Released 8 November 1980
Recorded 4 August – 15 September 1980
Jackson’s Studios,
Rickmansworth, England, UK
Genre Heavy metal, NWOBHM, speed metal, rock and roll
Length 36:42
Label Bronze (Worldwide)
Mercury (North America)
Producer Vic Maile

Motörhead are a British rock band formed in 1975 by bassist, singer and songwriter Ian Fraser Kilmister, known mostly by his stage name Lemmy, who has remained the sole constant member. The band is often considered a precursor to or one of the earliest members of the New Wave of British Heavy Metal, which re-energised heavy metal in the late 1970s and early 1980s. Usually a power trio, Motörhead had particular success in the early 1980s with several successful singles in the UK Top 40 chart. The albums Overkill, Bomber, Ace of Spades, and particularly No Sleep ’til Hammersmith, cemented Motörhead’s reputation as one of Britain’s foremost rock bands.

Motörhead are typically classified as heavy metal, and their fusion of punk rock into the genre helped to pioneer speed metal and thrash metal. Lemmy dislikes such labels, preferring to describe the band’s music simply as “rock n’ roll” and usually opening live shows with the line “We are Motörhead. We play rock and roll.” Motörhead’s approach has remained the same over the band’s career, preferring to play what they enjoy and do best; their appreciation of early rock and roll is reflected in some of their occasional cover songs. Motörhead’s lyrics typically cover such topics as war, good versus evil, abuse of power, promiscuous sex, substance abuse, and “life on the road”. The name “Motörhead” is a reference to users of the drug amphetamine. The band’s distinctive fanged-face logo, with its oversized boar’s horns, chains, and spikes, was created by artist Joe Petagno in 1977 for the cover of the Motörhead album and has appeared in many variations on covers of ensuing albums. The fanged face has been referred to variously as “War-Pig” and “Snaggletooth”. The band is ranked number 26 on VH1′s 100 Greatest Artists of Hard Rock. They are cited as the first speed metal band.

Ace of Spades is the fourth album by the British band Motörhead. Released on 8 November 1980, it peaked at #4 on the UK album charts and reached Gold status by March 1981.^[3] It was preceded by the release of the title track as a single on 27 October, which peaked in the UK singles chart at #15 in early November.^[4]

Recording

The album was recorded in August and September 1980, produced by Vic Maile at his Jackson’s Studio in Rickmansworth. This is the first of what would be a series of projects with Maile, and members of the band commented at the time about finding the right producer. Whereas the band had previously had an input at the mixing stage, Maile took sole responsibility here, Clarke explaining that the result was that “you can finally hear everything that’s going on”.^[5]

Of the performances, Lemmy claimed that “Vic got me singing instead of just shouting all the time”, while Taylor added “and he got me playing more solid”.^[5]

Sleeve

It was the first of the band’s albums to feature a photograph of them on the cover, dressed as cowboys. The ‘Arizona desert-style’ pictures used on the album sleeve and tour programme were taken during a photo session at a sandpit in Barnet.^[6]

Promotion and tour

Motörhead appeared on Top of the Pops twice in October to promote the single “Ace of Spades”, and were guests on the ITV children’s morning show Tiswas on 8 November.

The band undertook a UK tour from 22 October through to 2 December under the banner Ace Up Your Sleeve, with support from Girlschool and Vardis. After the Belfast show on 2 December, high jinx resulted in Taylor breaking his neck forcing him to wear a neck-brace and curtailing any further band activity. The other members of the band took the opportunity to collaborate with Girlschool for the St. Valentine’s Day Massacre EP.

Critical reception

The album has been described as “one of the best metal albums by any band, ever”^[7] and has become a significantly influential ‘hard rock classic’.^[8] Despite the band always referring to their music as rock ‘n roll,^[9] the album, and particularly its title track have been considered amongst the most influential in the development of thrash metal.^[10] The title track is, for many, the definitive Motörhead anthem.^[11] The album is listed in the book 1001 Albums You Must Hear Before You Die.

Classic albums documentary

On 28 March 2005 the documentary about the album (a part of the Classic Albums series) was released on DVD by Eagle Vision. The in-depth look at the making of the album includes interviews with and performances by Lemmy, Phil Taylor and Eddie Clarke.^[12]

Track listing

All tracks composed by Ian Kilmister, Phil Taylor, Eddie Clarke.

LP

Side A

Side B

CD bonus tracks

1. “Dirty Love” – 2:57
   • Originally released as the B-side of the Ace of Spades single
2. “Please Don’t Touch” (Johnny Kidd, Guy Robinson) – 2:49
3. “Emergency” (Kim McAuliffe, Kelly Johnson, Enid Williams, Denise Dufort) - 3:00

• Tracks 14 and 15 were originally released on the St. Valentine’s Day Massacre EP in 1981.

Deluxe Edition: Disc 2

1. “Dirty Love” – 2:55
2. “Ace of Spades” (alternate version) – 3:03
3. “Love Me Like a Reptile” (alternate version) – 4:16
4. “Love Me Like a Reptile” (alternate version) – 3:31
5. “Shoot You in the Back” (alternate version) – 3:11
6. “Fast and Loose” (alternate version) – 3:06
7. “(We Are) The Roadcrew” (alternate version) – 3:24
8. “Fire Fire” (alternate version) – 2:41
9. “Jailbait” (alternate version) – 3:33
10. “The Hammer” (alternate version) – 3:11
11. “Dirty Love” (alternate version) – 1:02
12. “Dirty Love” (alternate version) – 3:51
13. “Fast and Loose” (BBC Session) – 4:18
14. “Live to Win” (BBC Session) – 3:33
15. “Bite the Bullet/The Chase Is Better Than the Catch” (BBC Session) – 6:05

The 2CD version does not include the Girlschool St. Valentine’s Day Massacre tracks that are on the single-disc remaster.

Credits

• Lemmy (Ian Kilmister) – bass, lead vocals
• “Fast” Eddie Clarke – guitar, lead vocals on “Emergency”
• Phil “Philthy Animal” Taylor – drums

• Recorded 4 August – 15 September 1980 at Jackson’s Studios, Rickmansworth, UK
• Produced by Vic Maile
• Sleeve photography by Alan Ballard
• Design by Martin Poole

Release history and variations

• The labels on the 1986 GWR re-issue had the GWR logo and “A” on one side, and Side Two on the other. The tracks were also erroneously listed in the order of the North America release.

References

Links

• Ace of Spades review on Yahoo Music
• Motorhead official website

Directed by Jack Conway
Produced by Bernard H. Hyman
Written by Anita Loos
Robert Hopkins
Starring Clark Gable
Jean Harlow
Lionel Barrymore
Frank Morgan
Walter Pidgeon
Hattie McDaniel
Margaret Hamilton
Music by Edward Ward
Cinematography Ray June
Release date(s) July 23, 1937 (1937-07-23)
Running time 92 minutes
Country United States
Language English

Saratoga is a 1937 film written by Anita Loos and directed by Jack Conway. The movie stars Clark Gable and Jean Harlow in their sixth and final film collaboration. When filming was 90% completed, Harlow collapsed on the set and died about a week later, reportedly of uremic poisoning. MGM wanted to reshoot the movie with Virginia Bruce or Jean Arthur. However, Harlow fans complained, so the remaining scenes were filmed with Mary Dees doubling for the camera and Paula Winslowe supplying Harlow’s voice. The supporting cast includes Lionel Barrymore, Frank Morgan, Walter Pidgeon, Hattie McDaniel, and Margaret Hamilton. The film would be Harlow’s final movie and Harlow’s fans turned out in droves, making Saratoga MGM’s biggest moneymaker of 1937.

Synopsis

Bookie Duke Bradley (Clark Gable) stops the bank from taking the stud of Grandpa Clayton (Lionel Barrymore). Carol Clayton (Jean Harlow) calls from England that she is going to marry the wealthy Hartley Madison (Walter Pidgeon). Duke tells her father, Frank Clayton (Jonathan Hale), and Grandpa. Broke, Frank gives Duke the deed to the family farm to pay his gambling debts. At the races, Duke takes bets and meets Hartley and Carol. Duke greets Fritzi (Una Merkel) with a kiss. During a race, Frank collapses and dies.

Carol asks Duke to sell her the farm, but Duke assures her he won’t foreclose on Grandpa. They quarrel about her marrying for money. Fritzi tells Duke that her husband Jesse Kiffmeyer (Frank Morgan) is allergic to horses. When Jesse sneezes during an auction, Duke sees to it that this is considered a bid, and Jesse ends up buying a horse that Fritzi wanted. Grandpa tells Duke that Carol is selling her horse, Moonray; Carol tells Duke she needs money to pay him off. Duke bids Hartley up to $14,000 but stops before Carol is going to let him win. Hartley asks Grandpa to train Moonray.

Carol studies horses and has won money from Duke. Tip O’Brien (Cliff Edwards) sings “The Horse With the Dreamy Eyes” with Fritzi, Duke, and Rosetta (Hattie McDaniel). Carol is friendly with Duke until he asks her to get Hartley betting. Duke calls on Hartley and tells him to help Carol’s nerves. Hartley calls Dr. Bierd (George Zucco), who says Carol is emotional and should marry soon or not see Hartley. Duke gets Hartley to bet and win $6,000, telling Tip it is bait. Carol tells Hartley not to bet with Duke, who learns Hartley is leaving. Carol asks Hartley to stay.

At the track, Hartley bets with Duke and loses $5,000. On a train, Duke dines with Fritzi and Jesse, who is jealous. Fritzi knows Duke is in love with Carol, and Duke says he plans to win money to marry her. Carol tells Duke she loves him and has broken off her engagement to Hartley. When Duke objects to losing Hartley, she gets angry. At the races, Hartley loses. Hartley hires a new trainer for Moonray. Carol gets Jesse’s contract with the jockey Dixie Gordon (Frankie Darro) so Duke will lose; but Fritzi tells Jesse that that if Duke wins, he will marry Carol. Dixie is riding Moonray. Grandpa quarrels with the new trainer. The race is a photo finish, but Moonray loses. On a train, Carol and Duke celebrate.

Cast

Clark Gable – Duke Bradley
Jean Harlow – Carol Clayton
Lionel Barrymore – Grandpa Clayton
Frank Morgan – Jesse Kiffmeyer
Walter Pidgeon – Hartley Madison
Una Merkel – Fritzi
Cliff Edwards – Tip
George Zucco – Dr. Harmsworth Bierd
Jonathan Hale – Frank Clayton
Hattie McDaniel – Rosetta
Frankie Darro – Dixie Gordon
Margaret Hamilton – Maizie

Quotes

• Duke Bradley: Honey, I love ya!
• Fritzi Kiffmeyer: We women can do things to a man we love that men wouldn’t do to a rattlesnake.
• Duke: Why, honey, you look sharp as a razor.
• Fritzi: Oh, there he is, the sweetheart!
• Duke: Who, your husband?
• Fritzi: No, that colt!

Links

• Saratoga at the Internet Movie Database

Directed by Thorold Dickinson
Produced by Anatole de Grunwald
Written by Alexander Pushkin (story), Rodney Ackland, Arthur Boys
Starring Anton Walbrook, Edith Evans, Yvonne Mitchell
Distributed by Associated British-Pathe (UK)
Republic Pictures (US)
Release date(s) June 30, 1949 (USA)
Running time 95 minutes
Country United Kingdom
Language English

The Queen of Spades (1949) is a fantasy-horror film based on a short story of the same name by Alexander Pushkin. It stars Anton Walbrook, Edith Evans and Yvonne Mitchell. A poor Russian officer tries to learn the secret of an aged countess’s success at the card table.

Despite a limited budget, it was nominated for a BAFTA Award for Best British Film. It was also entered into the 1949 Cannes Film Festival.^[1]

Cast

Anton Walbrook as Captain Herman Suvorin
Edith Evans as Countess Ranevskaya
Yvonne Mitchell as Lizavetta Ivanova
Ronald Howard as Andrei
Mary Jerrold as Old Varvarushka
Anthony Dawson as Fyodor
Miles Malleson as Tchybukin
Michael Medwin as Hovaisky
Athene Seyler as Princess Ivashin
Ivor Barnard as Bookseller
Aubrey Mallalieu as Fedya
Maroussia Dimitrevitch as Gypsy singer
Violette Elvin as Gypsy dancer
Pauline Tennant as young Countess Ranevskaya

References

Links

• The Queen of Spades at the Internet Movie Database

This article is licensed under the GNU Free Documentation License. It uses material from the Wikipedia.

Directed by Preston Sturges
Produced by Paul Jones, Buddy G. DeSylva (uncredited)
Written by Monckton Hoffe (story), Preston Sturges
Starring Barbara Stanwyck, Henry Fonda
Music by Phil Boutelje, Charles Bradshaw, Gil Grau, Sigmund Krumgold, John Leipold, Leo Shuken (all uncredited)
Cinematography Victor Milner
Editing by Stuart Gilmore
Distributed by Paramount Pictures
Release date(s) February 25, 1941 (NYC)
March 21 (general)
Running time 94 minutes
Country United States
Language English

The Lady Eve is a 1941 American screwball comedy film.^[1][2] It is about a mismatched couple who meet on a luxury liner, written by Preston Sturges based on a story by Monckton Hoffe, and directed by Sturges, his third directorial effort, after The Great McGinty and Christmas in July. The film stars Henry Fonda and Barbara Stanwyck and features Charles Coburn, Eugene Pallette, William Demarest and Eric Blore.

In 1994, The Lady Eve was selected for preservation in the United States National Film Registry by the Library of Congress as being “culturally, historically, or aesthetically significant.”

Plot

Jean Harrington (Barbara Stanwyck) is a beautiful con artist. Along with her equally larcenous father, “Colonel” Harrington (Charles Coburn) and his partner Gerald (Melville Cooper), she is out to fleece rich, naive Charles Pike (Henry Fonda), the heir to the Pike Ale fortune (“The Ale That Won for Yale”). Pike is a woman-shy snake expert just returning from a year-long expedition up the Amazon. Though surrounded by ladies desperate for his attention, Charles is putty in Jean’s hands.

But even the best laid plans can go astray. First, Jean falls hard for Pike and shields him from her card sharp father. Then, when Pike’s suspicious minder/valet Muggsy (William Demarest) discovers the truth about her and her father, Pike dumps her. Furious at being scorned, she re-enters his life masquerading as the posh “Lady Eve Sidwich”, niece of Sir Alfred McGlennan Keith (Eric Blore), another con man who’s been swindling the rich folk of Connecticut. Jean is determined to torment Pike mercilessly – as she explains, “I’ve got some unfinished business with him — I need him like the axe needs the turkey” – and it doesn’t hurt that Pike’s wealthy businessman father (Eugene Pallette) is impressed by English nobility and eager to promote a marriage between his son and her ladyship. When Pike meets “Eve”, he immediately recognizes her, but is so bewildered he constantly trips and falls over himself. Although Muggsy tries to convince him “she’s the same dame”, Pike reasons that Jean would never come close to his home without at least disguising herself, so he concludes the resemblance is only a coincidence. After a brief courtship, they marry, and on the train to their honeymoon, “Eve” begins to confess her past, dropping name after name after name of old boyfriends and lovers. Pike finally gets fed up and jumps off the train. Now separated, Jean’s con team urges her to close the deal, saying she’s got him over a barrel and can make a killing in a settlement. While Charles’ father and lawyers are on the phone with her pleading to settle quickly, she says she doesn’t want any money at all, just for Pike to tell her it’s over to her face. Pike refuses, and instead gets on a ship back to the Amazon. On the boat, Jean “bumps into” Pike, just as they met before, and they instantly dash to his cabin where they mutually confess their love for each other and the fact they are both married. Muggsy escapes the room, muttering, “Definitely the same dame…”

Henry Fonda from the trailer for the film

Cast

• Barbara Stanwyck as Jean Harrington
• Henry Fonda as Charles Poncefort Pike
• Charles Coburn as “Colonel” Harrington
• Eugene Pallette as Horace Pike
• William Demarest as Muggsy, aka Ambrose Murgatroyd
• Eric Blore as Sir Alfred McGlennan Keith
• Melville Cooper as Gerald
• Martha O’Driscoll as Martha
• Janet Beecher as Janet Pike
• Robert Greig as Burrows
• Dora Clement as Gertrude
• Luis Alberni as Emile, Pike’s chef

Cast notes:

• Aside from William Demarest, members of Sturges’ unofficial “stock company” of character actors who appear in The Lady Eve include Al Bridge, Jimmy Conlin, Robert Dudley, Robert Greig, Arthur Hoyt, George Melford, Torben Meyer, Frank Moran, Victor Potel, Harry Rosenthal, Julius Tannen and Robert Warwick.
• This is the fifth of ten films written by Preston Sturges that William Demarest appeared in.^[3]

Production

The 19-page story by Monckton Hoffe which The Lady Eve was loosely based on was called “Two Bad Hats,” which was also the working title for the film. Sturges was assigned to write a script based on Hoffe’s story in 1938, with Claudette Colbert expected to be the star. Sturges and Paramount producer Albert Lewin had some written disagreement in 1939 about the development of the script, with Lewin writing to Sturges “”the first two-thirds of the script, in spite of the high quality of your jokes, will require an almost one hundred percent rewrite.” Sturges objected, and eventually Lewin gave in, writing: “Follow your witty nose, my boy; it will lead you and me and Paramount to the Elysian pastures of popular entertainment.”^[4][5]

The censors at the Hays Office initially rejected the script that was submitted to them, because of “”the definite suggestion of a sex affair between your two leads” which lacked “compensating moral values.” A later, revised, script was approved.^[4]

The casting of the lead roles for Eve went through some changes. At some point the studio wanted Brian Aherne for the male lead,^[5] and Joel McCrea, Madeleine Carroll and Paulette Goddard were under consideration as of July 1940, but in August 1940 Fred MacMurray and Madeleine Carroll were announced as co-stars. In September, Darryl Zanuck lent Henry Fonda to co-star with Paulette Goddard, who was then replaced by Barbara Stanwyck.^[4]

The Lady Eve was in production from 21 October to 5 December 1940.^[6] According to Donald Spoto in Madcap: The Life of Preston Sturges, Sturges “invariably paraded on [the] set with a colorful beret or a felt cap with a feather protruding, a white cashmere scarf blowing gaily round his neck and a print shirt in loud hues…the reason for the peculiar outfits, he told visitors, was that they facilitated crew members’ finding him amid the crowds of actors, technicians, and the public.” Barbara Stanwyck compared Sturges’ set to “a carnival”. In his biography of Stanwyck, author Axel Madsen wrote that “The set was so ebullient that instead of going to their trailers between setups, the players relaxed in canvas chairs with their sparkling director, listening to his fascinating stories or going over their lines with him. To get into mood for Barbara’s bedroom scene, Sturges wore a bathrobe.”^[5]

Location shooting for the opening jungle scene took place at Lake Baldwin of the Los Angeles County Arboretum and Botanic Garden in Arcadia, California.^[4][7] In that scene, Henry Fonda’s character refers to “Professor Marsdit”, whose last name is an anagram of that of Raymond L. Ditmars of the American Museum of Natural History, a well-known reptile expert and popular science writer of the time.^[8]

The film premiered in New York City on 25 February 1941, and went into general release on 21 March of that year.^[6] It was marketed with a number of taglines, including When you deal a fast shuffle… Love is in the cards.^[9] The film ranked as one of the top ten films of that year in box office sales.^[4]

The Lady Eve was released on video in the U.S. on 12 July 1990, and was subsequently re-released on 30 June 1993.^[10]

Analysis

Barbara Stanwyck from a trailer for The Lady Eve

The clearest theme, and easiest to pick out very early in the film is gender inversion. Jean Harrington is clearly in control of the situation for the majority of the film, until her feelings get in the way of her previous, dubious intentions. Until she realizes that she loves him, there was little sense of the struggle between equals that typifies most romantic comedies.^[11]

The film has been lauded for a unique blend of slapstick and satire.^[12] We see the “fall of man” implied by the title of the film in many ways. First is that literal, that being Pike continuously falling down in various situations, and his “fall from innocence” as he is sucked into the deceptive plots laid out by Jean.^[13]

Sturges also uses deceptiveness in appearance profusely throughout the film. Things as small as the distinction, or lack thereof, between beer and ale to the various disguises of Jean Harrington add depth to the plot line. Even most of the characters have two names (Charles=Hopsie, Jean=Eugenia/Eve Sidwich). This lack of recognition sets the stage for the storyline.

Sturges repeatedly suggests that the “lowliest boob could rise to the top with the right degree of luck, bluff and fraud.”^[14]

Awards and honors

Monckton Hoffe, who wrote the original story for The Lady Eve, was nominated for an Academy Award for Best Writing, Original Story. In that same year, the National Board of Review nominated the film for “Best Picture,” and the New York Times named it as the best film of the year in their “10 Best Films of 1941″ list.^[15]

In 1994, The Lady Eve was selected for preservation in the United States National Film Registry by the Library of Congress as being “culturally, historically, or aesthetically significant.”

American Film Institute recognition

• 2000: AFI’s 100 Years… 100 Laughs #55
• 2002: AFI’s 100 Years… 100 Passions #26

Remake

In 1956, the plot of The Lady Eve was recycled for the movie The Birds and the Bees, starring George Gobel, Mitzi Gaynor and David Niven. Preston Sturges received a co-writer credit for the film, although he did not actually participate in the project.^[16]

References

Notes

Bibliography

• Coursodon, Jean-Pierre, American Directors: Volume I, New York: McGraw-Hill, 1983
• Nochimson, Martha, “The Lady Eve and Sullivan’s Travels”, Cineaste, Summer 2002, Vol. 27, Issue 3
• Rowe, Kathleen, The Unruly Woman, Austin: University of Texas Press, 1995
• Sarris, Andrew, The American Cinema, New York: E.P. Dutton & Co., Inc., 1968

Links

• The Lady Eve at the Internet Movie Database
• The Lady Eve at the TCM Movie Database
• The Lady Eve at Allmovie
• Criterion Collection essay by James Harvey

This article is licensed under the GNU Free Documentation License. It uses material from the Wikipedia.

Directed by Sydney Pollack
Produced by Sydney Pollack, Richard Roth
Written by Judith Rascoe, David Rayfiel
Starring Robert Redford, Lena Olin, Raúl Juliá, Alan Arkin
Music by Dave Grusin
Cinematography Owen Roizman
Editing by Fredric Steinkamp, William Steinkamp
Distributed by Universal Pictures
Release date(s) December 12, 1990
Running time 140 min.

Havana is an independent 1990 drama starring Robert Redford, Lena Olin and Raúl Juliá, directed by Sydney Pollack and with music by Dave Grusin. In the film, an American professional gambler named Jack Weil (Redford) decides to visit Havana, Cuba to gamble. On the boat to Havana, he meets Roberta Duran (Olin), the wife of a revolutionary, Arturo (Julia). Shortly after their arrival, Arturo is taken away by the secret police, and Roberta is captured and tortured. Jack frees her, but she continues to support the revolution.

Plot

The plot is set on the Eve of the victory of the Cuban Revolution, January 1, 1959.

On the boat from Miami to Havana, Roberta Duran enlists the aid of Jack Weil (Robert Redford) in smuggling in U.S. Army Signal Corps radios destined for the Cuban revolutionary forces in the hills. Jack Weil agrees only because he is romantically interested in Ms. Duran. When they rendezvous for the “payoff”, Roberta reveals she is married, dashing Weil’s hopes.

Weil meets up with a Cuban journalist acquaintance (Tony Plana) and during a night on the town they run into Roberta Duran and her husband, Dr. Arturo Duran. Dr. Duran (Raul Julia) is a leader of the revolutionary movement. When Roberta points Weil out to him, Dr. Duran invites Weil to join them for dinner, and asks Weil for further aid to the cause. Weil turns him down, even after Duran outlines the desperate situation confronting the Cuban majority.

The next morning, after a night of debauchery for Weil, but a night of arrests of revolutionaries by the secret police, Weil reads a newspaper account of Dr. Duran’s arrest and death. In shock he continues with the planned poker game, at which he meets the head of the secret police. He learns that Roberta was also arrested and held. She was also tortured. Weil uses the debt one of the other players (a lieutenant) owes him, to obtain Roberta’s release. In shock from her husband’s death and her own experience in jail, she agrees to let him shelter her in his apartment, but that afternoon she disappears. Realizing that he is in love with Roberta, and encouraged by an old gambling friend, Weil drives into the interior of Cuba to find her at Dr. Duran’s old estate. He persuades her to return with him to Havana and to leave Cuba with him. When she asks, he explains that a lump on his arm contains a diamond he had sewn into his arm in his youth, as insurance that no matter what happens in life, one always has that diamond.

He makes arrangements for her to leave Cuba via boat, but on his return to the apartment, he is assaulted by two Cubans who inform him that Arturo demands that he get Roberta out of the country. In amazement that Dr. Duran is still alive, he wrestles with himself and pretends to Roberta that nothing is amiss. He uses the time thus bought to confirm the story with a CIA agent (Daniel Davis) whose acquaintance he had made. He obtains the information by threatening to blow the agent’s cover of gourmet magazine writer, then uses it also to make a deal with him regarding Dr. Duran. Pretending to work for the CIA, Weil goes to see Dr. Duran, who is held by the chief of the secret police (SIM). He tells the chief that Washington has new plans for Duran and wants him released, with a payoff of $50,000. He “orders” the chief to have Duran cleaned up and dressed (Duran had been tortured and was in extremely bad shape) and taken to his house. Weil goes to a doctor, then a jeweler, to sell the diamond to raise the cash for Dr. Duran’s release.

Back at his apartment, he informs Roberta, who had decided to make a life with him, that her husband is still alive. In shock she leaves on her own to find her husband. Meanwhile, Weil had blown the big game with high rollers he had been angling for since the day he arrived in Havana. The casino manager (Alan Arkin) forgives him, knowing he had made rescuing Roberta his priority.

That night, New Year’s Eve, 1958, the insurrection is won by the revolutionary forces. The upperclass, the government and the secret police all leave their lavish New Year’s Eve parties to make a mad dash to the ports and airport to leave the country. The people pour into the streets, celebrating the victory by trashing the casinos and dancing in the streets. Weil and (Arkin) agree it is a new day and time for them to go.

The next morning Weil is in a restaurant preparing to depart when Roberta shows up to wish him farewell. She discovers, by seeing the bandage on his arm, what it had cost him to save her husband for her. They hug goodbye. She remains with the Revolution, and he has been changed by it. Every year he drives down to the Florida Keys to gaze across the water toward Havana, hoping one day to see her again, but also realizing that the changes in Cuba were being echoed in the changes of the 1960s happening in America.

The closing credits, consisting of a beautiful Caribbean sunset with an equally beautiful and haunting musical finale by composer Dave Grusin, is an essential part of the movie, as is the entire bittersweet musical score. Raul Julia’s name does not appear in any of the credits.

Cast

Robert Redford as Jack Weil
Lena Olin as Bobby Durán
Alan Arkin as Joe Volpí
Tomás Milián as Menocal
Daniel Davis as Marion Chigwell
Tony Plana as Julio Ramos
Betsy Brantley as Diane
Lise Cutter as Patty
Richard Farnsworth as the Professor
Mark Rydell as Meyer Lansky
Vasek Simek as Willy
Fred Asparagus as Baby Hernández
Richard Portnow as Mike MacClaney
Dion Anderson as Roy Forbes
Carmine Caridi as Captain Potts

Links

• Havana at the Internet Movie Database

This article is licensed under the GNU Free Documentation License. It uses material from the Wikipedia.

77 Park Lane is a 1931 British thriller film directed by Albert de Courville and starring Dennis Neilson-Terry, Betty Stockfeld and Malcolm Keen.^[1] At an upmarket gambling house in Park Lane, a woman tries to save her brother from ruin.

Cast

Dennis Neilson-Terry … Lord Brent
Betty Stockfeld … Mary Connor
Malcolm Keen … Sherringham
Ben Welden … Sinclair
Cecil Humphreys … Paul
Esmond Knight … Philip Connor
Molly Johnson … Eve Grayson
Roland Culver … Sir Richard Carrington
Molesworth Blow … George Malton
John Turnbull … Superintendent
Percival Coyte … Donovan

References

1. ^ http://ftvdb.bfi.org.uk/sift/title/50198

Links

• 77 Park Lane at the Internet Movie Database

This article is licensed under the GNU Free Documentation License. It uses material from the Wikipedia.

Directed by: Robert Altman
Produced by: Joseph Walsh, Robert Altman
Written by: Joseph Walsh, Starring George Segal, Elliott Gould, Ann Prentiss, Gwen Welles
Music by: Phyllis Shotwell
Cinematography: Paul Lohmann
Editing by: O. Nicholas Brown, Lou Lombardo
Distributed by: Columbia Pictures
Release date: August 7, 1974
Running time: 108 minutes
Country: United States
Language: English

California Split is a 1974 film directed by Robert Altman and starring Elliott Gould and George Segal as a pair of gamblers. It was the first non-Cinerama movie to use eight-track stereo sound.

Plot

The film is less concerned with plot than behavior as a friendship develops between Bill Denny (George Segal) and Charlie Waters (Elliott Gould) over their mutual love of gambling. Charlie is a wisecracking joker and experienced gambler constantly looking for the next score. Initially, Bill isn’t as committed a gambler (he works at a magazine during the day) but he’s well on his way.

As the film progresses and the two men hang out more, Bill starts to become more addicted to the gambling lifestyle. He goes into debt to his bookie, Sparkie (Joseph Walsh). Eventually, Bill hocks some of his possessions to fund a trip to Reno, where Bill and Charlie pool their money to stake Bill in a poker game (where one of the players is former world champion “Amarillo Slim”, portraying himself). Bill wins $18,000, but doesn’t quit; he is convinced he is on a hot streak. He plays blackjack, then roulette and finally craps, winning more and more money, eventually cashing out $82,000.

But something happens at the craps table. When he finally stops, he is drained, almost apathetic. After they split their winnings, he tells Charlie he’s quitting and going home. Charlie doesn’t understand it, but sees that his friend means what he says, and they go their separate ways.

Cast

George Segal as Bill Denny
Elliott Gould as Charlie Waters
Ann Prentiss as Barbara Miller
Gwen Welles as Susan Peters
Edward Walsh as Lew
Joseph Walsh as Sparkie
Bert Remsen as Helen Brown
Jeff Goldblum as Lloyd Harris

Trivia

• In the bar scene where Charlie and Bill first share a drink, Charlie overhears a conversation during which a man wonders if the Knicks will win the NBA finals. Charlie butts in and says the Celtics are going all the way. Charlie’s prediction comes true, the Celtics were the NBA champions in 1974. Since the movie was filmed in early 1974 and the finals weren’t until June, Charlie really does pick the winner ahead of time.
• The original ending actually spilled outside the casino. Bill leaves Charlie and hails a cab when Charlie suddenly comes out and decides to go with him so as to prove that he can walk away from gambling. However, a couple of people climb out of the waiting cab and ask Charlie how the action is, and he is drawn right back in and thus Bill leaves alone.

The DVD

The film was released on DVD in 2004, but music rights problems forced Sony/Columbia to exclude almost three minutes of footage and make several soundtrack changes. The DVD is already out of print, leading to speculation that a re-release is imminent with the missing footage restored.

Links

• California Split at the Internet Movie Database
• California Split at Allmovie
• California Split at Rotten Tomatoes

This article is licensed under the GNU Free Documentation License. It uses material from the Wikipedia.

Caravaggio, The Cardsharps, c. 1594.

Gambling has had many different meanings depending on the cultural and historical context in which it is used. Currently, in western society, it generally has an economic definition and meaning and typically refers to “wagering money or something of material value on something with an uncertain outcome in hope of winning additional money or material goods”. Furthermore:

• the outcome of the wager is typically evident within a short period of time
• the primary intent of the bet is to win additional money or material goods

This definition of gambling usually excludes:

• emotional or physical risk-taking where what is being risked is not money or material goods (e.g., skydiving, running for office, asking someone for a date, etc.)
• buying insurance, as the primary intent of the purchase is to protect against loss, rather than to collect or win
• all forms of long-term ‘investment’ (stock market, real estate) with positive expected returns and economic utility
• starting a new business, as time and effort are also being wagered and the outcome is not determined in a short period of time
• situations where the possibility of winning additional money or material goods is a secondary or incidental reason for the wager/purchase (e.g., buying a raffle ticket to support a worthy cause)

Gambling varies on four dimensions:

• 1. What is being wagered (money or material goods).
• 2. How much is being wagered.
• 3. The predictability of the event. For some things such as lotteries, slot machines and bingo, the results are random and unpredictable. No skill or system will give you any advantage. For other things such as sports betting and horse racing there is some predictability to the outcome. In this situation greater knowledge and skill gives a person an advantage over other bettors.
• 4. The ‘expected value’, the positive or negative mathematical expectation.

Bibliography

• Brisman, Andrew. American Mensa Guide to Casino Gambling: Winning Ways (Stirling, 1999) ISBN 080694837X
• Ortiz, Darwin. Gambling Scams: How They Work, How to Detect Them, How to Protect Yourself (Carol, 1990) ISBN 0396083668 (Hardcover) ISBN 0818405295 (Paperback)
• Reith, Gerda. Age of Chance: Gambling in Western Culture ISBN 0415179971 (Hardcover) ISBN 0415263093 (Paperback)
• Steinmetz, Andrew. The Gaming Table: Its Votaries and Victims Gutenberg text
• Thorp, Edward O. Beat the Dealer: A Winning Strategy for the Game of Twenty-One (Vintage, 1966) ISBN 0394703103

This article is licensed under the GNU Free Documentation License. It uses material from the Wikipedia.