Features, commercials, art pieces, stock footage, home movies, propaganda: the history of cinema so far has produced countless individual forms, all of which also count as documentaries. Watch any kind of film made sufficiently long ago and you look through a window onto the attitudes, aesthetics, and accoutrements of another time.
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free download film Bomb Blast the movie
"Blast From the Past'' is the first screen credit for writer Bill Kelly, who co-scripted with the director, Wilson ("The First Wives Club,'' the overlooked "Guarding Tess''). It's a sophisticated and observant film that wears its social commentary lightly but never forgets it, as Adam wanders through a strange new world of burgeoning technology and decaying manners. His innocence has an infectious charm, although the world-wise Eve can hardly believe he doesn't know the value of his dad's baseball card collection. (Wait until she hears about his dad's stock portfolio.) The movie is funny and entertaining in all the usual ways, yes, but I was grateful that it tried for more: that it was actually about something, that it had an original premise, that it used satire and irony and had sly undercurrents. Even the set decoration is funny. I congratulate whoever had the idea of putting Reader's Digest Condensed Books on the shelves of the bomb shelter--the last place on earth where you'd want to hurry through a book.
Bob Peurifoy, Director of Weapon Development, Sandia: I realized if I joined Sandia, I would be working on atomic bombs, and that was okay with me. We were driven by the fear of the Soviet Union. Anything we conceived of the military wanted and money was free.
Eric Schlosser, Author, Command and Control: Twenty-five years earlier, a weapon similar to the one on the Titan II was tested in the South Pacific. The explosion wound up being three times more powerful than they had estimated. And the test revealed that the radioactive fallout from a hydrogen bomb could be even more deadly than the blast itself. Back in Washington, they took a map of the fallout pattern from the Bravo Test and they superimposed it on a map of the United States. A similar weapon detonated over Washington DC could release enough radioactive fallout to kill everyone in Washington DC, everyone in Baltimore, everyone in Philadelphia, half the population of New York City, with casualties and fatalities as far north as Boston.
The new batch of videos joins 63 other clips of Cold War-era test-blasts, bringing the total to 125 declassified films now available to watch on YouTube. (We've embedded the playlist at the end of this story.)
Weapons researchers recorded about 10,000 films of above-ground test blasts from 1945 through 1962, which were analyzed to determine a device's explosive yield, then locked away in high-security vaults.
More recently, film and DVD critic Jamie S. Rich also gave the film a lukewarm review, writing, "The film doesn't have much tension, despite the inherent drama of the scenario. The main reason for this is Hurley. He isn't written as being all that menacing. He's more the know-it-all pessimist who sees through everyone else's charade, rather than the scary murderer who plays mind games with his victims. He stirs up the pot some, but the juiciest stuff emerges all on its own ... the bulk of Split Second is essentially unremarkable. It's a serviceable lower-tier movie that moves at an efficient pace and provides mild entertainment."[6]
Another modern reviewer, Craig Butler from AllMovie, was more positive: "Not as well known as it should be but a favorite of many who know it, Split Second is an incredibly tense film noir-cum-atomic bomb flick that marked an auspicious directorial debut for singer-actor Dick Powell ... Powell is aided in his efforts by the first rate black and white cinematography of Nick Musuraca ... The cast does not disappoint either, with fine work by all ..."[7]
Rediscovered in 2006 with the fanfare usually reserved for unearthing a lost classic (which was pretty much the case), Jean-Pierre Melville's cool-blue portrait of French Resistance fighters makes a beautiful case for honor among wanted men. Back-room beatings and drive-by shootings spark a mostly conversational film about the sacrifice of spies. Melville's reputation had previously rested on chilly, remote gangster pictures like Le Samouraï (1967), but to see his canvas widened to national politics was a revelation. And the reason the movie had been ignored in the first place? Fashionable French critics had dismissed it as too pro-De Gaulle. What comes around...
The director, Anthony Mann, was best known for his Westerns that pinned heroes in uncomfortable, craggy environments. When he tried his hand at a combat film (this was his first), he set the action in a Korean no-man's land where an American platoon led by Robert Ryan finds itself stranded. The result was an uncommonly tough movie for the Ike era.
Pervy Dutch director Paul Verhoeven is better known for Basic Instinct and Showgirls, but war movies are his true métier. In this deliciously plotted WWII survival tale (a comeback of sorts for the Hollywood exile), a hotcha Jewish singer becomes a spy, a freedom fighter and a bed partner of Nazis. Talented Carice van Houten commits fully.
No proper war-movie list would be complete without an entry from the revered Polish filmmaker Andrzej Wajda, who produced a masterful trilogy that included A Generation (1955) and Ashes and Diamonds (1958), along with this Cannes prize-winner. It's the first film to (brutally) portray the sewer-based Warsaw Uprising against the the Nazis.
Gregory Peck had already arrived as a magnetic onscreen presence by the time this minutely detailed WWII Air Force drama gave him his most ambitious role to date, as a stern disciplinarian whose leadership transforms a bomber unit into a well-oiled machine. The ultimate praise: The movie was required viewing at military-service academies for decades.
The recording features live commentary on an interception by BBC correspondent Ian Wilson. The painting, A Tempest Shooting Down a Flying-Bomb (1944) by Roy Nockolds, shows an RAF Tempest fighter plane pursuing a V1 that has escaped a barrage of anti-aircraft fire. The image captures some tactical details, such as the deployment of anti-aircraft guns on the coast, which gave fighter aircraft free rein to intercept flying bombs over land.
The blast of the flying bombs and rockets exceeded anything London experienced in the earlier Blitz. Day and night men women and children were being killed and maimed. Hundreds of thousands of houses were destroyed and damaged and by September alone nearly a million needed some sort of repair. 2ff7e9595c
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