ｔｈｅ               ｔｒｉａｎｇｌｅ               ａｎｄ               ｓｅｌｆ-ｓａｃｒｉｆｉｃｅ               ｍｏｔｉｆｓ               ｉｎ               ａ               Ｗｏｒｌｄ               Ｗａｒ               Ｉ               ｎａｖａｌ               ｓｅｔｔｉｎｇ.

Ｔｈｅ               ｔｒｉａｎｇｌｅ               ｗｅｎｔ               ｉｎｔｅｒｇｅｎｅｒａｔｉｏｎａｌ               ｉｎ               Ｃｏｍｅ               ａｎｄ               Ｇｅｔ               Ｉｔ               (1936),               ｅｔｃ.,               ｅｔｃ...
               Ｔｈｅｒｅ               ｗａｓ               ａｌｓｏ               ｃｏｎｓｉｄｅｒａｂｌｅ               ｃｏｎｔｉｎｕｉｔｙ               ｆｏｒ               Ｒｏｂｉｎｓｏｎ,               ｗｈｏ               ｐｌａｙｅｄ               ａ               ｖｅｒｙ               ｓｉｍｉｌａｒ               ｒｏｌｅ               ｉｎ               ａ               ｒｅｌｏｃａｔｉｏｎ               ｏｆ               ｔｈｅ               ｐｌｏｔ,               "Ｍａｎｐｏｗｅｒ"               (1941)               ｗｉｔｈ               Ｍａｒｌｅｎｅ               Ｄｉｅｔｒｉｃｈ               ａｓ               ｔｈｅ               ｗｉｆｅ               ｈｅ               ｃｏｕｌｄ               ｎｏｔ               ｓａｔｉｓｆｙ               ａｎｄ               Ｇｅｏｒｇｅ               Ｒａｆｔ               ａｓ               ｔｈｅ               ｐａｌ               ｗｈｏ               ｃｏｕｌｄ;               ａｎｄ               ｈａｄ               ａｌｒｅａｄｙ               ｄｏｎｅ               ａｎ               ｅａｒｌｉｅｒ               ｖｅｒｓｉｏｎ               ｉｎ               ｔｈｅ               1930               "Ａ               Ｌａｄｙ               ｔｏ               Ｌｏｖｅ"               ｗｉｔｈ               Ｖｉｌｍａ               Ｂáｎｋｙ               ａｎｄ               Ｒｏｂｅｒｔ               Ａｍｅｓ,               ｄｉｒｅｃｔｅｄ               ｂｙ               Ｖｉｃｔｏｒ               Ｓｊöｓｔｒöｍ               ｆｒｏｍ               Ｓｉｄｎｅｙ               Ｈｏｗａｒｄ               ｐｌａｙ               "Ｔｈｅｙ               Ｋｎｅｗ               Ｗｈａｔ               Ｔｈｅｙ               Ｗａｎｔｅｄ"               ｔｈａｔ               ｈａｄ               ａｌｒｅａｄｙ               ｂｅｅｎ               ｆｉｌｍｅｄ               ａｓ               ａ               1928               ｓｉｌｅｎｔ               "Ｔｈｅ               Ｓｅｃｒｅｔ               Ｈｏｕｒ"               ｗｉｔｈ               Ｊｅａｎ               Ｈｅｒｓｈｏｌｔ,               Ｐｏｌａ               Ｎｅｇｒｉ,               ａｎｄ               Ｋｅｎｎｅｔｈ               Ｔｈｏｍｓｏｎ.
               ＢＴＷ,               ｔｈｅ               ｏｕｔｄｏｏｒ               ｓｅｑｕｅｎｃｅｓ               ａｒｅ               ｆｒｏｍ               (ａｎｄ               ｏｆｆｓｈｏｒｅ)               Ｍｏｎｔｅｒｅｙ,               ｎｏｔ               Ｓａｎ               Ｄｉｅｇｏ               ａｎｄ               Ｍｅｘｉｃａｎ               ｗａｔｅｒｓ.

Ｉ               ｄｏｎ'ｔ               ｋｎｏｗ               ｗｈｙ               ｔｈｅ               ｓｅｔｔｉｎｇ               ｗａｓｎ'ｔ               ｉｄｅｎｔｉｆｉｅｄ               ａｓ               Ｍｏｎｔｅｒｅｙ               (ｔｈｅ               ｓｅｔｔｉｎｇ               ｆｏｒ               "Ｔｏｒｔｉｌｌａ               Ｆｌａｔ."
               Ａｌｔｈｏｕｇｈ               ｒｕｎｎｉｎｇ               ｏｎｌｙ               80               ｍｉｎｕｔｅｓ,               ｍａｎｙ               ｏｆ               ｔｈｅ               ｓｃｅｎｅｓ               ｉｎ               "Ｔｉｇｅｒ               Ｓｈａｒｋ"               ｓｅｅｍｅｄ               ｔｏ               ｍｅ               ｔｏ               ｄｒａｇ.

Ｔｈｅ               ｖｅｒｂａｌ               ｗｉｔ               ｏｆ               ｍａｎｙ               ｌａｔｅｒ               Ｈａｗｋｓ               ｍｏｖｉｅｓ               ｗａｓ               ｍｉｓｓｉｎｇ               (ｓｅｅｍｉｎｇｌｙ               ｎｏｔ               ｄｅｖｅｌｏｐｅｄ               ｕｎｔｉｌ               "Ｔｗｅｎｔｉｅｔｈ               Ｃｅｎｔｕｒｙ"               ｉｎ               1934,               ｒａｔｈｅｒ               ｔｈａｎ               ＭＩＡ),               ｔｈｏｕｇｈ               Ｈａｗｋｓ               ｗａｓ               ｄｏｉｎｇ               ｉｍｐｒｅｓｓｉｖｅ               ａｃｔｉｏｎ               ｓｃｅｎｅｓ               ｂｙ               ｔｈｅ               ｔｉｍｅ               ｓｏｕｎｄ               ｐｉｃｔｕｒｅｓ               ｂｅｇａｎ               (ｔｈｏｓｅ               ｉｎ               ｈｉｓ               ｆｉｒｓｔ               ｏｎｅ,               "Ｄａｗｎ               Ｐａｔｒｏｌ"               ａｎｄ               "Ｔｈｅ               Ｃｒｏｗｄ               Ｒｏａｒｅｄ"               ｗｅｒｅ               ｒｅｕｓｅｄ               ｉｎ               ｌａｔｅｒ               ｍｏｖｉｅｓ               ｄｉｒｅｃｔｅｄ               ｂｙ               ｏｔｈｅｒｓ,               ｆｏｒ               ｉｎｓｔａｎｃｅ).

(2.8               ｓｔａｒｓ)
               Ｉｎ               1932               ｉｎ               "Ｔｈｅｙ               Ｃａｌｌ               Ｉｔ               Ｓｉｎ               "               ｔｈｅｎ-ｒｉｓｉｎｇ-ｓｔａｒ               Ｌｏｒｅｔｔａ               Ｙｏｕｎｇ               ｐｌａｙｅｄ               Ｍａｒｉｏｎ               Ｃｕｌｌｅｎ,               ａ               Ｍｅｒｔｏｎ,               Ｋａｎｓａｓ               ｃｈｕｒｃｈ               ｏｒｇａｎｉｓｔ               ｗｉｔｈ               ａｒｔｉｓｔｉｃ               ｐｒｅｔｅｎｓｉｏｎｓ               ｗｈｏ               ｆｌｅｅｓ               ｔｏ               Ｎｅｗ               Ｙｏｒｋ               ａｆｔｅｒ               ａ               ｆｌｉｒｔａｔｉｏｎ               ｗｉｔｈ               Ｊｉｍｍｙ               Ｄｅｃｋｅｒ               (Ｄａｖｉｄ               Ｍａｎｎｅｒｓ               ｂｅｔｗｅｅｎ               "Ｄｒａｃｕｌａ"               ａｎｄ               "Ｔｈｅ               Ｍｕｍｍｙ").

Ｄｅｃｋｅｒ               ｉｓ               ｎｏｔ               ｏｎｌｙ               ｅｎｇａｇｅｄ,               ｂｕｔ               ｉｓ               ｅｎｇａｇｅｄ               ｔｏ               ｔｈｅ               ｂｏｓｓ'ｓ               ｄａｕｇｈｔｅｒ               (Ｈｅｌｅｎ               Ｖｉｎｓｏｎ)               ａｎｄ               ｈａｓ               ｆａｒ               ｔｏｏ               ｍｕｃｈ               ｔｏ               ｌｏｓｅ               ｂｙ               ｆｏｌｌｏｗｉｎｇ               ｈｉｓ               ｈｅａｒｔ               (ｏｒ               ｗｈａｔｅｖｅｒ)               ｔｏ               Ｍａｒｉｏｎ.

Ｊｉｍｍｙ'ｓ               ｆｒｉｅｎｄ               ａｎｄ               ｄｏｃｔｏｒ               Ｔｏｎｙ               Ｔｒａｖｅｒｓ               (Ｇｅｏｒｇｅ               Ｂｒｅｎｔ)               ｉｓ               ｖｅｒｙ               ｉｎｔｅｒｅｓｔｅｄ               ｉｎ               ｔｈｅ               ｆｒｅｓｈ               ｙｏｕｎｇ               ｔｈｉｎｇ,               ｂｕｔ               Ｍａｒｉｏｎ               ｄｉｓａｐｐｅａｒｓ               ｏｎｃｅ               ｓｈｅ               ｌｅａｒｎｓ               ｔｈａｔ               Ｊｉｍｍｙ               ｉｓ               ａｌｒｅａｄｙ               ｓｐｏｋｅｎ               ｆｏｒ.

Ｓｈｅ               ｂｅｃｏｍｅｓ               ｔｈｅ               ｐｒｏｔéｇé               ｏｆ               ａ               ｌｅｃｈｅｒｏｕｓ               ｍｕｓｉｃａｌ               ｒｅｖｕｅ               ｐｒｏｄｕｃｅｒ               Ｆｏｒｄ               Ｈｕｍｐｈｒｉｅｓ               (Ｌｏｕｉｓ               Ｃａｌｈｅｒｎ               ｗａｓ               ａｌｒｅａｄｙ               ｏｏｚｉｎｇ               ｏｉｌ               ｉｎ               1932!).
               Ｔｈｅ               ｐｌｏｔ               ｉｓ               ｆｅｅｂｌｅ,               ｒｅｑｕｉｒｉｎｇ               ａ               ｍｅｄｉｃａｌ               ｍｉｒａｃｌｅ               ａｍｏｎｇ               ｏｔｈｅｒ               ｔｈｉｎｇｓ.

Ｏｔｈｅｒ               ｔｈａｎ               Ｌｏｕｉｓ               Ｃａｌｈｅｒｎ'ｓ               ｌｅｅｒｓ,               ｔｈｅ               ｍａｉｎ               ｅｎｔｅｒｔａｉｎｍｅｎｔ               ｉｓ               ｐｒｏｖｉｄｅｄ               ｂｙ               Ｕｎａ               Ｍｅｒｋｅｌ,               ｗｈｏ               ｐｌａｙｓ               Ｄｉｘｉｅ               Ｄａｒｅ,               ａ               ｄａｎｃｅｒ               ｓｐｅｃｉａｌｉｚｉｎｇ               ｉｎ               ｄｏｉｎｇ               ｃａｒｔｗｈｅｅｌｓ               ａｎｄ               ｃｏｎｓｉｄｅｒａｂｌｙ               ｍｏｒｅ               ｓａｖｖｙ               ｔｈａｎ               Ｍａｒｉｏｎ.

Ｒｏｓｃｏｅ               Ｋａｒｎｓ               ａｄｄｓ               ｈｉｓ               ｅｙｅ-ｒｏｌｌｉｎｇ               ｓａｒｃａｓｍ               ａｓ               ａ               ｃｈｏｒｅｏｇｒａｐｈｅｒ               ａｃｃｕｓｔｏｍｅｄ               ｔｏ               ｈａｖｉｎｇ               ｔｏ               ｕｓｅ               ｄａｎｃｅｒｓ               ｂｅｉｎｇ               ｂｅｄｄｅｄ               ｂｙ               Ｈｕｍｐｈｒｉｅｓ.
               Ｌｏｎｇ               ｂｅｆｏｒｅ               ｈｅｒ               ｒｅｉｇｎ               ｏｎ               ｔｖ,               Ｙｏｕｎｇ               ｗａｓ               ａｌｒｅａｄｙ               ａ               ｃｌｏｔｈｅｓ-ｈｏｒｓｅ.

Ｉ               ｄｏｎ'ｔ               ｔｈｉｎｋ               ｓｈｅ               ｗａｓ               ｍｕｃｈ               ｏｆ               ａｎ               ａｃｔｒｅｓｓ,               ａｎｄ,               ｔｏ               ｍｅ,               ｈｅｒ               ｆａｃｅ               ｓｅｅｍｓ               ａ               ｂｉｔ               ｌｏｎｇ               ａｎｄ               ｈｏｒｓｅｙ,               ｔｏ               (ａｎｏｔｈｅｒ               ｅｒａ'ｓ               ｎｏｔｉｏｎ               ｏｆ               ｂｅａｕｔｙ,               Ｉ               ｇｕｅｓｓ...)               ｏｒ               ａ               ｂｅａｕｔｙ,               ｂｕｔ               ｓｈｅ               ｈａｄ               ｓｏｍｅ               ｅａｒｎｅｓｔ/ｉｎｎｏｃｅｎｔ               ｃｈａｒｍ               (ｃｅｒｔａｉｎｌｙ               ｍｏｒｅ               ｔｈａｎ               Ｄａｖｉｄ               Ｍａｎｎｅｒｓ               ｈａｄ!).

Ｔｈｅ               ｄｕｌｌ               ｓｏａｐ               ｏｐｅｒａ               ｐｉｃｋｓ               ｕｐ               ｏｎｃｅ               Ｍａｒｉｏｎ               ｍｅｅｔｓ               Ｄｉｘｉｅ               ｗａｉｔｉｎｇ               ｔｏ               ａｕｄｉｔｉｏｎ               ｆｏｒ               Ｈｕｍｐｈｒｉｅｓ.

Ｔｈｅ               ｆｉｒｓｔ               ｈａｌｆ               ｈｏｕｒ               ｏｆｆｅｒｓ               ｓｏｍｅ               ｍｏｒｅ               ｃｏｍｐｅｌｌｉｎｇ               ｐｅｒｆｏｒｍａｎｃｅｓ               ｔｈａｎ               ｔｈｏｓｅ               ｂｙ               Ｙｏｕｎｇ               ａｎｄ               Ｍａｎｎｅｒｓ               (Ｍａｒｉｏｎ               Ｂｙｒｏｎ               ｗｏｒｋｉｎｇ               ｉｎ               ａ               Ｍｅｒｔｏｎ               ｄｒｕｇ               ｓｔｏｒｅ               ａｎｄ               ｐｕｔｔｉｎｇ               ｔｈｅ               ｍｏｖｅｓ               ｏｎ               Ｍａｎｎｅｒｓ,               ａｎｄ               Ｈｅｌｅｎ               Ｖｉｎｓｏｎ               ａｓ               ａ               ｖｉｃｉｏｕｓ               ｅｎｆｏｒｃｅｒ               ｏｆ               ｒｅｓｐｅｃｔａｂｉｌｉｔｙ               ａｓ               Ｙｏｕｎｇ'               ｍｏｔｈｅｒ).
               Ｐａｕｌ               Ｌｕｋａｓ               ｐｌａｙｅｄ               ａ               Ｒｕｓｓｉａｎ               ｉｎｔｅｌｌｅｃｔｕａｌ               ｍａｋｉｎｇ               ｈｉｓ               ｌｉｖｉｎｇ               ａｓ               ａ               ｗａｉｔｅｒ               ｉｎ               Ｇｒａｎｄ               Ｓｌａｍ               ,               ｄｉｒｅｃｔｅｄ               ｂｙ               Ｗｉｌｌｉａｍ               Ｄｉｅｔｅｒｌｅ               (1933,               4.2               ｓｔａｒｓ).

Ｉｔ               ｉｓ               ａ               ｓｕｒｐｒｉｓｉｎｇｌｙ               ｆｕｎｎｙ               ｓａｔｉｒｅ               ｏｆ               ｔｈｅ               ｂｕｉｌｄｉｎｇ               ｕｐ               ｏｆ               ｃｅｌｅｂｒｉｔｙ.

Ｔｈｅ               ｗａｉｔｅｒ               ａｎｄ               ｔｈｅ               Ｒｕｓｓｉａｎ               ｒｅｓｔａｕｒａｎｔ'ｓ               ｈａｔ-ｃｈｅｃｋ               ｇｉｒｌ               ｐｌａｙｅｄ               ｂｙ               Ｌｏｒｅｔｔａ               Ｙｏｕｎｇ               ｂｅｃｏｍｅ               Ａｍｅｒｉｃａ'ｓ               ｓｗｅｅｔｈｅａｒｔｓ               ａｓ               ｂｒｉｄｇｅ               ｐａｒｔｎｅｒｓ               ｗｈｏ               ｎｅｖｅｒ               ｓｑｕａｂｂｌｅ               (ｉｎ               ｍａｒｋｅｄ               ｃｏｎｔｒａｓｔ               ｔｏ               ｍｏｓｔ               ｂｒｉｄｇｅ               ｐａｒｔｎｅｒｓ).

Ｗｉｔｈ               ｔｈｅ               ａｉｄ               ｏｆ               ｐｕｂｌｉｃｉｓｔ               ａｎｄ               ｇｈｏｓｔ-ｗｒｉｔｅｒ               'Ｓｐｅｅｄ'               ＭｃＣａｎｎ               (ｔｈｅ               ｗｏｎｄｅｒｆｕｌｌｙ               ｄｅａｄｐａｎ               Ｆｒａｎｋ               ＭｃＨｕｇｈ)               ｔｈｅｙ               ｂｅｃｏｍｅ               ｗａｌｋｉｎｇ               ａｄｖｅｒｔｉｓｅｍｅｎｔｓ               ｆｏｒ               ｔｈｅ               "Ｓｔａｎｉｓｌａｖｓｋｙ               ｓｙｓｔｅｍ,"               ａ               "ｓｙｓｔｅｍ"               ｏｆ               ｂｉｄｄｉｎｇ               ｗｈａｔｅｖｅｒ               ｏｎｅ               ｆｅｅｌｓ               ｌｉｋｅ               (ｓｉｎｃｅ               ｂｉｄｓ               ａｒｅ               ｎｏｔ               ｒａｔｉｏｎａｌ,               ｔｈｅｒｅ               ｉｓ               ｎｏ               ｂａｓｉｓ               ｆｏｒ               ｒｅｃｒｉｍｉｎａｔｉｏｎｓ               ａｂｏｕｔ               ｔｈｅｉｒ               ｓｔｕｐｉｄｉｔｙ).
               Ａ               ｄｕｅｌ               ｗｉｔｈ               ｄｉｓｐｌａｃｅｄ               ｂｒｉｄｇｅ               ｇｕｒｕ               Ｃｅｄｒｉｃ               Ｖａｎ               Ｄｏｒｎ               (ｓｏｕｎｄｓ               ｃｌｏｓｅ               ｔｏ               Ｇｏｒｅｎ,               ｎｏ?

ａｎｄ               Ｉ               ｓｕｓｐｅｃｔ               ｔｈｅ               ｃｈｏｉｃｅ               ｏｆ               ｔｈｅ               ｃｈａｒａｃｔｅｒ'ｓ               ｎａｍｅ               "Ｓｔａｎｉｓｌａｖｓｋｙ"               ｗａｓ               ａｌｓｏ               ａ               ｓｌａｍ               ａｔ               ａｎｏｔｈｅｒ               ｋｉｎｄ               ｏｆ               ｓｙｓｔｅｍ),               ａ               ｐｕｆｆｅｄ-ｕｐ               ｃｈａｒｌａｔａｎ               ｐｌａｙｅｄ               ｖｅｒｙ               ｗｅｌｌ               ｂｙ               Ｆｅｒｄｉｎａｎｄ               Ｇｏｔｔｓｃｈａｌｋ,               ｉｓ               ｂｒｏａｄｃａｓｔ               ｏｎ               ｒａｄｉｏ               ｓｔａｔｉｏｎｓ               ａｃｒｏｓｓ               Ａｍｅｒｉｃａ               ｌｉｋｅ               ａ               ｐｒｉｚｅ-ｆｉｇｈｔ               ｂｙ               Ｒｏｓｃｏｅ               Ｋａｒｎｓ               (ａｎｏｔｈｅｒ               ｇｒｅａｔ               ｆａｓｔ-ｔａｌｋｉｎｇ               ｄｅａｄｐａｎ               ｃｏｍｉｃ               ａｃｔｏｒ               ｏｆ               ｔｈｅ               1930ｓ).

Ｔｈｅ               ｂｒｉｄｇｅ               ｐｌａｙｅｒｓ               ａｒｅ               ｅｖｅｎ               ｉｎ               ａ               ｒｏｐｅｄ-ｏｆｆ               ｓｑｕａｒｅ,               ｔｈｏｕｇｈ               ｔｈｅ               ａｕｄｉｅｎｃｅ               ｉｓ               ａｂｏｖｅ               ｔｈｅｍ,               ｕｎｌｉｋｅ               ｉｎ               ｂｏｘｉｎｇ               "ｒｉｎｇｓ."
               Ｔｈｅ               ｍｏｖｉｅ               ｕｎｆｏｒｔｕｎａｔｅｌｙ               ａｌｌ               ｂｕｔ               ｄｒｏｐｓ               Ｇｌｅｎｄａ               Ｆａｒｒｅｌｌ,               ｗｈｏ               ｐｌａｙｓ               ＭｃＨｕｇｈ'ｓ               ｆｏｒｇｅｔｆｕｌ               ｇｉｒｌｆｒｉｅｎｄ.

Ｔｈｅ               ｗｉｄｅ               ｖａｒｉｅｔｙ               ｏｆ               Ａｍｅｒｉｃａｎ               ｔｙｐｅｓ               ｐｒｅｆｉｇｕｒｅｓ               ｔｈｅ               ｃｏｍｅｄｉｅｓ               ｏｆ               Ｐｒｅｓｔｏｎ               Ｓｔｕｒｇｅｓ,               ｔｈｏｕｇｈ               ｆｏｒ               ｍａｎｕｆａｃｔｕｒｉｎｇ               ｃｅｌｅｂｒｉｔｙ,               "Ｇｒａｎｄ               Ｓｌａｍ"               ｍｏｓｔ               ｃａｌｌｓ               ｔｏ               ｍｉｎｄ               ｔｗｏ               ｂｅｔｔｅｒ               ｍｏｖｉｅｓ               ｆｒｏｍ               ｔｈｅ               ｓａｍｅ               (ｐｒｅ-Ｃｏｄｅ)               ｅｒａ               ｗｉｔｈ               Ｌｅｅ               Ｔｒａｃｙ               ｐｌａｙｉｎｇ               ｆａｓｔ-ｔａｌｋｉｎｇ               ｐｕｂｌｉｃｉｓｔｓ:               "Ｔｈｅ               Ｈａｌｆ-Ｎａｋｅｄ               Ｔｒｕｔｈ"               ａｎｄ               "Ｂｏｍｂｓｈｅｌｌ,"               ｂｕｔ               "Ｇｒａｎｄ               Ｓｌａｍ"               ｈａｓ               ｉｔｓ               ｍｏｍｅｎｔｓ,               ｅｓｐｅｃｉａｌｌｙ               ｆｏｒ               ａｎｙｏｎｅ               ｗｈｏ               ｈａｓ               ｐｌａｙｅｄ               ｂｒｉｄｇｅ               ｗｉｔｈ               ｓｅｒｉｏｕｓ               ｐｏｉｎｔ-ｃｏｕｎｔｅｒｓ.
               Ｔｈｅ               ｆｉｌｍ               ｏｆ               Ｓｏｍｅｒｓｅｔ               Ｍａｕｇｈａｍ'ｓ               Ｔｈｅ               Ｎａｒｒｏｗ               Ｃｏｒｎｅｒ               ｗａｓ               ｏｂｖｉｏｕｓｌｙ               ｐｒｅ-Ｃｏｄｅ               (1933)               ｉｎ               ｔｈａｔ               Ｆｒｅｄ               Ｂｌａｋｅ,               ｔｈｅ               ｒｏｍａｎｔｉｃ               ｌｅａｄ               ｅｓｃａｐｅｓ               ｔｈｅ               ｐｏｌｉｃｅ               ｉｎ               ｔｗｏ               ｐｌａｃｅｓ               (ｅｖｅｎ               ｉｆ               ｈｅ               ｗａｓｎ'ｔ               ｔｈｅ               ｍｕｒｄｅｒｅｒ               ｈｅ               ｗａｓ               ｂｅｌｉｅｖｅｄ               ｔｏ               ｂｅ               ｉｎ               ｅｉｔｈｅｒ               ｃａｓｅ).

Ｉ               ｗａｓ               ｓｔｒｕｃｋ               ｂｙ               ｈｏｗ               ｆａｒ               ｕｐ               ｈｉｓ               ｗａｉｓｔ               ｗｅｒｅ               ｔｈｅ               ｐａｎｔｓ               ｗｏｒｎ               ｂｙ               Ｄｏｕｇｌａｓ               Ｆａｉｒｂａｎｋｓ               Ｊｒ.

(ａｂｏｖｅ               ｈｉｓ               ｎａｖｅｌ).

Ｈｅ               ａｎｄ               Ｒａｌｐｈ               Ｂｅｌｌａｍｙ               ｇｏ               ｆｏｒ               ａ               ｎｕｄｅ               ｓｗｉｍ               ｔｈａｔ               ｉｓ               ｆｉｌｍｅｄ               ｖｅｒｙ               ｃａｒｅｆｕｌｌｙ               ｔｏ               ｂｅ               ｕｎｒｅｖｅａｌｉｎｇ,               ｔｏｏ.

Ｔｈｅ               ｐｌｏｔ               ｉｓ               ｔｅｄｉｏｕｓ.

Ｄｕｄｌｅｙ               Ｄｉｇｇｓ               ａｓ               ａｎ               ｏｐｉｕｍ-ａｄｄｉｃｔｅｄ               ｐｈｙｓｉｃｉａｎ/ｓａｇｅ               ｉｓ               ｔｈｅ               ｍｏｓｔ               ｉｎｔｅｒｅｓｔｉｎｇ               ｃｈａｒａｃｔｅｒ,               ａｌｔｈｏｕｇｈ               ｈｅ               ｈａｓ               ｓｏｍｅ               ｈｏｍｉｌｉｅｓ               ｔｏ               ｄｅｌｉｖｅｒ.

Ａｓ               ｕｓｕａｌ,               Ｂｅｌｌａｍｙ               ｌｏｓｅｓ               ｔｈｅ               ｇｉｒｌ               (ｔｈｅ               ｅａｓｉｌｙ               ｆｏｒｇｏｔｔｅｎ               Ｐａｔｒｉｃｉａ               Ｅｌｌｉｓ).

(2.4               ｓｔａｒｓ)
               Ｄｅａｔｈ               Ｔａｋｅｓ               ａ               Ｈｏｌｉｄａｙ               (1934,               ｄｉｒｅｃｔｅｄ               ｂｙ               Ｍｉｔｃｈｅｌｌ               Ｌｉｅｓｅｎ,               2.5               ｓｔａｒｓ)               ｉｓ               ａ               ｓｌｏｗ-ｓｔａｒｔｉｎｇ,               ｇａｂｂｙ               ｆａｎｔａｓｙ               ａｂｏｕｔ               Ｄｅａｔｈ               ｇｏｉｎｇ               ｏｎ               ｖａｃａｔｉｏｎ               ｔｏ               ｌｅａｒｎ               ｗｈｙ               ｈｅ               ｉｓ               ｆｅａｒｅｄ.

Ｆｒｅｄｒｉｃ               Ｍａｒｃｈ               ｉｓ               ｇｏｏｄ               ａｓ               ｔｈｅ               ｐｅｒｓｏｎｉｆｉｃａｔｉｏｎ               ｏｆ               ｗｅａｒｙ               Ｄｅａｔｈ,               ｂｕｔ               ｈｅ               ａｎｄ               ｅｖｅｒｙｏｎｅ               ｅｌｓｅ               ｄｅｃｌａｉｍｓ               ｃｌａｐｔｒａｐ.
               Ｔｈｅ               ｃａｍｐｙ               1934               ｖｅｒｓｉｏｎ               ｏｆ               Ｃｌｅｏｐａｔｒａ               ｄｉｒｅｃｔｅｄ               ｂｙ               Ｃｅｃｉｌ               Ｂ.

ＤｅＭｉｌｌｅ               ｗｉｔｈ               Ｃｌａｕｄｅｔｔｅ               Ｃｏｌｂｅｒｔ               ｗｏｅｆｕｌｌｙ               ｍｉｓｃａｓｔ               ｉｎ               ｔｈｅ               ｔｉｔｌｅ               ｒｏｌｅ               ａｌｔｅｒｎａｔｅｓ               ｐｅｒｆｕｎｃｔｏｒｙ               ｓｔｏｒｙ-ｔｅｌｌｉｎｇ               ｗｉｔｈ               ｌａｎｇｕｏｒｏｕｓ,               ｓｉｌｌｙ               ｓｔｒｅｔｃｈｅｓ               ｏｆ               Ｏｒｉｅｎｔａｌｉｓｔ               ｋｉｔｓｃｈ.

Ｔｈｅ               ｍｏｎｔａｇｅ               ｂａｔｔｌｅ               ｓｅｑｕｅｎｃｅ               ｉｎｃｌｕｄｅｓ               ｓｔｒｉｋｉｎｇ               ｉｍａｇｅｓ               (ｓｏｍｅ               ｒｅｃｙｃｌｅｄ               ｆｒｏｍ               ｔｈｅ               ｓｉｌｅｎｔ               ｖｅｒｓｉｏｎ               ｏｆ               "Ｔｈｅ               Ｔｅｎ               Ｃｏｍｍａｎｄｍｅｎｔｓ"),               ｔｈｏｕｇｈ               ｉｔ'ｓ               ｆａｉｒｌｙ               ａｓｔｏｎｉｓｈｉｎｇ               ｔｈａｔ               ｔｈｅ               ｃｉｎｅｍａｔｏｇｒａｐｈｙ               (ｏｆ               Ｖｉｃｔｏｒ               Ｍｉｌｎｅｒ)               ｗａｓ               ｈｏｎｏｒｅｄ               ｗｉｔｈ               ａｎ               Ｏｓｃａｒ               (Ｉ'ｄ               ｈａｖｅ               ｔａｐｐｅｄ               "Ｔｈｅ               Ｓｃａｒｌｅｔ               Ｅｍｐｒｅｓｓ"               ｏｒ               "Ｔｈｅ               Ｔｈｉｎ               Ｍａｎ,"               ｂｕｔ               ｎｅｉｔｈｅｒ               ｗａｓ               ｅｖｅｎ               ｎｏｍｉｎａｔｅｄ).

Ｃｏｌｂｅｒｔ               ｓｅｅｍｓ               ｆａｒ               ｔｏｏ               ｓｅｎｓｉｂｌｅ               ａｎｄ               ａｍｉａｂｌｅ               ｔｏ               ｂｅ               ａ               ｇｒｅａｔ               ｓｅｄｕｃｅｒ               ｏｒ               ａ               ｇｒｅａｔ               ｌｏｖｅｒ.

(Ｓｈｅ               ｄｏｅｓ               ｇｅｔ               ｏｆｆ               ａ               ｃｏｎｔｅｍｐｔｕｏｕｓ               ｆｉｎａｌ               ｚｉｎｇｅｒ               ａｔ               Ｏｃｔａｖｉｕｓ,               ｔｈｏｕｇｈ.)               Ｗａｒｒｅｎ               Ｗｉｌｌｉａｍ               ｍｕｓｔｅｒｓ               ｔｈｅ               ｇｒｅｅｄ,               ｃｒａｆｔ,               ｂｅｍｕｓｅｍｅｎｔ,               ａｎｄ               ｈｕｂｒｉｓ               ｏｆ               Ｊｕｌｉｕｓ               Ｃａｅｓａｒ,               ｉｆ               ｎｏｔ               ｖｅｒｙ               ａ               Ｒｏｍａｎ               ｏｎｅ,               ａｎｄ               ｔｈｅ               ｔａｌｌ               (6'4")               Ｈｅｎｒｙ               Ｗｉｌｃｏｘｏｎ               ｆｌｅｘｅｓ               ｈｉｓ               ｍａｎｌｙ               ｔｈｉｇｈｓ,               ｓｎｅｅｒｓ,               ｒａｇｅｓ,               ａｎｄ               ｇｒｉｍａｃｅｓ               ａｓ               ａｎ               ｅａｓｉｌｙ               ｍａｎｉｐｕｌａｂｌｅ               Ｍａｒｃ               Ａｎｔｏｎｙ.

Ａｌｔｈｏｕｇｈ               ｈａｒｄｌｙ               ｆｒｅｅ               ｏｆ               ｋｉｔｓｃｈ,               ｔｈｅ               1963               ｖｅｒｓｉｏｎ               ｓｅｅｍｓ               ｔｏ               ｍｅ               ｔｏ               ｈａｖｅ               ｍｏｒｅ               ｃｏｎｖｉｎｃｉｎｇ               ｐｅｒｆｏｒｍａｎｃｅｓ...

ａｌｔｈｏｕｇｈ               ｎｏ               ｏｎｅ               ｗｏｕｌｄ               ａｃｃｕｓｅ               ｉｔ               ｏｆ               ｂｅｉｎｇ               ｐｅｒｆｕｎｃｔｏｒｙ.

2.8               ｓｔａｒｓ.
               Ｆｏｇ               ｏｖｅｒ               'Ｆｒｉｓｃｏ               (1934,               ｄｉｒｅｃｔｅｄ               ｂｙ               Ｗｉｌｌｉａｍ               Ｄｉｅｔｅｒｌｅ,               3.7               ｓｔａｒｓ)               ｉｓ               ｏｆ               ｓｐｅｃｉａｌ               ｉｎｔｅｒｅｓｔ               ｔｏ               ａｎｙ               Ｓａｎ               Ｆｒａｎｃｉｓｃａｎ               ｆｏｒ               ｓｈｏｗｉｎｇ               ｔｈｅ               ｃｉｔｙ               ｂｅｆｏｒｅ               ｔｈｅ               ｂｒｉｄｇｅｓ               ｗｅｒｅ               ｂｕｉｌｔ.

Ｍｕｃｈ               ｏｆ               ｔｈｅ               ｍｏｖｉｅ               ｔａｋｅｓ               ｐｌａｃｅ               ｏｎ               Ｎｏｂ               Ｈｉｌｌ               (ｔｈｅ               ｌｅａｓｔ               ｃｈａｎｇｅｄ               ｐａｒｔ               ｏｆ               ｔｈｅ               ｃｉｔｙ),               ｂｕｔ               ｔｈｅｒｅ               ｉｓ               ａ               ｍａｊｏｒ               ｃｈａｓｅ               ａｃｒｏｓｓ               ｄｏｗｎｔｏｗｎ               ｔｏ               Ｃｈｉｎａ               Ｂａｓｉｎ               (ｎｏｔ               "Ｂｕｌｌｉｔ,"               ｂｕｔ               ｗｉｔｈ               ｆｏｏｔａｇｅ               ｆｏｒｍ               ｌｏｎｇｅｒ               ａｇｏ).

Ｉｔ               ａｌｓｏ               ｈａｓ               Ｂｅｔｔｅ               Ｄａｖｉｓ               ｉｎ               ｈｅｒ               ａｍｏｒａｌ               ｂｌｏｎｄｅ               ｐａｒｔｙ               ｇｉｒｌ               ｐｈａｓｅ,               ａｎｄ               Ｍａｒｇａｒｅｔ               Ｌｉｎｄｓａｙ               ａｓ               ｔｈｅ               ｇｏｏｄ               ｇｉｒｌ               (ｔｈｅ               ｓｔｅｐｓｉｓｔｅｒ               ｈｏｗ               ｉｓ               ｔｈｅ               ａｐｐｌｅ               ｏｆ               ｔｈｅｉｒ               ｆａｔｈｅｒ'ｓ               ｅｙｅ).

Ｉｔ               ｈａｓ               ａ               ｌｏｔ               ｏｆ               ｐｌｏｔ               ｐａｃｋｅｄ               ｉｎｔｏ               68               ｍｉｎｕｔｅｓ               ｗｉｔｈ               ｍｕｌｔｉｐｌｅ               ｒｏｍａｎｃｅｓ,               ａ               ｃｒｉｍｉｎａｌ               ｓｙｎｄｉｃａｔｅ,               ｂａｎｋｅｒｓ,               ｎｅｗｓｐａｐｅｒｍｅｎ,               ａｎｄ               ｔｈｅ               ｐｏｌｉｃｅ.

Ｔｈｅ               ｉ'ｓ               ａｒｅ               ｅｖｅｎｔｕａｌｌｙ               ｄｏｔｔｅｄ               ｗｉｔｈ               ｌｉｔｔｌｅ               ｐａｎａｃｈｅ,               ｂｕｔ               ｈａｓ               ｉｔｓ               ｍｏｍｅｎｔｓ               (ｅｓｐｅｃｉａｌｌｙ               ｗｉｔｈ               Ｄａｖｉｓ               ａｎｄ               ａ               ｋｉｄｎａｐｐｉｎｇ).

Ｉｔ               ａｌｓｏ               ｓｈｏｗｓ               ｔｈａｔ               Ｈｏｗａｒｄ               Ｈａｗｋｓ               ｗａｓ               ｎｏｔ               ｔｈｅ               ｆｉｒｓｔ               ｔｏ               ｕｓｅ               ｏｖｅｒｌａｐｐｉｎｇ               ｄｉａｌｏｇｕｅ               ｉｎ               "Ｍｙ               Ｇｉｒｌ               Ｆｒｉｄａｙ."
               Ｊｕｄｇｅ               Ｐｒｉｅｓｔ               (1934,               ｄｉｒｅｃｔｅｄ               ｂｙ               Ｊｏｈｎ               Ｆｏｒｄ,               2.7               ｓｔａｒｓ)               ｓｈｏｗｓ               ｓｏｍｅｔｈｉｎｇ               ｏｆ               ｔｈｅ               Ｗｉｌｌ               Ｒｏｇｅｒｓ               ｃｈａｒｍ.

Ｉｔ               ａｌｓｏ               ｈａｓ               ａ               ｗｈｏｌｅ               ｌｏｔ               ｏｆ               ｔｈｅ               ｓｅｎｔｉｍｅｎｔａｌｉｔｙ               ｔｈａｔ               ｍａｒｒｅｄ               ｍａｎｙ               Ｊｏｈｎ               Ｆｏｒｄ               ｍｏｖｉｅｓ,               ａｎｄ               ｔｈｅ               ｒａｃｉｓｍ               ｔｈａｔ               ｍａｒｒｅｄ               ｓｏｍｅ,               ｗｉｔｈ               ｔｈｅ               ｎｏｗ               ｎｏｔｏｒｉｏｕｓ               ｓｈｉｆｔｌｅｓｓ               ｓｔｅｒｅｏｔｙｐｅ               ｅｍｂｏｄｉｅｄ               ｂｙ               Ｓｔｅｐ'ｎ               Ｆｅｔｃｈｉｔ               ｓｐｅａｋｉｎｇ               ｇｉｂｂｅｒｉｓｈ.

Ｉｔ               ａｌｓｏ               ｈａｓ               Ｈａｔｔｉｅ               ＭａｃＤａｎｉｅｌｓ               ｉｎ               ｏｎｅ               ｏｆ               ｈｅｒ               ｍａｎｙ               ｍａｉｄ               ｒｏｌｅｓ,               ｔｈｉｓ               ｔｉｍｅ               ｓｉｎｇｉｎｇ               ａｓ               ｓｈｅ               ｗｏｒｋｓ               (ｔｈｅｒｅ               ｉｓ               ａｎ               ａｓｔｏｕｎｄｉｎｇ               ｓｃｅｎｅ               ｏｆ               ｓｏｒｔ-ｏｆ               ｃａｌｌ               ａｎｄ               ｒｅｓｐｏｎｓｅ               ｓｉｎｇｉｎｇ               ｉｎ               ｗｈｉｃｈ               Ｗｉｌｌ               Ｒｏｇｅｒｓ               ｓｏｕｎｄｓ               ｌｉｋｅ               ｈｅｒ:               ｔｈａｔ               ｉｓ,               ｏｎｅ               ｈａｓ               ｔｏ               ｗａｔｃｈ               ｔｏ               ｋｎｏｗ               ｗｈｉｃｈ               ｏｎｅ               ｉｓ               ｓｉｎｇｉｎｇ!)               Ａｌｔｈｏｕｇｈ               ｔｈｅ               ｌａｔｅｒ               Ｓｅｒｇｅａｎｔ               Ｒｕｔｌｅｄｇｅ               ｉｓ               ａ               ｓｕｐｅｒｉｏｒ               ｔｒｉａｌ               ｍｏｖｉｅ               ｉｎｔｅｒｃｕｔ               ｗｉｔｈ               ｆｌａｓｈｂａｃｋｓ               ｏｆ               ｍｉｌｉｔａｒｙ               ａｃｔｉｏｎ,               "Ｊｕｄｇｅ               Ｐｒｉｅｓｔ"               ｐｒｅｆｉｇｕｒｅｓ               ｉｔ               ｉｎ               ｈａｖｉｎｇ               ａ               ｓｔｉｆｆ-ｎｅｃｋｅｄ               ｄｅｆｅｎｄａｎｔ               ｗｈｏ               ｉｓ               ｓｕｒｅ               ｈｅ               ｗｉｌｌ               ｎｏｔ               ｇｅｔ               ａ               ｆａｉｒ               ｔｒｉａｌ               ａｎｄ               ｄｏｅｓ               ｎｏｔ               ｄｅｉｇｎ               ｔｏ               ｅｘｐｌａｉｎ               ｈｉｍｓｅｌｆ,               ｏｒ               ｅｖｅｎ               ｔｏ               ｃｏｒｒｅｃｔ               ｔｈｅ               ｉｍｐｒｅｓｓｉｏｎ               ｔｈａｔ               ｈｅ               ｉｓ               ａ               Ｎｏｒｔｈｅｒｎｅｒ.

(Ｔｈｅｒｅ               ｉｓ               ａｌｓｏ               ａ               ｆａｒｃｉｃａｌ               ｔｒｉａｌ               ｏｆ               ｔｈｅ               Ｓｔｅｐ'ｎ               Ｆｅｔｃｈｉｔ               ｃｈａｒａｃｔｅｒ               ａｔ               ｔｈｅ               ｓｔａｒｔ               ｔｈａｔ               ｅｎｄｓ               ｗｉｔｈ               ｔｈｅ               ｊｕｄｇｅ               ａｎｄ               ｄｅｆｅｎｄａｎｔ               ｇｏｉｎｇ               ｆｉｓｈｉｎｇ               ｔｏｇｅｔｈｅｒ,               ｎｏ               ｄｏｕｂｔ               ａ               ｃｏｍｍｏｎ               ｓｉｇｈｔ               ｉｎ               ｆｏｒｍｅｒ               Ｃｏｎｆｅｄｅｒａｔｅ               ｓｔａｔｅｓ               ｉｎ               1890...)
               Ｍｉｄｎｉｇｈｔ               (1935,               ｄｉｒｅｃｔｅｄ               ｂｙ               Ｍｉｔｃｈｅｌｌ               Ｌｅｉｓｅｎ,               4.2               ｓｔａｒｓ               )               ｈａｓ               ａ               ｓｕｒｐｒｉｓｉｎｇｌｙ               ｒｅｓｔｒａｉｎｅｄ               Ｊｏｈｎ               Ｂａｒｒｙｍｏｒｅ               ａｓ               ａ               ｒｉｃｈ               ｍａｎ               ｔｒｙｉｎｇ               ｔｏ               ｅｎｄ               ａｎ               ａｆｆａｉｒ               ｈｉｓ               ｗｉｆｅ               ｉｓ               ｈａｖｉｎｇ               ｂｙ               ｔｕｒｎｉｎｇ               ｈｅｒ               ｐａｒａｍｏｕｒ               ｏｎ               ｔｏ               ｔｈｅ               ｕｎｓｕｃｃｅｓｓｆｕｌ               Ａｍｅｒｉｃａｎ               ｃｈａｎｔｅｕｓｅ               ｐｌａｙｅｄ               ｂｙ               Ｃｌａｕｄｅｔｔｅ               Ｃｏｌｂｅｒｔ.

Ａｓ               ｔｈｅ               ｔａｘｉ               ｄｒｉｖｅｒ               ｗｈｏ               ｌｏｖｅｓ               ｈｅｒ,               Ｄｏｎ               Ａｍｅｃｈｅ               ｉｓ               ｈａｍｍｉｅｒ               ｔｈａｎ               Ｂａｒｒｙｍｏｒｅ.

Ｔｈｅ               ｐｌｏｔ               ｉｓ               ｏｕｔｌａｎｄｉｓｈ,               ｂｕｔ               ｔｈｅ               ｗｒｉｔｉｎｇ               ｔｅａｍ               ｏｆ               Ｂｉｌｌｙ               Ｗｉｌｄｅｒ               ａｎｄ               Ｃｈａｒｌｅｓ               Ｂｒａｃｋｅｔｔ               ｇａｖｅ               ｗｉｔｔｙ               ｌｉｎｅｓ               ａｎｄ               ｓｃｒｅｗｂａｌｌ               ｃｏｍｅｄｙ               ｂｕｓｉｎｅｓｓ               ｔｏ               ｔｈｅ               ｐｌａｙｅｒｓ               ｗｈｏ               ｍａｄｅ               ｔｈｅ               ｍｏｓｔ               ｏｆ               ｔｈｅｓｅ               ｇｉｆｔｓ.
               Ｂｌａｃｋ               Ｆｕｒｙ               ｉｓ               ｎｏｔ               ａ               ｂｌａｘｐｏｌｉｔａｔｉｏｎ               ｍｏｖｉｅ.

Ｉｔ               ｉｓ               ａ               1935               ｍｏｖｉｅ,               ｄｉｒｅｃｔｅｄ               ｂｙ               Ｍｉｃｈａｅｌ               Ｃｕｒｔｉｚ               (Ｃａｓａｂｌａｎｃａ)               ｆｏｃｕｓｅｄ               ｏｎ               ｍｉｎｅｒｓ               ａｎｄ               ｍｏｂｓｔｅｒｓ.

Ｐａｕｌ               Ｍｕｎｉ               (Ｓｃａｒｆａｃｅ,               Ｔｈｅ               Ｇｏｏｄ               Ｅａｒｔｈ)               ｐｌａｙｓ               (ｖｅｒｙ               ｂｒｏａｄｌｙ)               Ｊｏｅ               Ｒａｄｅｋ,               ａ               ｓｌｏｗ-ｔｈｉｎｋｉｎｇ               ａｎｄ               ｌｏｕｄｌｙ               ｂｌｕｓｔｅｒｉｎｇ,               ｂｕｔ               ｓｔｒｏｎｇ               ｂｏｈｕｎｋｉｅ"               (Ｈｕｎｇａｒｉａｎ?)               ｄｕｐｅ               ｆｏｒ               ａ               ｃｏｎｓｐｉｒａｃｙ               ｎｏｔ               ｓｏ               ｍｕｃｈ               ｔｏ               ｄｅｓｔｒｏｙ               ｔｈｅ               ｍｉｎｅｒｓ'               ｕｎｉｏｎ               ａｓ               ｔｏ               ｆｏｍｅｎｔ               ｃｏｎｆｌｉｃｔ               ｔｈａｔ               ｔｈｅ               ｃｏｎｓｐｉｒａｔｏｒｓ               ｃａｎ               ｔｈｅｎ               ｂｅ               ｐａｉｄ               ｔｏ               ｒｅｐｒｅｓｓ.

Ｔｏ               ｍａｋｅ               ｕｐ               ｆｏｒ               ｈａｖｉｎｇ               ｌｅｄ               ｈｉｓ               ｆｒｉｅｎｄｓ               ｉｎｔｏ               ｄｉｓａｓｔｅｒ,               Ｊｏｅ               ｅｖｅｎｔｕａｌｌｙ               ｐｒｅｖｅｎｔｓ               ａｎｙｏｎｅ               ｇｅｔｔｉｎｇ               ｉｎｔｏ               ｔｈｅ               ｍｉｎｅ               (ｔｈｅ               ｌａｘｉｔｙ               ｏｆ               ｔｈｅ               ｓｅｃｕｒｉｔｙ               ｉｓ               ｍｏｒｅ               ｔｈａｎ               ａ               ｌｉｔｔｌｅ               ｈａｒｄ               ｔｏ               ｂｅｌｉｅｖｅ!).

Ｗｉｔｈ               ｌｅｓｓ               ｍａｋｅｕｐ               ｔｈａｎ               ｉｎ               ｓｏｍｅ               ｏｆ               ｈｉｓ               ｏｔｈｅｒ               ｒｏｌｅｓ,               Ｍｕｎｉ'ｓ               ｌｏｏｋ               ｉｓ               ｓｔｉｌｌ               ｍａｎｉｐｕｌａｔｅｄ:               ｈｅ               ｈａｓ               ｂｌｏｎｄ               ｈａｉｒ.

Ｈｅ               ａｌｓｏ               ｈａｓ               ａ               ｖｅｒｙ               ｔｈｉｃｋ               ａｃｃｅｎｔ.

Ｔｈｅ               ｖｉｌｌａｉｎｓ               ａｒｅ               ｃａｒｔｏｏｎｉｓｈ,               ｔｈｅ               ｃｒｏｗｄ               ｓｃｅｎｅｓ               ａｒｅ               ｒｅｍａｒｋａｂｌｙ               ｄｕｌｌ,               ａｎｄ               ｔｈｅ               ｓｅｎｔｉｍｅｎｔａｌｉｚｉｎｇ               ｏｆ               ｔｈｅ               ｇｏｏｄ               ｆｅｌｌｏｗｓ               ｉｓ               ｖｅｒｙ               ｈｅａｖｙ               ｈａｎｄｅｄ               ｉｎ               ｏｎｅ               ｏｆ               ｔｈｅ               ｌｅｓｓｅｒ               Ｗａｒｎｅｒ               Ｂｒｏｔｈｅｒｓ               ｓｏｃｉａｌ               ｐｒｏｂｌｅｍ               ｆｌｉｃｋｓ.

(2.2               ｓｔａｒｓ)
               Ｉ               ｔｒｉｅｄ               ｔｏ               ｗａｔｃｈ               ｔｈｅ               1935               Ｓｗｅｄｉｓｈ               ｍｅｌｏｄｒａｍａ               Ｗａｌｐｕｒｇｉｓ               Ｎｉｇｈｔ               ｗｉｔｈ               ｔｈｅ               ｔｈｅｎ-ｒｉｓｉｎｇ               ｓｔａｒ               Ｉｎｇｒｉｄ               Ｂｅｒｇｍａｎ.

Ｔｈｅ               ｍｏｖｉｅ               ａｌｓｏ               ｐｒｏｖｉｄｅｄ               ａｎ               ｏｐｐｏｒｔｕｎｉｔｙ               ｔｏ               ｈｅａｒ               ｓｉｌｅｎｔ-ｓｃｒｅｅｎ               ｓｔａｒ               Ｌａｒｓ               Ｈａｎｓｏｎ               (Ｆｌｅｓｈ               ａｎｄ               ｔｈｅ               Ｄｅｖｉｌ)               ａｎｄ               ｈｉｓ               ｓｉｌｅｎｔ-ｆｉｌｍ               ｄｉｒｅｃｔｏｒ               Ｖｉｃｔｏｒ               Ｓｊｏｓｔｒｏｍ               (ｉｎ               Ｔｈｅ               Ｗｉｎｄ,               Ｔｈｅ               Ｓｃａｒｌｅｔ               Ｌｅｔｔｅｒ)               ｓｐｅａｋ.

(Ｓｊｏｓｔｒｏｍ               ｓｐｅａｋｓ               ｉｎ               "Ｗｉｌｄ               Ｓｔｒａｗｂｅｒｒｉｅｓ,"               ｂｕｔ               Ｉ               ｈａｖｅｎ'ｔ               ｓｅｅｎ               ｔｈａｔ               ｓｉｎｃｅ               ｓｅｅｉｎｇ               ａｎｙ               ｏｆ               ｔｈｅ               ｆｉｌｍｓ               ｈｅ               ｄｉｒｅｃｔｅｄ,               "Ｌａｕｇｈ,               Ｃｌｏｗｎ,               Ｌａｕｇｈ"               ａｓ               ｗｅｌｌ               ａｓ               ｔｈｅ               Ｇｉｓｈ-Ｈａｎｓｏｎ               ｐａｉｒｉｎｇｓ;               Ｉ               ａｌｓｏ               ｒｅｃｅｎｔｌｙ               ｓａｗ               "Ｆｌｅｓｈ               ａｎｄ               ｔｈｅ               Ｄｅｖｉｌ"               ｆｏｒ               ｔｈｅ               ｆｉｒｓｔ               ｔｉｍｅ               ｗｉｔｈ               Ｈａｎｓｏｎ               ａｓ               ｔｈｅ               ｆｒｉｅｎｄ               ｏｆ               Ｊｏｈｎ               Ｇｉｌｂｅｒｔ               ｗｈｏ               ｍａｒｒｉｅｓ               Ｇｒｅｔａ               Ｇａｒｂｏ.)               Ｉ               ｃｏｕｌｄｎ'ｔ               ｓｔａｙ               ａｗａｋｅ               ｆｏｒ               ｉｔ,               ｔｈｏｕｇｈ.

(<2               ｓｔａｒｓ)
               Ｔｈｅ               1935               ｖｅｒｓｉｏｎ               ｏｆ               Ｅｎｃｈａｎｔｅｄ               Ａｐｒｉｌ               ｍａｎａｇｅｓ               ｔｏ               ｂｅ               ｓｉｍｕｌｔａｎｅｏｕｓｌｙ               ｔｅｄｉｏｕｓ               ａｎｄ               ｐｅｒｆｕｎｃｔｏｒｙ.

Ｉｔ               ｉｓ               ｄｉｆｆｉｃｕｌｔ               ｔｏ               ｓｈｏｗ               ｔｈｅ               ｔｒａｎｓｆｏｒｍａｔｉｖｅ               ｍａｇｉｃ               ｏｆ               Ｉｔａｌｙ               ｓｈｏｏｔｉｎｇ               ｉｎ               ａ               ｓｔｕｄｉｏ               ｗｉｔｈ               ｏｎｌｙ               ｓｔｅｒｅｏｔｙｐｉｃａｌ               Ｉｔａｌｉａｎ               ｂｅｈａｖｉｏｒ               ｔｏ               ｂｅｌａｂｏｒ.

Ｔｈｅ               ｔｒａｎｓｆｏｒｍａｔｉｏｎ               ｏｆ               ｔｈｅ               ｆｏｕｒ               ｓｔｒａｎｇｅｒｓ               ｆｌｅｅｉｎｇ               Ｌｏｎｄｏｎ               ｉｓ               ｉｎｓｔａｎｔａｎｅｏｕｓ               ｉｎ               ｔｈｅ               ｃｕｔ               ｆｒｏｍ               ｔｈｅ               ｆｉｒｓｔ               ｄａｙ               ｔｏ               ａ               ｗｅｅｋ               ｌａｔｅｒ.

Ｒａｔｈｅｒ               ｔｈａｎ               ｄｅｖｅｌｏｐ,               ｔｈｅ               ｓｃｒｅｅｎｐｌａｙ               ｆｌｉｐｓ               ａ               ｓｗｉｔｃｈ               ａｎｄ               ｔｈｅ               ｃｈａｒａｃｔｅｒｓ               ａｒｅ               ｄｉｆｆｅｒｅｎｔ.
               Ｔｈｅ               ｈｕｓｂａｎｄｓ               ａｒｅ               ｂｏｒｉｎｇ               ｅｎｏｕｇｈ               ｉｎ               ｆｌａｓｈｂａｃｋｓ               ｗｉｔｈｏｕｔ               ｔｕｒｎｉｎｇ               ｕｐ,               ｅｖｅｎ               ｉｆ               ｔｈｅｉｒ               ｐｒｅｓｅｎｃｅ               ｄｏｅｓ               ｎｏｔ               ｄｒｉｖｅ               ｔｈｅ               ｆｏｕｒ               ｗｏｍｅｎ               ｂａｃｋ               ｉｎｔｏ               ｔｈｅｉｒ               ｓｈｅｌｌｓ               ａｎｄ/ｏｒ               ｈｏｓｔｉｌｉｔｉｅｓ.
               Ｊｅｓｓｉｅ               Ｒａｌｐｈ               ｈａｓ               ｔｈｅ               ｍｏｓｔ               ｆｕｎ               (ｍｏｖｉｎｇ               ｉｎｓｔｅａｄ               ｏｆ               ｅｎｔｉｒｅｌｙ               ｃｈｅｗｉｎｇ               ｕｐ               ｔｈｅ               ｓｃｅｎｅｒｙ)               ａｎｄ               Ｋａｔｈａｒｉｎｅ               Ａｌｅｘａｎｄｅｒ               ｈａｓ               ｓｏｍｅ               ｐｏｉｇｎａｎｔ               ｃｈａｒｍ               ｏｕｔ               ｏｆ               ｈｅｒ               ｈｕｓｂａｎｄ'ｓ               ｓｈａｄｏｗ               (ａｎｄ               ａｗａｙ               ｆｒｏｍ               ｈｉｓ               ｈｉｄｅｏｕｓ               ｄｒｏｎｉｎｇ).

Ａｎｎ               Ｈａｒｄｉｎｇ               ｉｓ               ｕｎｒｅｍａｒｋａｂｌｅ               ｈｅｒｅ               (ｗｉｔｈ               ｔｈｅ               Ｐｒｏｄｕｃｔｉｏｎ               Ｃｏｄｅ               ｂｅｉｎｇ               ｅｎｆｏｒｃｅｄ).

Ｓｈｅ               ｈａｄ               ａｎ               ａｐｐｒｏｐｒｉａｔｅ               ｌｉｎｅ               ｉｎ               ａｎ               ｅａｒｌｉｅｒ               (ｐｒｅ-Ｃｏｄｅ)               ｍｏｖｉｅ,               "Ｗｈｅｎ               Ｌａｄｉｅｓ               Ｍｅｅｔ":               "Ｙｏｕ'ｒｅ               ｎｏｔ               ｗｏｒｔｈ               ａ               ｍｉｎｕｔｅ               ｏｆ               ｏｎｅ               ａｎｘｉｏｕｓ               ｈｏｕｒ               ｔｈａｔ               ｅｉｔｈｅｒ               ｏｎｅ               ｏｆ               ｕｓ               ｈａｓ               ｇｉｖｅｎ               ｙｏｕ,"               ｂｕｔ               ｉｎ               "Ｅｎｃｈａｎｔｅｄ               Ａｐｒｉｌ"               ｃａｎ               ｏｎｌｙ               ｌｏｏｋ               ｈｕｒｔ,               ｒｕｓｈ               ｏｕｔ,               ａｎｄ               ｐｒｏｃｌａｉｍ               ｆｅａｌｔｙ               ｔｏ               ｈｅｒ               ｅｒｒａｎｔ               ｈｕｓｂａｎｄ.

(3               ｓｔａｒｓ)
               Ｔｈｅｒｅ               ｗｅｒｅ               ｔｗｏ               ｒｅａｓｏｎｓ               ｆｏｒ               ｍｅ               ｔｏ               ｗａｎｔ               ｔｏ               ｗａｔｃｈ               ｔｈｅ               1935               Ｓｔｅａｍｂｏａｔ               'Ｒｏｕｎｄ               Ｔｈｅ               Ｂｅｎｄ               .

Ｏｎｅ               ｗａｓ               ｔｈａｔ               ｔｈｅ               ｍｏｖｉｅ               ｗａｓ               ｄｉｒｅｃｔｅｄ               ｂｙ               Ｊｏｈｎ               Ｆｏｒｄ,               ａｎｄ               ｔｈｏｕｇｈ               Ｉ               ｄｏｎ'ｔ               ａｌｗａｙｓ               ｌｉｋｅ               ｔｈｅ               ｍｏｖｉｅｓ               ｈｅ               ｍａｄｅ,               Ｉ'ｍ               ｔｒｙｉｎｇ               ｔｏ               ｓｅｅ               ｔｈｅｍ               ａｌｌ.

(Ｆｏｒｄ'ｓ               ｂａｄｌｙ               ｄａｔｅｄ               Ｔｈｅ               Ｉｎｆｏｒｍｅｒ               ａｌｓｏ               ｄａｔｅｓ               ｆｒｏｍ               1935.)               Ｔｈｅ               ｏｔｈｅｒ               ｒｅａｓｏｎ               ｉｓ               ｔｈａｔ               ｉｔ               ｓｔａｒｒｅｄ               ｔｈｅ               ｌｅｇｅｎｄａｒｙ               Ｗｉｌｌ               Ｒｏｇｅｒｓ               (ｗｈｏ               ｗａｓ               Ｆｏｘ'ｓ               ｂｉｇｇｅｓｔ               ｓｔａｒ               ａｎｄ               ｓｏｍｅｔｈｉｎｇ               ｏｆ               ａ               ｎａｔｉｏｎａｌ               ｉｎｓｔｉｔｕｔｉｏｎ.

Ｉ               ｋｎｏｗ               ｗｈｏ               ｉｓ               (ａｎｄ               ｔｈａｔ               ｈｅ               ｉｓ               ｍｏｒｅ               ｔｈａｎ               ｔｈｅ               ｎａｍｅ               ｏｎ               ａ               Ｃａｌｉｆｏｒｎｉａ               ｓｔａｔｅ               ｂｅａｃｈ),               ｂｕｔ               ｈａｄ               ｎｅｖｅｒ               ｓｅｅｎ               ｈｉｍ               ｉｎ               ａｎｙｔｈｉｎｇ               (ｈｅ               ｄｉｅｄ               ｉｎ               ａｎ               ａｉｒｐｌａｎｅ               ｃｒａｓｈ               ｉｎ               1935               ｂｅｆｏｒｅ               ｔｈｅ               ｍｏｖｉｅ'ｓ               ｒｅｌｅａｓｅ).

Ｔｈｅ               ｒｏｌｅ               ｏｆ               Ｄｏｃｔｏｒ               Ｊｏｈｎ               Ｐｅａｒｌｙ               ｄｉｄ               ｎｏｔ               ｃａｌｌ               ｆｏｒ               ｄｉｓｐｅｎｓｉｎｇ               ｍｕｃｈ               ｏｆ               ｔｈｅ               ｆｏｌｋｓｙ               ｗｉｓｄｏｍ               ｆｏｒ               ｗｈｉｃｈ               Ｒｏｇｅｒｓ               ｗａｓ               ｆａｍｏｕｓ,               ｂｕｔ               ｄｉｄ               ｕｓｅ               ｏｎｅ               ｏｆ               ｔｈｅ               ｔａｌｅｎｔｓ               ｆｒｏｍ               ｈｉｓ               ｖａｕｄｅｖｉｌｌｅ               ａｃｔｓ,               ｌａｓｓｏｏｉｎｇ               (ｈｅ               ｌａｓｓｏｅｓ               Ｃａｐｔａｉｎ               Ｅｌｉ'ｓ               ｂｏａｔ).

Ｅｕｇｅｎｅ               Ｐａｌｌｅｔｔｅ               ｗａｓ               ａｌｓｏ               ｏｎ               ｈａｎｄ               ａｓ               ａ               ｌａｉｄ-ｂａｃｋ               ｓｏｕｔｈｅｒｎ               ｓｈｅｒｉｆｆ,               ｄｒｏｌｌｙ               ｃｒｏａｋｉｎｇ               ｈｉｓ               ｌｉｎｅｓ.
               Ｄｏｃ               Ｐｅａｒｌｙ,               ａ               ｖｅｔｅｒａｎ               ｏｆ               ｔｈｅ               Ｃｏｎｆｅｄｅｒａｔｅ               ａｒｍｙ,               ｓｅｌｌｓ               ｐａｔｅｎｔ               ｍｅｄｉｃｉｎｅ               ａｎｄ               ｏｗｎｓ               ａ               ｂｒｏｋｅｎ-ｄｏｗｎ,               ｄｏｃｋｅｄ               ｒｉｖｅｒ               ｂｏａｔ               ｃａｌｌｅｄ               ｔｈｅ               "Ｃｌａｒｅｍｏｒｅ               Ｑｕｅｅｎ"               (Ｒｏｇｅｒｓ'ｓ               ｈｏｍｅｔｏｗｎ               ｗａｓ               Ｃｌａｒｅｍｏｒｅ,               ＯＫ.)               Ｄｏｃ               ｔｕｒｎｓ               ｉｔ               ｉｎｔｏ               ａ               ｆｌｏａｔｉｎｇ               ｍｕｓｅｕｍ               ｏｆ               ｗａｘｗｏｒｋｓ,               ｓｔｏｗｉｎｇ               ａｗａｙ               ｔｈｅ               ｐａｔｅｎｔ               ｍｅｄｉｃｉｎｅ,               ｗｈｉｃｈ               ｉｓ               ｎｅｅｄｅｄ               ｌａｔｅｒ,               ｄｕｒｉｎｇ               ａ               ｒｉｖｅｒｂｏａｔ               ｒａｃｅ               ｔｈａｔ               ｉｓ               ａｌｓｏ               ａ               ｒａｃｅ               ｔｏ               ｄｅｌｉｖｅｒ               ａ               ｋｅｙ               ｗｉｔｎｅｓｓ               ｔｏ               ａｖｅｒｔ               ｔｈｅ               ｈａｎｇｉｎｇ               ｏｆ               Ｄｏｃ'ｓ               ｎｅｐｈｅｗ               "Ｄｕｋｅ"               (Ｊｏｈｎ               ＭｃＧｕｉｒｅ).

Ｏｎｅ               ａｄｄｉｔｉｏｎａｌ               ｐｏｉｎｔ               ｏｆ               ｉｎｔｅｒｅｓｔ               ｉｓ               ｔｈａｔ               Ｄｕｋｅ'ｓ               "ｓｗａｍｐ               ｇａｌ"               ｆｉａｎｃｅｅ               Ｆｌｅｅｔｙ               Ｂｅｌｌｅ               (Ａｎｎｅ               Ｓｈｉｒｌｅｙ)               ｓｈｏｗｓ               ｈｅｒｓｅｌｆ               ｆｕｌｌｙ               ｃｏｍｐｅｔｅｎｔ               ｔｏ               ｐｉｌｏｔ               ｔｈｅ               ｒｉｖｅｒｂｏａｔ.

Ｎｏ               ｏｎｅ               ｅｖｅｎ               ｃｏｍｍｅｎｔｓ               ｏｎ               ｔｈｉｓ.

Ａｌａｓ,               ｔｈｅ               ｒｅｐｒｅｓｅｎｔａｔｉｏｎ               ｏｆ               ｆｅｍａｌｅ               ｃｏｍｐｅｔｅｎｃｅ               ｉｓ               ａｃｃｏｍｐａｎｉｅｄ               ｂｙ               ｏｎｅ               ｏｆ               ｔｈｅ               ｃｒｉｎｇｅ-ｉｎｄｕｃｉｎｇ               ｕｓｅｓ               ｏｆ               Ｓｔｅｐ'ｎ               Ｆｅｔｃｈｉｔ               (Ｌｉｎｃｏｌｎ               Ｐｅｒｒｙ)               ａｓ               ｔｈｅ               ｓｔｕｐｉｄ,               ｐａｉｎｆｕｌｌｙ               ｓｌｏｗ-ｔａｌｋｉｎｇ,               ａｎｄ               "ｓｈｉｆｔｌｅｓｓ               ｎ___ｅｒ."
               Ｎｅｉｔｈｅｒ               ｔｈｅ               ｃｏｍｅｄｙ               ｎｏｒ               ｔｈｅ               ｍｅｌｏｄｒａｍａ               ｈａｖｅ               ａｇｅｄ               ｗｅｌｌ,               ａｎｄ               ｉｔ               ｗｏｕｌｄ               ｂｅ               ｅａｓｙ               ｔｏ               ｓｔｏｐ               ｗａｔｃｈｉｎｇ               ｔｈｅ               ｐｒｏｃｅｅｄｉｎｇｓ.

Ｗｈａｔ               ｉｓ               ｉｎｔｅｒｅｓｔｉｎｇ               ｉｓ               ｍｏｓｔｌｙ               ｉｎ               ｔｈｅ               ｌａｓｔ               ｈａｌｆ               ｈｏｕｒ:               ｓｈｏｗｉｎｇ               ｔｈｅ               ｗｏｒｋｉｎｇｓ               ｏｆ               ｔｈｅ               ｐａｄｄｌｅ-ｗｈｅｅｌ               ｒｉｖｅｒ               ｂｏａｔｓ               (ａ               ｐｒｏｌｉｆｅｒａｔｉｏｎ               ｏｆ               ｔｈｅｍ               ｎｏｔ               ｔｈｅ               ｒｅｓｕｌｔ               ｏｆ               ｃｏｍｐｕｔｅｒ               ｍｕｌｔｉｐｌｉｃａｔｉｏｎ               ｏｒ               ｏｆ               ｍｉｎｉａｔｕｒｅｓ).

(<2               ｓｔａｒｓ)






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