View allAll Photos Tagged easygoing
389 Congress St, Portland, Maine USA • The Portland City Hall is the center of city government in Portland, Maine. The structure was built in 1909 and was named to the National Register of Historic Places in 1973. • Architect: Carrere & Hastings. – From Wikipedia.
• Portland is Maine's business, financial and retail capital and the largest city in the state. Seascapes and cityscapes blend harmoniously in Portland, perched on a peninsula, jutting out into island-studded Casco Bay. The metropolitan hub of Maine's south coast region, Portland is a progressive, lively city incorporating the character of yesteryear into a modern urban environment. Historic architecture blends gracefully with the new as you stroll along her working waterfront or the cobblestone streets of the restored Old Port section of the city.
With a metro population of 230,000, the Greater Portland area is home to almost one quarter of Maine's total population. The population of the city is 66,363.
Portland is an easygoing city with friendly, hardworking people. Ranked nationally as one of the ten safest, culturally most fascinating US Cities and one of the top cities for doing business, housing is affordable, the schools and healthcare are outstanding.
Recreation, entertainment, scenery, culture -we've got the market cornered. Just ask the 3.6 million tourists who visit each year. And, the same things that attract vacationers make Portland a wonderful place to live, to work and to do business. – From the City's website.
☞ On May 7, 1973, the National Park Service added this structure and site to the National Register of Historic Places (#73000119).
• GeoHack: 43°39′33″N 70°15′26″W.
389 Congress St, Portland, Maine USA • The Portland City Hall is the center of city government in Portland, Maine. The structure was built in 1909 and was named to the National Register of Historic Places in 1973. • Architect: Carrere & Hastings. – From Wikipedia.
• Portland is Maine's business, financial and retail capital and the largest city in the state. Seascapes and cityscapes blend harmoniously in Portland, perched on a peninsula, jutting out into island-studded Casco Bay. The metropolitan hub of Maine's south coast region, Portland is a progressive, lively city incorporating the character of yesteryear into a modern urban environment. Historic architecture blends gracefully with the new as you stroll along her working waterfront or the cobblestone streets of the restored Old Port section of the city.
With a metro population of 230,000, the Greater Portland area is home to almost one quarter of Maine's total population. The population of the city is 66,363.
Portland is an easygoing city with friendly, hardworking people. Ranked nationally as one of the ten safest, culturally most fascinating US Cities and one of the top cities for doing business, housing is affordable, the schools and healthcare are outstanding.
Recreation, entertainment, scenery, culture -we've got the market cornered. Just ask the 3.6 million tourists who visit each year. And, the same things that attract vacationers make Portland a wonderful place to live, to work and to do business. – From the City's website.
☞ On May 7, 1973, the National Park Service added this structure and site to the National Register of Historic Places (#73000119).
• GeoHack: 43°39′33″N 70°15′26″W.
JUMP - another E-Bike with eyecatching design is populating streets and places - waiting for interested clients to have a ride.
Did not try it, but they look convenient for the average woman - Not suitable for models with long legs and high heels.
Usually they come in groups of three...
...and this lineup triggered my photo-reflex :-)
***
[IMG_20200213_075944.jpg]
Not my usual Photo Equipment and No Postprocessing.
Lots of questions for you, partner. You seem very easygoing, which is wonderful, but it also means I've been kind of at a loss for what to do for you.
I'm planning paper pieced feathers, 8 in total. Let me know if you don't like this.
1. Do you want very scrappy feathers, or would you rather me stick with certain colors? Each feather in a different color? Don't care?
2. You mentioned you don't like black, so I was thinking Kona coal for the stems, or would you prefer something else?
3. Background: Scrappy low volume, just a single low volume, a solid, or something else?
.... Many people take part in this unique and lively pantomime, there are pastors by mule or donkey, which give the people some pieces of bread, wine and sausages, there are ladies with sweet looks that have beautiful smiles, there are horsemen riding on colts, throwing sweets on bystanders, there are horrific figures like Fofori, who kidnap the rich by forcing them to pay a symbolic offering, there are the Wizards, who finally found the treasure (a chamber pot full of macaroni, drinking wine from a container of urine), there is the Genral Garibaldi supported by his soldiers, there are their enemies the Turks, there is 'U Remitu (the hermit) ... there are the bomb squad .. .and much others figures....! (Here the young actor will play the pander of the Court, named "Master of House" which organizes in secret the arrival of Master of Field to the Castle ... ) ....
....) ....
.... i personaggi che animano questa particolare e vivacissima pantomima sono tantissimi, ci sono i pastori a dorso di mulo o di asino, che donano alla popolazione pane, vino e salsicce, ci sono dame dagli sguardi dolcissimi che regalano sorrisi incantevoli, ci sono Cavalieri a cavallo di focosi puledri, che lanciano confetti sugli astanti come se piovesse, ci sono figure orrifiche come i Fofori, che rapiscono i ricchi costringendoli a pagare un simbolico obolo, ci sono i Maghi, che finalmente trovano il tesoro (un pitale pieno di maccheroni, bevendo vino da un "pappagallo"), c'è Garibaldi sostenuto dai suoi Garibaldini, ci sono i loro nemici, ovvero i Turchi, c'è 'U Remitu (l'eremita) ...ci sono gli artificieri...i chi più ne ha più ne metta....! (Qui il giovane attore che impersonerà il ruffiano di Corte, detto "mastro di Casa" che organizza in segreto l'arrivo del Mastro di Campo al castello ... ) ....
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Mezzojuso was built by the Albanians, Arbëreshëc, mostly military people established near an uninhabited house, during the migration of Albanians in Italy; on1501 they came from Albania and they had brought with them their language, customs and the Orthodox rite. From 2 to 4 August 1862 Mezzojuso welcomes Garibaldi: this is to reconnect this long and short at the same time my report, to some passages of this feast: the characteristic carnival of Mezzojuso. The "Master of Field" is the name of this carnival representation and it take the name from the principal character: this is a love story, albeit in key easygoing, which contains the re-enactment of the assault the Count of Modica made to the Castle to capture the White Queen of Navarra. The representation begins with the arrival of the royal procession, made up of the King, the Queen, by the dignitaries of the Court, from the Dame, the Secretary, by guards and by the Moors, and the "Master of Home" soul procession . Performed a dance in the square, the group go up on a stage (which is the castle); after inside the "castle" begins a dance party; therefore appear masks tied to tradition, u Rimitu, the Wizards, the gardener; comes the Master of Field, wearing a red wax mask with a hooked nose and prominent lower lip, a white shirt full of colored ribbons, pants and red coat, he squirms and shake, with his left arm to the side and in the right arm he brings a short wooden sword. Appear numerous characters, the Drummer, the Ambassador, Garibaldi and his Boys, the Captain of Artillery, the Baron and Baroness on two donkeys, followed by their men on horses and mules loaded with firewood, trunks, various paraphernalia for manufacturing cheese, so the gardener, with laurel wreaths, then the Cavalry, formed by a dozen knights who throw sweets over the spectators.The "Foforio" kidnap the wealthy and releases them after paying a small ransom (in return will be able to eat and drink at will). There are Magicians who go in search of "Treasure" and they finally found it: a bedpan full of macaroni and sausage, shouting "forio forio maccarrunario" eat them with their hands. The war rages, with Garibaldi and his Boys clashes against the Saracens (with imaginative alienation of historical periods); The Master of Field goes up on the scale that leads to the castle, meets with the King that hurts him on the head, and he falls backward (from a good height ...) to be taken from the boys that in the meantime they were prepared under the stairs; But the Master of Field is not dead and he healed his wounds, he with army of Garibaldi climb stealthily for "fake scale" and, taking advantage of the moment of confusion, they surrounding the Court and bind the King: the Field of Master removes the mask, finally embracing the Queen, managing to crown their secret dream of love, and so ends the great feast of Mezzojuso, with the procession that will march in the streets the country and ... the king in chains....
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Mezzojuso fu costruito dagli albanesi, gli arbëreshë, principalmente militari stabilitisi nelle vicinanze di un casale disabitato, durante la migrazione degli albanesi in Italia; essi provenivano dall'Albania e avevano portato con se lingua, usi e il rito ortodosso, nel 1501 stabilizzarono la loro posizione nella zona. Dal 2 al 4 agosto 1862 Mezzojuso accoglie Garibaldi: questo per ricollegare questo breve incipt su alcuni passaggi di questo report, lungo e breve al tempo stesso, sul caratteristico carnevale di Mezzojuso, unico nel suo genere. Il "Mastro di Campo", questo il nome della rappresentazione carnascialesca, è il personaggio dal quale prende il nome questa storia d'amore, seppur in chiave scanzonata, che racchiude in sè la rievocazione dell'assalto che il Conte di Modica fece al Castello per conquistare la regina Bianca di Navarra. La rappresentazione inizia con l'arrivo del corteo reale, composto dal Re, dalla Regina, dai Dignitari di Corte, dalle Dame, dal Segretario, dall’Artificiere, da alcune guardie e dai Mori, mentre Il "Mastru ri Casa" anima il corteo. Eseguita una danza nella piazza, il gruppo sale su un palco che ne rappresenta il castello, e subito dopo sul "castello" ha inizio una festa danzante; appaiono quindi le maschere legate alla tradizione, u Rimitu, i Maghi, le Giardiniere; arriva il Mastro di Campo a cavallo, che indossa una maschera di cera rossa con il naso adunco ed il labbro inferiore prominente, una camicia bianca piena di nastri colorati, pantaloni e mantello rosso: egli si dimena, si agita, con la testa ben alta, il braccio sinistro al fianco e nel destro una piccola spada di legno. Compaiono numerosi personaggi, il Tammurinaru, l’Ambasciatore, Garibaldi con i Garibaldini, il Capitano d’Artiglieria, il Barone e la Baronessa su due asini, seguiti dai loro uomini sopra cavalli e muli carichi di legna, bauli, armamentari vari per la produzione del formaggio, quindi le Giardiniere, con le corone di alloro, infine la Cavalleria, formata da una decina di cavalieri che lanciano sopra gli spettatori confetti a più non posso, mentre nella piazza l'artiglieria spara "colpi di cannone". Il Foforio sequestra i più abbienti e li rilascia dietro il pagamento di un piccolo riscatto (in cambio potranno mangiare e bere a volontà). Ci sono i Maghi che vanno in cerca della "truvatura", scavano ed ecco finalmente la trovano: un cantaru pieno di maccheroni e salsiccia che, al grido di “forio forio maccarrunario”, mangiano con le mani. La guerra impazza, Garibaldi coi Garibaldini si scontra contro i Saraceni (con fantasiosa alienazione dei periodi storici); il Mastro di Campo sale sulla scala che conduce al castello, si scontra con il Re e rimane ferito in fronte, ed ecco che braccia allargate cade all'indietro (da una buona altezza...) per essere preso dai figuranti che nel frattempo si erano preparati sotto la scala; però Il Mastro di Campo non è morto e, guarito dalle ferite, si riporta in piazza con il suo esercito di Garibaldini, quindi salgono furtivamente per la "scala fausa"(un'ingrsso posteriore e nascosto)e, approfittando dell’attimo di confusione, circondano la Corte e incatenano il Re: il Mastro di Campo, tolta la maschera, finalmente abbraccia la Regina, riuscendo a coronare il loro segreto sogno d'amore, e termina così la grande festa di Mezzojuso, col corteo che sfilerà per le strade del paese ed...il re in catene.
The Thing from Another World 1951
Watch the skies, everywhere! Keep looking. Keep watching the skies!
—Ned “Scotty” Scott
www.popscreen.com/v/7aMWr/The-Thing-from-Another-World Full Feature
www.youtube.com/v/T5xcVxkTZzM Trailer
This is one of the major classics of 50s sci fi movies. Released in April of 1951, it was the first full-length film to feature a flying saucer from outer space, which carried a hostile alien. The budget and the effects are typical B-grade stuff, but the acting and pacing are well above the usual B levels. Kenneth Toby and Margaret Sheriden star. James Arness (more known for his westerns) plays The Thing.
Howard Hawks' early foray into the science fiction genre took advantage of the anti-communist feelings of the time to help enhance the horror elements of the story. McCarthyism and the Korean War added fuel to the notion of Americans stalked by a force which was single of mind and "devoid of morality." But in the end, it is American soldiers and scientists who triumph over the evil force - or the monster in the case of this film. Even today, this is considered one of the best of the genre.
Film review by Jeff Flugel. June 2013
There's not a lot new or particularly insightful I can offer when it comes to discussing the seminal sci-fi flick, The Thing from Another World that hasn't been written about ad naseum elsewhere. One of the most famous and influential of all 1950s creature features, it kicked off more than a decade of alien invasion and bug-eyed monster movie mayhem, inspired a host of future filmmakers (one of whom, John Carpenter, would go on to direct his own version of the story in 1982), and remains one of the best-written and engaging films of its kind.
Loosely (and I do mean loosely) adapted from John W. Campbell's novella, "Who Goes There?," The Thing is legendary director Howard Hawks' lone foray into the science fiction/ horror genres, but it fits comfortably into his filmography, featuring as it does Hawks' favorite themes: a group of tough professionals doing their job with ease, good-humored banter and practiced finesse; a bit of romance with a gutsy dame who can easily hold her own with the boys; and lots of overlapping, razor-sharp dialogue. Featuring a script by Charles Lederer and an uncredited Ben Hecht, The Thing is easily the most spryly written and funniest of all 50s monster movies. In fact, it's this sharpness in the scripting, and the extremely likeable ensemble cast of characters, rather than the now-familiar story and somewhat unimaginative monster design, that makes the film still feel fresh and modern to this day.
There's likely few people out there reading this who don't know the story of The Thing like the back of their hand, but here goes...When an unidentified aircraft crashes close to a remote research station near the North Pole, Captain Pat Hendry (Kenneth Tobey, in the role of his career) and his squad are dispatched there to investigate. Dr. Carrington (Robert Cornthwaite) heads the scientific contingent there, and he informs Hendry that he thinks the downed craft is possibly "not of this earth." A joint team of soldiers and scientists head out to the crash site and find an actual, honest-to-goodness flying saucer lying buried under the ice.
The spaceship is destroyed while the men try to melt the ice around it with thermite bombs, but they find a lone, 8-foot-tall extraterrestrial occupant frozen nearby and bring the body back to the outpost in a block of ice. Dr. Carrington and his crew of eggheads want to study the thing, but Hendry is adamant that it should be kept as is until he gets word from his superior in Anchorage, General Fogerty. It wouldn't be a monster movie without something going pear-shaped, of course, and before you know it, a careless mistake results in the creature being thawed out of his iceberg coffin and going on a bit of a rampage, taking out a number of sled dogs and a few unsuspecting scientists along the way. The rest of the film details the tense battle between the surviving humans and the coldly intelligent, remorseless alien invader, which seems virtually unkillable, impregnable to cold, bullets and fire...
The set-up for the film, and how everything eventually plays out, might seem overly familiarly nowadays, but in 1951, this was cutting-edge stuff, at least in cinemas. The Thing plays as a veritable blueprint of how to make a compelling "alien monster-on-the-loose" movie. Howard Hawks not being particularly well-versed, or even interested in, science fiction per se likely worked to its benefit, as he ended up making, as he so often did in his other films, what is first-and-foremost a well-oiled entertainment, rather than simply a genre exercise.
Typical of a Hawks film, The Thing is meticulously designed, composed and shot, but in such a way as to appear offhand. Hawks almost never went in for showy camera angles or flashy effects. His technique was nearly invisible; he just got on with telling the story, in the most straightforward, unfussy way. But this easy, seemingly effortless style was very carefully considered, by a shrewd and knowing mind. As Bill Warren, author of one of the best (and certainly most encyclopedic) books about 1950s sci-fi filmmaking, Keep Watching the Skies, notes in his detailed analysis of the film:
As most good movies do, The Thing works in two areas: sight and sound. The locale is a cramped, tunnel-like base; the men are confined within, the Thing can move freely outdoors in the cold. Compositions are often crowded, with more people in the shot than seems comfortable, reinforcing the idea of confinement After the Thing escapes, only the alien itself is seen standing and moving alone.
This feeling of a cold, hostile environment outside the base is constantly reinforced throughout the film, and a real tension mounts when, towards the climax, the highly intelligent Thing, itself immune to the subzero arctic conditions, turns off the compound's heating, knowing the humans inside will quickly die without it. (The freaky, otherworldly theremin-flavored music by Dimitri Tiomkin adds a lot to the eerie atmosphere here.)
As groundbreaking and well-structured as the plot of The Thing was (and is), what makes the film play so well today is the great script and the interaction of a bunch of seasoned character actors, who toss off both exposition and pithy bon mots in such a low-key, believable manner. This is a truly ensemble movie, and the fact that it doesn't feature any big name stars really adds to the overall effect; no one really hogs all the limelight or gets the lion's share of good lines. Hawks was a director who usually worked with the biggest names in the business, but, much as in the earlier Air Force, he was equally at home working with a cast of rock-solid character actors.
All this talk of Howard Hawks as director, when it's actually Christian Nyby who is credited with the job, has long been a source of speculation with fans of the film. Todd McCarthy, in his bio Howard Hawks: The Grey Fox of Hollywood, seems to clear the issue up once and for all (though really, after viewing enough Hawks films, the results speak for themselves):
The perennial question surrounding The Thing From Another World has always been, Who actually directed it, Christian Nyby or Howard Hawks? The sum of participants' responses make the answer quite clear. Putting it most bluntly, (associate producer) Ed Lasker said "Chris Nyby didn't direct a thing. One day Howard was late and Chris said,'Why don't we get started? I know what the shot should be.' And I said, 'No, Chris, I think we'll wait until Howard gets here." Ken Tobey testified, "Chris Nyby directed one scene. Howard Hawks was there, but he let Chris direct one scene. We all rushed into a room, eight or ten of us, and we practically knocked each other over. No one knew what to do." Dewey Martin, Robert Cornthwaite and Richard Keinen all agreed that Hawks was the director, and Bill Self said, "Chris Nyby was a very nice, decent fellow, but he wasn't Howard Hawks."
Nyby had been Hawks' editor on a number of films, and Hawks apparently decided to help his collaborator establish a name for himself by allowing him directorial credit on the film. This seemingly altruistic gesture didn't mean that Hawks wasn't involved in virtually every aspect of the making of the film, however, and ultimately, The Thing did little for Nyby's directing career, at least on the big screen (he did go on to a long and busy career directing for numerous television programs, however.)
Bill Self was told at the time that Hawks didn't take directing credit on The Thing because it was planned as a low-budget film, one in which RKO didn't have much confidence. But, as critics have been saying ever since it was released, The Thing is a Howard Hawks film in everything but name. The opening scene of various members of the team bantering is so distilled as to be a virtual parody of Hawksian overlapping dialogue. Even more than Only Angels Have Wings, the picture presents a pristine example of a group operating resourcefully in a hermetically sealed environment in which everything in the outside world represents a grave threat. (3)
In addition to all the masculine camaraderie and spooky goings-on, one of the best aspects of The Thing is the fun, charming little tease of a romance between Capt. Hendry and Nikki (top-billed Margaret Sheridan). Nikki works as Prof. Carrington's assistant and is not merely the requisite "babe" in the film. True to the Hawksian norm, she's no pushover when it comes to trading insults with the men, nor a shrinking violet when up to her neck in perilous situations. Unlike most actresses in 50s monster movies, she doesn't utter a single scream in The Thing
and in fact, it's her practical suggestion which gives Bob, Hendry's ever-resourceful crew chief (Dewey Martin), the notion of how to finally kill the monster. Lederer and Hecht's screenplay hints at the backstory to Nikki and Pat's relationship in humorous and oblique ways, and their flirtation amidst all the chaos adds sparkle to the film but never gets in the way of the pace of the story. One nice little throwaway exchange near the finale encapsulates their verbal give-and-take, as Nikki playfully pokes the temporarily-befuddled Hendry, as his men scurry about, setting Bob's plan in motion.
Nikki: Looks as if the situation's well in hand.
Hendry: I've given all the orders I'm gonna give.
Nikki: If I thought that were true, I'd ask you to marry me.
Sheridan, a former model signed to a 5-year contract by Hawks, is quite good here, but after The Thing her career never really caught fire and she retired from acting a few years later. The closest thing to a star turn in the film is Kenneth Tobey as Capt. Hendry. Tobey racked up an impressive number of credits throughout his nearly 50-year-long career, generally as gruff, competent military men or similar types, and he was always good value, though it's as Capt. Hendry in The Thing that he truly shines. He consistently humanizes the no-nonsense, take charge man of action Hendry by displaying an easygoing approach to command. Most of Hendry's men call him by his first name, and delight in ribbing him about his budding romance with Nikki, and he responds to all this joshing in kind. When things get hairy, Tobey's Hendry doesn't have to bark his orders; it's clear that, despite the friendly banter, his men hold him in high esteem and leap to do his bidding at a moment's notice.
Many of the other members of the cast, while none of them ever became household names, will likely be recognizable from countless other roles in both film and television. Hawks gave Dewey Martin co-star billing in The Big Sky a few years later. Robert Cornthwaite kept busy for decades on stage and television, as well as in supporting roles in films such as Monkey Business, Kiss Me Deadly and Whatever Happened to Baby Jane? John Dierkes (Dr. Chapman) and Douglas Spencer (Scotty) both had juicy roles in the western classic Shane, as well as many other movies too numerous to name. Sharp-eyed viewers will also recognize Eduard Franz, Paul Frees (he of the famous voice) and Groucho Marx's right-hand man on You Bet Your Life, George Fenneman, in pivotal roles. And of course we mustn't forget 6' 7" James Arness (years before becoming renowned as Marshall Matt Dillon on Gunsmoke) as the hulking Thing.
A quick note on the "remake": John Carpenter's The Thing (1982), a bleak, grisly and brilliant take on the story, was a box-office dud when first released, but has since attained well-deserved status as a modern classic. While most fans seem divided into two camps - those who love the more restrained, old-fashioned thrills of the original, and those who prefer the more visceral, paranoiac Carpenter version - I happen to treasure both films equally and revisit each of them often. The Carpenter version is by far the gutsier, unsettling one, emphasizing as it does the "trust no one," shape-shifting "the alien is one of us" scenario imagined by John W. Campbell, but the Hawks' film is the most fun, with a far more likeable array of characters, working together to defeat an implacable menace. Each has its own clear merits. I wouldn't want to do without either film, and frankly see no need to choose one over the other.
"Every one of you listening to my voice...tell the world. Tell this to everybody, wherever they are: Watch the skies. Everywhere. Keep looking. Keep watching the skies.”
Acting Credits
Margaret Sheridan - Nikki Nicholson
Kenneth Tobey - Captain Patrick Hendrey
Robert Cornthwaite - Professor Carrington
Dewey Martin - Crew Chief
Douglas Spencer - Ned "Scotty" Scott
Eduard Franz - Dr Stern
Robert Nichols - Lieutenant Ken Erickson
William Self - Colonel Barnes
Sally Creighton - Mrs Chapman
John Dierkes - Dr. Chapman
James R. Young - Lieutenant Eddie Dykes
Norbert Schiller - Dr. Laurenz
William Neff - Olson
Allan Ray - Officer
Lee Tung Foo - Cook
Edmund Breon - Dr. Ambrose
George Fenneman - Dr. Redding
Tom Steele - Stuntman
James Arness - The Thing
Billy Curtis - The Thing While Shrinking
doing what i got to do... some people think that im,, just sittin on top of the world! ♥
What Molly Means>
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Molly or Mollies may refer to:
* Molly (name), a female given name
* Mollies or Poecilia, a family of fish
* Molly (band), a Swedish band mixing ska and Irish folk music
* Molly (film), a 1999 film by John Duigan
* "Molly", a song by Mindless Self Indulgence from Tight
* "Molly", a song by Sponge from Rotting Piñata
* "Molly", a song by Mike Oldfield from QE2s
* Molly, another name for pure Methylenedioxymethamphetamine (also known as MDMA or Ecstasy) or Trifluoromethylphenylpiperazine .
* Molly Millions (also known as Sally Shears) is a recurring character in stories and novels written by William Gibson, particularly his Sprawl trilogy.
* Molly, a cartoon character created by Toms
* "Molly", the name of D-A-D's trademark cow skull
* A molly, a female mule
* Molly Hatchet, the Southern rock band
* Molly (fastener), a type of wall anchor
* Molly dance, a form of English Morris dance
* Molly house, a term for a gay house of assignation in 18th century
* Molly Mormon, a stereotype of a Latter-day Saint woman
* Ashagy-Mollu, Azerbaijan - also called Molly
---------------------------------------------------
Translations
* French: Molie
* German: Mollie
* Hebrew: מולי (móli)
* Italian: Molia
* Norwegian: Ollie
* Polish: Moli
* Portuguese: Molía
* Spanish: Molia
----------------------------------------------------
Also-Molly From The Root of Mary-
_Bitter- / Sweet_
Expression> is a kind && understanding person...
Personality> she is easygoing..
Natural> enjoys the good things in life...
Emotional> being lovable is a natural talent with her...
Character> is loving && tender with her family && friends!..
Physical> An attractive woman who is sweet && smart...
Mental> enjoys the testing of her mind && body...
Motivation> A woman who is eager to get things done...
______________________________
Where do they get this from? LOL
well thats me... in a few words ;P
Hebden Bridge: It's That Sort of Place
#hebdenbridge #yorkshire #dogs #pets #hippies #copulation #doggiestyle #candid #documentary #documentaryphotography #streetphotography #laidback #freespirits #flowerpower #flowers #abandon #growingwild #easygoing #relaxed #pensioners #greyhairedmen #walkers #hikers
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5 Comments on Instagram:
jimcallum: Sturdy walking shoes!
danbiahs: This one is definitely nice
method101: @v4rls @jaserb36 what were you two doing in Rock cafe on the weekend you old gits.
jaserb36: Grooving and knocking some shapes out!
v4rls: Avin it largely 🙌 @method101 @jaserb36
The Thing from Another World 1951
Watch the skies, everywhere! Keep looking. Keep watching the skies!
—Ned “Scotty” Scott
www.popscreen.com/v/7aMWr/The-Thing-from-Another-World Full Feature
www.youtube.com/v/T5xcVxkTZzM Trailer
This is one of the major classics of 50s sci fi movies. Released in April of 1951, it was the first full-length film to feature a flying saucer from outer space, which carried a hostile alien. The budget and the effects are typical B-grade stuff, but the acting and pacing are well above the usual B levels. Kenneth Toby and Margaret Sheriden star. James Arness (more known for his westerns) plays The Thing.
Howard Hawks' early foray into the science fiction genre took advantage of the anti-communist feelings of the time to help enhance the horror elements of the story. McCarthyism and the Korean War added fuel to the notion of Americans stalked by a force which was single of mind and "devoid of morality." But in the end, it is American soldiers and scientists who triumph over the evil force - or the monster in the case of this film. Even today, this is considered one of the best of the genre.
Film review by Jeff Flugel. June 2013
There's not a lot new or particularly insightful I can offer when it comes to discussing the seminal sci-fi flick, The Thing from Another World that hasn't been written about ad naseum elsewhere. One of the most famous and influential of all 1950s creature features, it kicked off more than a decade of alien invasion and bug-eyed monster movie mayhem, inspired a host of future filmmakers (one of whom, John Carpenter, would go on to direct his own version of the story in 1982), and remains one of the best-written and engaging films of its kind.
Loosely (and I do mean loosely) adapted from John W. Campbell's novella, "Who Goes There?," The Thing is legendary director Howard Hawks' lone foray into the science fiction/ horror genres, but it fits comfortably into his filmography, featuring as it does Hawks' favorite themes: a group of tough professionals doing their job with ease, good-humored banter and practiced finesse; a bit of romance with a gutsy dame who can easily hold her own with the boys; and lots of overlapping, razor-sharp dialogue. Featuring a script by Charles Lederer and an uncredited Ben Hecht, The Thing is easily the most spryly written and funniest of all 50s monster movies. In fact, it's this sharpness in the scripting, and the extremely likeable ensemble cast of characters, rather than the now-familiar story and somewhat unimaginative monster design, that makes the film still feel fresh and modern to this day.
There's likely few people out there reading this who don't know the story of The Thing like the back of their hand, but here goes...When an unidentified aircraft crashes close to a remote research station near the North Pole, Captain Pat Hendry (Kenneth Tobey, in the role of his career) and his squad are dispatched there to investigate. Dr. Carrington (Robert Cornthwaite) heads the scientific contingent there, and he informs Hendry that he thinks the downed craft is possibly "not of this earth." A joint team of soldiers and scientists head out to the crash site and find an actual, honest-to-goodness flying saucer lying buried under the ice.
The spaceship is destroyed while the men try to melt the ice around it with thermite bombs, but they find a lone, 8-foot-tall extraterrestrial occupant frozen nearby and bring the body back to the outpost in a block of ice. Dr. Carrington and his crew of eggheads want to study the thing, but Hendry is adamant that it should be kept as is until he gets word from his superior in Anchorage, General Fogerty. It wouldn't be a monster movie without something going pear-shaped, of course, and before you know it, a careless mistake results in the creature being thawed out of his iceberg coffin and going on a bit of a rampage, taking out a number of sled dogs and a few unsuspecting scientists along the way. The rest of the film details the tense battle between the surviving humans and the coldly intelligent, remorseless alien invader, which seems virtually unkillable, impregnable to cold, bullets and fire...
The set-up for the film, and how everything eventually plays out, might seem overly familiarly nowadays, but in 1951, this was cutting-edge stuff, at least in cinemas. The Thing plays as a veritable blueprint of how to make a compelling "alien monster-on-the-loose" movie. Howard Hawks not being particularly well-versed, or even interested in, science fiction per se likely worked to its benefit, as he ended up making, as he so often did in his other films, what is first-and-foremost a well-oiled entertainment, rather than simply a genre exercise.
Typical of a Hawks film, The Thing is meticulously designed, composed and shot, but in such a way as to appear offhand. Hawks almost never went in for showy camera angles or flashy effects. His technique was nearly invisible; he just got on with telling the story, in the most straightforward, unfussy way. But this easy, seemingly effortless style was very carefully considered, by a shrewd and knowing mind. As Bill Warren, author of one of the best (and certainly most encyclopedic) books about 1950s sci-fi filmmaking, Keep Watching the Skies, notes in his detailed analysis of the film:
As most good movies do, The Thing works in two areas: sight and sound. The locale is a cramped, tunnel-like base; the men are confined within, the Thing can move freely outdoors in the cold. Compositions are often crowded, with more people in the shot than seems comfortable, reinforcing the idea of confinement After the Thing escapes, only the alien itself is seen standing and moving alone.
This feeling of a cold, hostile environment outside the base is constantly reinforced throughout the film, and a real tension mounts when, towards the climax, the highly intelligent Thing, itself immune to the subzero arctic conditions, turns off the compound's heating, knowing the humans inside will quickly die without it. (The freaky, otherworldly theremin-flavored music by Dimitri Tiomkin adds a lot to the eerie atmosphere here.)
As groundbreaking and well-structured as the plot of The Thing was (and is), what makes the film play so well today is the great script and the interaction of a bunch of seasoned character actors, who toss off both exposition and pithy bon mots in such a low-key, believable manner. This is a truly ensemble movie, and the fact that it doesn't feature any big name stars really adds to the overall effect; no one really hogs all the limelight or gets the lion's share of good lines. Hawks was a director who usually worked with the biggest names in the business, but, much as in the earlier Air Force, he was equally at home working with a cast of rock-solid character actors.
All this talk of Howard Hawks as director, when it's actually Christian Nyby who is credited with the job, has long been a source of speculation with fans of the film. Todd McCarthy, in his bio Howard Hawks: The Grey Fox of Hollywood, seems to clear the issue up once and for all (though really, after viewing enough Hawks films, the results speak for themselves):
The perennial question surrounding The Thing From Another World has always been, Who actually directed it, Christian Nyby or Howard Hawks? The sum of participants' responses make the answer quite clear. Putting it most bluntly, (associate producer) Ed Lasker said "Chris Nyby didn't direct a thing. One day Howard was late and Chris said,'Why don't we get started? I know what the shot should be.' And I said, 'No, Chris, I think we'll wait until Howard gets here." Ken Tobey testified, "Chris Nyby directed one scene. Howard Hawks was there, but he let Chris direct one scene. We all rushed into a room, eight or ten of us, and we practically knocked each other over. No one knew what to do." Dewey Martin, Robert Cornthwaite and Richard Keinen all agreed that Hawks was the director, and Bill Self said, "Chris Nyby was a very nice, decent fellow, but he wasn't Howard Hawks."
Nyby had been Hawks' editor on a number of films, and Hawks apparently decided to help his collaborator establish a name for himself by allowing him directorial credit on the film. This seemingly altruistic gesture didn't mean that Hawks wasn't involved in virtually every aspect of the making of the film, however, and ultimately, The Thing did little for Nyby's directing career, at least on the big screen (he did go on to a long and busy career directing for numerous television programs, however.)
Bill Self was told at the time that Hawks didn't take directing credit on The Thing because it was planned as a low-budget film, one in which RKO didn't have much confidence. But, as critics have been saying ever since it was released, The Thing is a Howard Hawks film in everything but name. The opening scene of various members of the team bantering is so distilled as to be a virtual parody of Hawksian overlapping dialogue. Even more than Only Angels Have Wings, the picture presents a pristine example of a group operating resourcefully in a hermetically sealed environment in which everything in the outside world represents a grave threat. (3)
In addition to all the masculine camaraderie and spooky goings-on, one of the best aspects of The Thing is the fun, charming little tease of a romance between Capt. Hendry and Nikki (top-billed Margaret Sheridan). Nikki works as Prof. Carrington's assistant and is not merely the requisite "babe" in the film. True to the Hawksian norm, she's no pushover when it comes to trading insults with the men, nor a shrinking violet when up to her neck in perilous situations. Unlike most actresses in 50s monster movies, she doesn't utter a single scream in The Thing
and in fact, it's her practical suggestion which gives Bob, Hendry's ever-resourceful crew chief (Dewey Martin), the notion of how to finally kill the monster. Lederer and Hecht's screenplay hints at the backstory to Nikki and Pat's relationship in humorous and oblique ways, and their flirtation amidst all the chaos adds sparkle to the film but never gets in the way of the pace of the story. One nice little throwaway exchange near the finale encapsulates their verbal give-and-take, as Nikki playfully pokes the temporarily-befuddled Hendry, as his men scurry about, setting Bob's plan in motion.
Nikki: Looks as if the situation's well in hand.
Hendry: I've given all the orders I'm gonna give.
Nikki: If I thought that were true, I'd ask you to marry me.
Sheridan, a former model signed to a 5-year contract by Hawks, is quite good here, but after The Thing her career never really caught fire and she retired from acting a few years later. The closest thing to a star turn in the film is Kenneth Tobey as Capt. Hendry. Tobey racked up an impressive number of credits throughout his nearly 50-year-long career, generally as gruff, competent military men or similar types, and he was always good value, though it's as Capt. Hendry in The Thing that he truly shines. He consistently humanizes the no-nonsense, take charge man of action Hendry by displaying an easygoing approach to command. Most of Hendry's men call him by his first name, and delight in ribbing him about his budding romance with Nikki, and he responds to all this joshing in kind. When things get hairy, Tobey's Hendry doesn't have to bark his orders; it's clear that, despite the friendly banter, his men hold him in high esteem and leap to do his bidding at a moment's notice.
Many of the other members of the cast, while none of them ever became household names, will likely be recognizable from countless other roles in both film and television. Hawks gave Dewey Martin co-star billing in The Big Sky a few years later. Robert Cornthwaite kept busy for decades on stage and television, as well as in supporting roles in films such as Monkey Business, Kiss Me Deadly and Whatever Happened to Baby Jane? John Dierkes (Dr. Chapman) and Douglas Spencer (Scotty) both had juicy roles in the western classic Shane, as well as many other movies too numerous to name. Sharp-eyed viewers will also recognize Eduard Franz, Paul Frees (he of the famous voice) and Groucho Marx's right-hand man on You Bet Your Life, George Fenneman, in pivotal roles. And of course we mustn't forget 6' 7" James Arness (years before becoming renowned as Marshall Matt Dillon on Gunsmoke) as the hulking Thing.
A quick note on the "remake": John Carpenter's The Thing (1982), a bleak, grisly and brilliant take on the story, was a box-office dud when first released, but has since attained well-deserved status as a modern classic. While most fans seem divided into two camps - those who love the more restrained, old-fashioned thrills of the original, and those who prefer the more visceral, paranoiac Carpenter version - I happen to treasure both films equally and revisit each of them often. The Carpenter version is by far the gutsier, unsettling one, emphasizing as it does the "trust no one," shape-shifting "the alien is one of us" scenario imagined by John W. Campbell, but the Hawks' film is the most fun, with a far more likeable array of characters, working together to defeat an implacable menace. Each has its own clear merits. I wouldn't want to do without either film, and frankly see no need to choose one over the other.
"Every one of you listening to my voice...tell the world. Tell this to everybody, wherever they are: Watch the skies. Everywhere. Keep looking. Keep watching the skies.”
Acting Credits
Margaret Sheridan - Nikki Nicholson
Kenneth Tobey - Captain Patrick Hendrey
Robert Cornthwaite - Professor Carrington
Dewey Martin - Crew Chief
Douglas Spencer - Ned "Scotty" Scott
Eduard Franz - Dr Stern
Robert Nichols - Lieutenant Ken Erickson
William Self - Colonel Barnes
Sally Creighton - Mrs Chapman
John Dierkes - Dr. Chapman
James R. Young - Lieutenant Eddie Dykes
Norbert Schiller - Dr. Laurenz
William Neff - Olson
Allan Ray - Officer
Lee Tung Foo - Cook
Edmund Breon - Dr. Ambrose
George Fenneman - Dr. Redding
Tom Steele - Stuntman
James Arness - The Thing
Billy Curtis - The Thing While Shrinking
389 Congress St, Portland, Maine USA • The Portland City Hall is the center of city government in Portland, Maine. The structure was built in 1909 and was named to the National Register of Historic Places in 1973. • Architect: Carrere & Hastings. – From Wikipedia.
• Portland is Maine's business, financial and retail capital and the largest city in the state. Seascapes and cityscapes blend harmoniously in Portland, perched on a peninsula, jutting out into island-studded Casco Bay. The metropolitan hub of Maine's south coast region, Portland is a progressive, lively city incorporating the character of yesteryear into a modern urban environment. Historic architecture blends gracefully with the new as you stroll along her working waterfront or the cobblestone streets of the restored Old Port section of the city.
With a metro population of 230,000, the Greater Portland area is home to almost one quarter of Maine's total population. The population of the city is 66,363.
Portland is an easygoing city with friendly, hardworking people. Ranked nationally as one of the ten safest, culturally most fascinating US Cities and one of the top cities for doing business, housing is affordable, the schools and healthcare are outstanding.
Recreation, entertainment, scenery, culture -we've got the market cornered. Just ask the 3.6 million tourists who visit each year. And, the same things that attract vacationers make Portland a wonderful place to live, to work and to do business. – From the City's website.
☞ On May 7, 1973, the National Park Service added this structure and site to the National Register of Historic Places (#73000119).
• GeoHack: 43°39′33″N 70°15′26″W.
New Year 2011 is coming very near and people are preparing for celebration. Each Chinese New Year is represented by 12 animals in the Chinese zodiac. As per Chinese zodiac calendar, the year of Tiger, 2010 ends and the year of Rabbit, 2011 comes now. Happy New Year 2011, a year of Rabbit takes place between 3 February 2011 and 22 January 2012. It is expected that after the Year of the Tiger, Year of the Rabbit should be a much welcomed and peaceful year.
People will have fun and relax in the year of Rabbit due to rules and regulations will not be sternly. With an easygoing speed, this year should be a temperate year. People born under the Year of the Rabbit, have characteristics resembling a rabbit, whereas a rabbit's propensities are also reflected by features of their lives. The Rabbit represents mercy, elegance, and worship of beauty so the people born in the year of Rabbit are eager, wise, delicate, calm, thoughtful, fashionable, kind, affectionate person, and abhor any aggressive act.
They are strong-minded and have strong wills. It is believed in the Chinese tradition that people can tranquil their nerves, by representing a safe and peaceful lifestyle, through which they will be able to deal with any problem that may arise in a serenely way in a year of rabbit. According to astrologists, the year of White Rabbit on the Chinese calendar, 2011, is going to be quieter in comparison to the year of Tiger, 2010. The Year of the Rabbit condescend artists and scientists under the Chinese horoscope.
Rabbit is a household animal so people are advised to greet the Rabbit Year in a family circle. 2011 year is the Chinese New Year 4709 and the year of the Metal Rabbit. The fourth year in the 12 year cycle of the Chinese zodiac is represented by the Rabbit. People, who are born during a Rabbit year i.e., in 1915, 1927, 1939, 1951, 1963, 1975, 1987, 1999, or 2011, will probable benefit from fortune or good luck throughout a Rabbit year. The rabbit is described by three words such as tranquil, gentle, and importunate.
The year of the Rabbit is traditionally linked with house and relations, creative quests, tact, and keeping the peace. Thus, in comparison to the Tiger year 2010, Rabbit year 2011 is probable to be a relatively calmer both on the world scene, and on a personal level. On the other hand, nations will also turn into more inward-looking and ever more lock down their limitations to defend against the "other." New art activities projecting a different national identity taking the world by storm will also be seen in 2011.
The benefit of all will also be formed by astute and artistic new business partnerships. The year will show the way to flourish on fragile business dealings. The Sheep, Dog and Pig are well-matched with the Rabbit so they will also find 2011's conditions that inspire them to get greater personal happiness and professional success. Good luck will be enjoyed by rabbits and it’s well-matched with those people, who have cultivated careful compromise abilities in 2011.
Have a Happy and Prosperous Rabbit New Year, everyone!
Tomado de: hubpages.com/hub/happy-new-rabbit-year-2011
The Thing from Another World 1951
Watch the skies, everywhere! Keep looking. Keep watching the skies!
—Ned “Scotty” Scott
www.popscreen.com/v/7aMWr/The-Thing-from-Another-World Full Feature
www.youtube.com/v/T5xcVxkTZzM Trailer
This is one of the major classics of 50s sci fi movies. Released in April of 1951, it was the first full-length film to feature a flying saucer from outer space, which carried a hostile alien. The budget and the effects are typical B-grade stuff, but the acting and pacing are well above the usual B levels. Kenneth Toby and Margaret Sheriden star. James Arness (more known for his westerns) plays The Thing.
Howard Hawks' early foray into the science fiction genre took advantage of the anti-communist feelings of the time to help enhance the horror elements of the story. McCarthyism and the Korean War added fuel to the notion of Americans stalked by a force which was single of mind and "devoid of morality." But in the end, it is American soldiers and scientists who triumph over the evil force - or the monster in the case of this film. Even today, this is considered one of the best of the genre.
Film review by Jeff Flugel. June 2013
There's not a lot new or particularly insightful I can offer when it comes to discussing the seminal sci-fi flick, The Thing from Another World that hasn't been written about ad naseum elsewhere. One of the most famous and influential of all 1950s creature features, it kicked off more than a decade of alien invasion and bug-eyed monster movie mayhem, inspired a host of future filmmakers (one of whom, John Carpenter, would go on to direct his own version of the story in 1982), and remains one of the best-written and engaging films of its kind.
Loosely (and I do mean loosely) adapted from John W. Campbell's novella, "Who Goes There?," The Thing is legendary director Howard Hawks' lone foray into the science fiction/ horror genres, but it fits comfortably into his filmography, featuring as it does Hawks' favorite themes: a group of tough professionals doing their job with ease, good-humored banter and practiced finesse; a bit of romance with a gutsy dame who can easily hold her own with the boys; and lots of overlapping, razor-sharp dialogue. Featuring a script by Charles Lederer and an uncredited Ben Hecht, The Thing is easily the most spryly written and funniest of all 50s monster movies. In fact, it's this sharpness in the scripting, and the extremely likeable ensemble cast of characters, rather than the now-familiar story and somewhat unimaginative monster design, that makes the film still feel fresh and modern to this day.
There's likely few people out there reading this who don't know the story of The Thing like the back of their hand, but here goes...When an unidentified aircraft crashes close to a remote research station near the North Pole, Captain Pat Hendry (Kenneth Tobey, in the role of his career) and his squad are dispatched there to investigate. Dr. Carrington (Robert Cornthwaite) heads the scientific contingent there, and he informs Hendry that he thinks the downed craft is possibly "not of this earth." A joint team of soldiers and scientists head out to the crash site and find an actual, honest-to-goodness flying saucer lying buried under the ice.
The spaceship is destroyed while the men try to melt the ice around it with thermite bombs, but they find a lone, 8-foot-tall extraterrestrial occupant frozen nearby and bring the body back to the outpost in a block of ice. Dr. Carrington and his crew of eggheads want to study the thing, but Hendry is adamant that it should be kept as is until he gets word from his superior in Anchorage, General Fogerty. It wouldn't be a monster movie without something going pear-shaped, of course, and before you know it, a careless mistake results in the creature being thawed out of his iceberg coffin and going on a bit of a rampage, taking out a number of sled dogs and a few unsuspecting scientists along the way. The rest of the film details the tense battle between the surviving humans and the coldly intelligent, remorseless alien invader, which seems virtually unkillable, impregnable to cold, bullets and fire...
The set-up for the film, and how everything eventually plays out, might seem overly familiarly nowadays, but in 1951, this was cutting-edge stuff, at least in cinemas. The Thing plays as a veritable blueprint of how to make a compelling "alien monster-on-the-loose" movie. Howard Hawks not being particularly well-versed, or even interested in, science fiction per se likely worked to its benefit, as he ended up making, as he so often did in his other films, what is first-and-foremost a well-oiled entertainment, rather than simply a genre exercise.
Typical of a Hawks film, The Thing is meticulously designed, composed and shot, but in such a way as to appear offhand. Hawks almost never went in for showy camera angles or flashy effects. His technique was nearly invisible; he just got on with telling the story, in the most straightforward, unfussy way. But this easy, seemingly effortless style was very carefully considered, by a shrewd and knowing mind. As Bill Warren, author of one of the best (and certainly most encyclopedic) books about 1950s sci-fi filmmaking, Keep Watching the Skies, notes in his detailed analysis of the film:
As most good movies do, The Thing works in two areas: sight and sound. The locale is a cramped, tunnel-like base; the men are confined within, the Thing can move freely outdoors in the cold. Compositions are often crowded, with more people in the shot than seems comfortable, reinforcing the idea of confinement After the Thing escapes, only the alien itself is seen standing and moving alone.
This feeling of a cold, hostile environment outside the base is constantly reinforced throughout the film, and a real tension mounts when, towards the climax, the highly intelligent Thing, itself immune to the subzero arctic conditions, turns off the compound's heating, knowing the humans inside will quickly die without it. (The freaky, otherworldly theremin-flavored music by Dimitri Tiomkin adds a lot to the eerie atmosphere here.)
As groundbreaking and well-structured as the plot of The Thing was (and is), what makes the film play so well today is the great script and the interaction of a bunch of seasoned character actors, who toss off both exposition and pithy bon mots in such a low-key, believable manner. This is a truly ensemble movie, and the fact that it doesn't feature any big name stars really adds to the overall effect; no one really hogs all the limelight or gets the lion's share of good lines. Hawks was a director who usually worked with the biggest names in the business, but, much as in the earlier Air Force, he was equally at home working with a cast of rock-solid character actors.
All this talk of Howard Hawks as director, when it's actually Christian Nyby who is credited with the job, has long been a source of speculation with fans of the film. Todd McCarthy, in his bio Howard Hawks: The Grey Fox of Hollywood, seems to clear the issue up once and for all (though really, after viewing enough Hawks films, the results speak for themselves):
The perennial question surrounding The Thing From Another World has always been, Who actually directed it, Christian Nyby or Howard Hawks? The sum of participants' responses make the answer quite clear. Putting it most bluntly, (associate producer) Ed Lasker said "Chris Nyby didn't direct a thing. One day Howard was late and Chris said,'Why don't we get started? I know what the shot should be.' And I said, 'No, Chris, I think we'll wait until Howard gets here." Ken Tobey testified, "Chris Nyby directed one scene. Howard Hawks was there, but he let Chris direct one scene. We all rushed into a room, eight or ten of us, and we practically knocked each other over. No one knew what to do." Dewey Martin, Robert Cornthwaite and Richard Keinen all agreed that Hawks was the director, and Bill Self said, "Chris Nyby was a very nice, decent fellow, but he wasn't Howard Hawks."
Nyby had been Hawks' editor on a number of films, and Hawks apparently decided to help his collaborator establish a name for himself by allowing him directorial credit on the film. This seemingly altruistic gesture didn't mean that Hawks wasn't involved in virtually every aspect of the making of the film, however, and ultimately, The Thing did little for Nyby's directing career, at least on the big screen (he did go on to a long and busy career directing for numerous television programs, however.)
Bill Self was told at the time that Hawks didn't take directing credit on The Thing because it was planned as a low-budget film, one in which RKO didn't have much confidence. But, as critics have been saying ever since it was released, The Thing is a Howard Hawks film in everything but name. The opening scene of various members of the team bantering is so distilled as to be a virtual parody of Hawksian overlapping dialogue. Even more than Only Angels Have Wings, the picture presents a pristine example of a group operating resourcefully in a hermetically sealed environment in which everything in the outside world represents a grave threat. (3)
In addition to all the masculine camaraderie and spooky goings-on, one of the best aspects of The Thing is the fun, charming little tease of a romance between Capt. Hendry and Nikki (top-billed Margaret Sheridan). Nikki works as Prof. Carrington's assistant and is not merely the requisite "babe" in the film. True to the Hawksian norm, she's no pushover when it comes to trading insults with the men, nor a shrinking violet when up to her neck in perilous situations. Unlike most actresses in 50s monster movies, she doesn't utter a single scream in The Thing
and in fact, it's her practical suggestion which gives Bob, Hendry's ever-resourceful crew chief (Dewey Martin), the notion of how to finally kill the monster. Lederer and Hecht's screenplay hints at the backstory to Nikki and Pat's relationship in humorous and oblique ways, and their flirtation amidst all the chaos adds sparkle to the film but never gets in the way of the pace of the story. One nice little throwaway exchange near the finale encapsulates their verbal give-and-take, as Nikki playfully pokes the temporarily-befuddled Hendry, as his men scurry about, setting Bob's plan in motion.
Nikki: Looks as if the situation's well in hand.
Hendry: I've given all the orders I'm gonna give.
Nikki: If I thought that were true, I'd ask you to marry me.
Sheridan, a former model signed to a 5-year contract by Hawks, is quite good here, but after The Thing her career never really caught fire and she retired from acting a few years later. The closest thing to a star turn in the film is Kenneth Tobey as Capt. Hendry. Tobey racked up an impressive number of credits throughout his nearly 50-year-long career, generally as gruff, competent military men or similar types, and he was always good value, though it's as Capt. Hendry in The Thing that he truly shines. He consistently humanizes the no-nonsense, take charge man of action Hendry by displaying an easygoing approach to command. Most of Hendry's men call him by his first name, and delight in ribbing him about his budding romance with Nikki, and he responds to all this joshing in kind. When things get hairy, Tobey's Hendry doesn't have to bark his orders; it's clear that, despite the friendly banter, his men hold him in high esteem and leap to do his bidding at a moment's notice.
Many of the other members of the cast, while none of them ever became household names, will likely be recognizable from countless other roles in both film and television. Hawks gave Dewey Martin co-star billing in The Big Sky a few years later. Robert Cornthwaite kept busy for decades on stage and television, as well as in supporting roles in films such as Monkey Business, Kiss Me Deadly and Whatever Happened to Baby Jane? John Dierkes (Dr. Chapman) and Douglas Spencer (Scotty) both had juicy roles in the western classic Shane, as well as many other movies too numerous to name. Sharp-eyed viewers will also recognize Eduard Franz, Paul Frees (he of the famous voice) and Groucho Marx's right-hand man on You Bet Your Life, George Fenneman, in pivotal roles. And of course we mustn't forget 6' 7" James Arness (years before becoming renowned as Marshall Matt Dillon on Gunsmoke) as the hulking Thing.
A quick note on the "remake": John Carpenter's The Thing (1982), a bleak, grisly and brilliant take on the story, was a box-office dud when first released, but has since attained well-deserved status as a modern classic. While most fans seem divided into two camps - those who love the more restrained, old-fashioned thrills of the original, and those who prefer the more visceral, paranoiac Carpenter version - I happen to treasure both films equally and revisit each of them often. The Carpenter version is by far the gutsier, unsettling one, emphasizing as it does the "trust no one," shape-shifting "the alien is one of us" scenario imagined by John W. Campbell, but the Hawks' film is the most fun, with a far more likeable array of characters, working together to defeat an implacable menace. Each has its own clear merits. I wouldn't want to do without either film, and frankly see no need to choose one over the other.
"Every one of you listening to my voice...tell the world. Tell this to everybody, wherever they are: Watch the skies. Everywhere. Keep looking. Keep watching the skies.”
Acting Credits
Margaret Sheridan - Nikki Nicholson
Kenneth Tobey - Captain Patrick Hendrey
Robert Cornthwaite - Professor Carrington
Dewey Martin - Crew Chief
Douglas Spencer - Ned "Scotty" Scott
Eduard Franz - Dr Stern
Robert Nichols - Lieutenant Ken Erickson
William Self - Colonel Barnes
Sally Creighton - Mrs Chapman
John Dierkes - Dr. Chapman
James R. Young - Lieutenant Eddie Dykes
Norbert Schiller - Dr. Laurenz
William Neff - Olson
Allan Ray - Officer
Lee Tung Foo - Cook
Edmund Breon - Dr. Ambrose
George Fenneman - Dr. Redding
Tom Steele - Stuntman
James Arness - The Thing
Billy Curtis - The Thing While Shrinking
The Thing from Another World 1951
Watch the skies, everywhere! Keep looking. Keep watching the skies!
—Ned “Scotty” Scott
www.popscreen.com/v/7aMWr/The-Thing-from-Another-World Full Feature
www.youtube.com/v/T5xcVxkTZzM Trailer
This is one of the major classics of 50s sci fi movies. Released in April of 1951, it was the first full-length film to feature a flying saucer from outer space, which carried a hostile alien. The budget and the effects are typical B-grade stuff, but the acting and pacing are well above the usual B levels. Kenneth Toby and Margaret Sheriden star. James Arness (more known for his westerns) plays The Thing.
Howard Hawks' early foray into the science fiction genre took advantage of the anti-communist feelings of the time to help enhance the horror elements of the story. McCarthyism and the Korean War added fuel to the notion of Americans stalked by a force which was single of mind and "devoid of morality." But in the end, it is American soldiers and scientists who triumph over the evil force - or the monster in the case of this film. Even today, this is considered one of the best of the genre.
Film review by Jeff Flugel. June 2013
There's not a lot new or particularly insightful I can offer when it comes to discussing the seminal sci-fi flick, The Thing from Another World that hasn't been written about ad naseum elsewhere. One of the most famous and influential of all 1950s creature features, it kicked off more than a decade of alien invasion and bug-eyed monster movie mayhem, inspired a host of future filmmakers (one of whom, John Carpenter, would go on to direct his own version of the story in 1982), and remains one of the best-written and engaging films of its kind.
Loosely (and I do mean loosely) adapted from John W. Campbell's novella, "Who Goes There?," The Thing is legendary director Howard Hawks' lone foray into the science fiction/ horror genres, but it fits comfortably into his filmography, featuring as it does Hawks' favorite themes: a group of tough professionals doing their job with ease, good-humored banter and practiced finesse; a bit of romance with a gutsy dame who can easily hold her own with the boys; and lots of overlapping, razor-sharp dialogue. Featuring a script by Charles Lederer and an uncredited Ben Hecht, The Thing is easily the most spryly written and funniest of all 50s monster movies. In fact, it's this sharpness in the scripting, and the extremely likeable ensemble cast of characters, rather than the now-familiar story and somewhat unimaginative monster design, that makes the film still feel fresh and modern to this day.
There's likely few people out there reading this who don't know the story of The Thing like the back of their hand, but here goes...When an unidentified aircraft crashes close to a remote research station near the North Pole, Captain Pat Hendry (Kenneth Tobey, in the role of his career) and his squad are dispatched there to investigate. Dr. Carrington (Robert Cornthwaite) heads the scientific contingent there, and he informs Hendry that he thinks the downed craft is possibly "not of this earth." A joint team of soldiers and scientists head out to the crash site and find an actual, honest-to-goodness flying saucer lying buried under the ice.
The spaceship is destroyed while the men try to melt the ice around it with thermite bombs, but they find a lone, 8-foot-tall extraterrestrial occupant frozen nearby and bring the body back to the outpost in a block of ice. Dr. Carrington and his crew of eggheads want to study the thing, but Hendry is adamant that it should be kept as is until he gets word from his superior in Anchorage, General Fogerty. It wouldn't be a monster movie without something going pear-shaped, of course, and before you know it, a careless mistake results in the creature being thawed out of his iceberg coffin and going on a bit of a rampage, taking out a number of sled dogs and a few unsuspecting scientists along the way. The rest of the film details the tense battle between the surviving humans and the coldly intelligent, remorseless alien invader, which seems virtually unkillable, impregnable to cold, bullets and fire...
The set-up for the film, and how everything eventually plays out, might seem overly familiarly nowadays, but in 1951, this was cutting-edge stuff, at least in cinemas. The Thing plays as a veritable blueprint of how to make a compelling "alien monster-on-the-loose" movie. Howard Hawks not being particularly well-versed, or even interested in, science fiction per se likely worked to its benefit, as he ended up making, as he so often did in his other films, what is first-and-foremost a well-oiled entertainment, rather than simply a genre exercise.
Typical of a Hawks film, The Thing is meticulously designed, composed and shot, but in such a way as to appear offhand. Hawks almost never went in for showy camera angles or flashy effects. His technique was nearly invisible; he just got on with telling the story, in the most straightforward, unfussy way. But this easy, seemingly effortless style was very carefully considered, by a shrewd and knowing mind. As Bill Warren, author of one of the best (and certainly most encyclopedic) books about 1950s sci-fi filmmaking, Keep Watching the Skies, notes in his detailed analysis of the film:
As most good movies do, The Thing works in two areas: sight and sound. The locale is a cramped, tunnel-like base; the men are confined within, the Thing can move freely outdoors in the cold. Compositions are often crowded, with more people in the shot than seems comfortable, reinforcing the idea of confinement After the Thing escapes, only the alien itself is seen standing and moving alone.
This feeling of a cold, hostile environment outside the base is constantly reinforced throughout the film, and a real tension mounts when, towards the climax, the highly intelligent Thing, itself immune to the subzero arctic conditions, turns off the compound's heating, knowing the humans inside will quickly die without it. (The freaky, otherworldly theremin-flavored music by Dimitri Tiomkin adds a lot to the eerie atmosphere here.)
As groundbreaking and well-structured as the plot of The Thing was (and is), what makes the film play so well today is the great script and the interaction of a bunch of seasoned character actors, who toss off both exposition and pithy bon mots in such a low-key, believable manner. This is a truly ensemble movie, and the fact that it doesn't feature any big name stars really adds to the overall effect; no one really hogs all the limelight or gets the lion's share of good lines. Hawks was a director who usually worked with the biggest names in the business, but, much as in the earlier Air Force, he was equally at home working with a cast of rock-solid character actors.
All this talk of Howard Hawks as director, when it's actually Christian Nyby who is credited with the job, has long been a source of speculation with fans of the film. Todd McCarthy, in his bio Howard Hawks: The Grey Fox of Hollywood, seems to clear the issue up once and for all (though really, after viewing enough Hawks films, the results speak for themselves):
The perennial question surrounding The Thing From Another World has always been, Who actually directed it, Christian Nyby or Howard Hawks? The sum of participants' responses make the answer quite clear. Putting it most bluntly, (associate producer) Ed Lasker said "Chris Nyby didn't direct a thing. One day Howard was late and Chris said,'Why don't we get started? I know what the shot should be.' And I said, 'No, Chris, I think we'll wait until Howard gets here." Ken Tobey testified, "Chris Nyby directed one scene. Howard Hawks was there, but he let Chris direct one scene. We all rushed into a room, eight or ten of us, and we practically knocked each other over. No one knew what to do." Dewey Martin, Robert Cornthwaite and Richard Keinen all agreed that Hawks was the director, and Bill Self said, "Chris Nyby was a very nice, decent fellow, but he wasn't Howard Hawks."
Nyby had been Hawks' editor on a number of films, and Hawks apparently decided to help his collaborator establish a name for himself by allowing him directorial credit on the film. This seemingly altruistic gesture didn't mean that Hawks wasn't involved in virtually every aspect of the making of the film, however, and ultimately, The Thing did little for Nyby's directing career, at least on the big screen (he did go on to a long and busy career directing for numerous television programs, however.)
Bill Self was told at the time that Hawks didn't take directing credit on The Thing because it was planned as a low-budget film, one in which RKO didn't have much confidence. But, as critics have been saying ever since it was released, The Thing is a Howard Hawks film in everything but name. The opening scene of various members of the team bantering is so distilled as to be a virtual parody of Hawksian overlapping dialogue. Even more than Only Angels Have Wings, the picture presents a pristine example of a group operating resourcefully in a hermetically sealed environment in which everything in the outside world represents a grave threat. (3)
In addition to all the masculine camaraderie and spooky goings-on, one of the best aspects of The Thing is the fun, charming little tease of a romance between Capt. Hendry and Nikki (top-billed Margaret Sheridan). Nikki works as Prof. Carrington's assistant and is not merely the requisite "babe" in the film. True to the Hawksian norm, she's no pushover when it comes to trading insults with the men, nor a shrinking violet when up to her neck in perilous situations. Unlike most actresses in 50s monster movies, she doesn't utter a single scream in The Thing
and in fact, it's her practical suggestion which gives Bob, Hendry's ever-resourceful crew chief (Dewey Martin), the notion of how to finally kill the monster. Lederer and Hecht's screenplay hints at the backstory to Nikki and Pat's relationship in humorous and oblique ways, and their flirtation amidst all the chaos adds sparkle to the film but never gets in the way of the pace of the story. One nice little throwaway exchange near the finale encapsulates their verbal give-and-take, as Nikki playfully pokes the temporarily-befuddled Hendry, as his men scurry about, setting Bob's plan in motion.
Nikki: Looks as if the situation's well in hand.
Hendry: I've given all the orders I'm gonna give.
Nikki: If I thought that were true, I'd ask you to marry me.
Sheridan, a former model signed to a 5-year contract by Hawks, is quite good here, but after The Thing her career never really caught fire and she retired from acting a few years later. The closest thing to a star turn in the film is Kenneth Tobey as Capt. Hendry. Tobey racked up an impressive number of credits throughout his nearly 50-year-long career, generally as gruff, competent military men or similar types, and he was always good value, though it's as Capt. Hendry in The Thing that he truly shines. He consistently humanizes the no-nonsense, take charge man of action Hendry by displaying an easygoing approach to command. Most of Hendry's men call him by his first name, and delight in ribbing him about his budding romance with Nikki, and he responds to all this joshing in kind. When things get hairy, Tobey's Hendry doesn't have to bark his orders; it's clear that, despite the friendly banter, his men hold him in high esteem and leap to do his bidding at a moment's notice.
Many of the other members of the cast, while none of them ever became household names, will likely be recognizable from countless other roles in both film and television. Hawks gave Dewey Martin co-star billing in The Big Sky a few years later. Robert Cornthwaite kept busy for decades on stage and television, as well as in supporting roles in films such as Monkey Business, Kiss Me Deadly and Whatever Happened to Baby Jane? John Dierkes (Dr. Chapman) and Douglas Spencer (Scotty) both had juicy roles in the western classic Shane, as well as many other movies too numerous to name. Sharp-eyed viewers will also recognize Eduard Franz, Paul Frees (he of the famous voice) and Groucho Marx's right-hand man on You Bet Your Life, George Fenneman, in pivotal roles. And of course we mustn't forget 6' 7" James Arness (years before becoming renowned as Marshall Matt Dillon on Gunsmoke) as the hulking Thing.
A quick note on the "remake": John Carpenter's The Thing (1982), a bleak, grisly and brilliant take on the story, was a box-office dud when first released, but has since attained well-deserved status as a modern classic. While most fans seem divided into two camps - those who love the more restrained, old-fashioned thrills of the original, and those who prefer the more visceral, paranoiac Carpenter version - I happen to treasure both films equally and revisit each of them often. The Carpenter version is by far the gutsier, unsettling one, emphasizing as it does the "trust no one," shape-shifting "the alien is one of us" scenario imagined by John W. Campbell, but the Hawks' film is the most fun, with a far more likeable array of characters, working together to defeat an implacable menace. Each has its own clear merits. I wouldn't want to do without either film, and frankly see no need to choose one over the other.
"Every one of you listening to my voice...tell the world. Tell this to everybody, wherever they are: Watch the skies. Everywhere. Keep looking. Keep watching the skies.”
Acting Credits
Margaret Sheridan - Nikki Nicholson
Kenneth Tobey - Captain Patrick Hendrey
Robert Cornthwaite - Professor Carrington
Dewey Martin - Crew Chief
Douglas Spencer - Ned "Scotty" Scott
Eduard Franz - Dr Stern
Robert Nichols - Lieutenant Ken Erickson
William Self - Colonel Barnes
Sally Creighton - Mrs Chapman
John Dierkes - Dr. Chapman
James R. Young - Lieutenant Eddie Dykes
Norbert Schiller - Dr. Laurenz
William Neff - Olson
Allan Ray - Officer
Lee Tung Foo - Cook
Edmund Breon - Dr. Ambrose
George Fenneman - Dr. Redding
Tom Steele - Stuntman
James Arness - The Thing
Billy Curtis - The Thing While Shrinking
Spent the past week in Portland. Such an easygoing city with friendly people, good food, and old buildings full of character. And do I even have to mention the tax free shopping? (scored a 100 year old map of Europe of all things.....I love it!) Wish I took more photos but it was enjoyable all the same to put the camera away and take part in the city. This nondescript street corner in downtown is pretty much the only one I took!
Portland, Oregon, USA
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.... Many people take part in this unique and lively pantomime, there are pastors by mule or donkey, which give the people some pieces of bread, wine and sausages, there are ladies with sweet looks that have beautiful smiles, there are horsemen riding on colts, throwing sweets on bystanders, there are horrific figures like Fofori, who kidnap the rich by forcing them to pay a symbolic offering, there are the Wizards, who finally found the treasure (a chamber pot full of macaroni, drinking wine from a container of urine), there is the Genral Garibaldi supported by his soldiers, there are their enemies the Turks, there is 'U Remitu (the hermit) ... there are the bomb squad .. .and much others figures....! (Here a dignitary of the Royal Court ... ) .....
.... i personaggi che animano questa particolare e vivacissima pantomima sono tantissimi, ci sono i pastori a dorso di mulo o di asino, che donano alla popolazione pane, vino e salsicce, ci sono dame dagli sguardi dolcissimi che regalano sorrisi incantevoli, ci sono Cavalieri a cavallo di focosi puledri, che lanciano confetti sugli astanti come se piovesse, ci sono figure orrifiche come i Fofori, che rapiscono i ricchi costringendoli a pagare un simbolico obolo, ci sono i Maghi, che finalmente trovano il tesoro (un pitale pieno di maccheroni, bevendo vino da un "pappagallo"), c'è Garibaldi sostenuto dai suoi Garibaldini, ci sono i loro nemici, ovvero i Turchi, c'è 'U Remitu (l'eremita) ...ci sono gli artificieri...i chi più ne ha più ne metta....! (Qui un dignitario della Corte Reale ... ) .....
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Mezzojuso was built by the Albanians, Arbëreshëc, mostly military people established near an uninhabited house, during the migration of Albanians in Italy; on1501 they came from Albania and they had brought with them their language, customs and the Orthodox rite. From 2 to 4 August 1862 Mezzojuso welcomes Garibaldi: this is to reconnect this long and short at the same time my report, to some passages of this feast: the characteristic carnival of Mezzojuso. The "Master of Field" is the name of this carnival representation and it take the name from the principal character: this is a love story, albeit in key easygoing, which contains the re-enactment of the assault the Count of Modica made to the Castle to capture the White Queen of Navarra. The representation begins with the arrival of the royal procession, made up of the King, the Queen, by the dignitaries of the Court, from the Dame, the Secretary, by guards and by the Moors, and the "Master of Home" soul procession . Performed a dance in the square, the group go up on a stage (which is the castle); after inside the "castle" begins a dance party; therefore appear masks tied to tradition, u Rimitu, the Wizards, the gardener; comes the Master of Field, wearing a red wax mask with a hooked nose and prominent lower lip, a white shirt full of colored ribbons, pants and red coat, he squirms and shake, with his left arm to the side and in the right arm he brings a short wooden sword. Appear numerous characters, the Drummer, the Ambassador, Garibaldi and his Boys, the Captain of Artillery, the Baron and Baroness on two donkeys, followed by their men on horses and mules loaded with firewood, trunks, various paraphernalia for manufacturing cheese, so the gardener, with laurel wreaths, then the Cavalry, formed by a dozen knights who throw sweets over the spectators.The "Foforio" kidnap the wealthy and releases them after paying a small ransom (in return will be able to eat and drink at will). There are Magicians who go in search of "Treasure" and they finally found it: a bedpan full of macaroni and sausage, shouting "forio forio maccarrunario" eat them with their hands. The war rages, with Garibaldi and his Boys clashes against the Saracens (with imaginative alienation of historical periods); The Master of Field goes up on the scale that leads to the castle, meets with the King that hurts him on the head, and he falls backward (from a good height ...) to be taken from the boys that in the meantime they were prepared under the stairs; But the Master of Field is not dead and he healed his wounds, he with army of Garibaldi climb stealthily for "fake scale" and, taking advantage of the moment of confusion, they surrounding the Court and bind the King: the Field of Master removes the mask, finally embracing the Queen, managing to crown their secret dream of love, and so ends the great feast of Mezzojuso, with the procession that will march in the streets the country and ... the king in chains....
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Mezzojuso fu costruito dagli albanesi, gli arbëreshë, principalmente militari stabilitisi nelle vicinanze di un casale disabitato, durante la migrazione degli albanesi in Italia; essi provenivano dall'Albania e avevano portato con se lingua, usi e il rito ortodosso, nel 1501 stabilizzarono la loro posizione nella zona. Dal 2 al 4 agosto 1862 Mezzojuso accoglie Garibaldi: questo per ricollegare questo breve incipt su alcuni passaggi di questo report, lungo e breve al tempo stesso, sul caratteristico carnevale di Mezzojuso, unico nel suo genere. Il "Mastro di Campo", questo il nome della rappresentazione carnascialesca, è il personaggio dal quale prende il nome questa storia d'amore, seppur in chiave scanzonata, che racchiude in sè la rievocazione dell'assalto che il Conte di Modica fece al Castello per conquistare la regina Bianca di Navarra. La rappresentazione inizia con l'arrivo del corteo reale, composto dal Re, dalla Regina, dai Dignitari di Corte, dalle Dame, dal Segretario, dall’Artificiere, da alcune guardie e dai Mori, mentre Il "Mastru ri Casa" anima il corteo. Eseguita una danza nella piazza, il gruppo sale su un palco che ne rappresenta il castello, e subito dopo sul "castello" ha inizio una festa danzante; appaiono quindi le maschere legate alla tradizione, u Rimitu, i Maghi, le Giardiniere; arriva il Mastro di Campo a cavallo, che indossa una maschera di cera rossa con il naso adunco ed il labbro inferiore prominente, una camicia bianca piena di nastri colorati, pantaloni e mantello rosso: egli si dimena, si agita, con la testa ben alta, il braccio sinistro al fianco e nel destro una piccola spada di legno. Compaiono numerosi personaggi, il Tammurinaru, l’Ambasciatore, Garibaldi con i Garibaldini, il Capitano d’Artiglieria, il Barone e la Baronessa su due asini, seguiti dai loro uomini sopra cavalli e muli carichi di legna, bauli, armamentari vari per la produzione del formaggio, quindi le Giardiniere, con le corone di alloro, infine la Cavalleria, formata da una decina di cavalieri che lanciano sopra gli spettatori confetti a più non posso, mentre nella piazza l'artiglieria spara "colpi di cannone". Il Foforio sequestra i più abbienti e li rilascia dietro il pagamento di un piccolo riscatto (in cambio potranno mangiare e bere a volontà). Ci sono i Maghi che vanno in cerca della "truvatura", scavano ed ecco finalmente la trovano: un cantaru pieno di maccheroni e salsiccia che, al grido di “forio forio maccarrunario”, mangiano con le mani. La guerra impazza, Garibaldi coi Garibaldini si scontra contro i Saraceni (con fantasiosa alienazione dei periodi storici); il Mastro di Campo sale sulla scala che conduce al castello, si scontra con il Re e rimane ferito in fronte, ed ecco che braccia allargate cade all'indietro (da una buona altezza...) per essere preso dai figuranti che nel frattempo si erano preparati sotto la scala; però Il Mastro di Campo non è morto e, guarito dalle ferite, si riporta in piazza con il suo esercito di Garibaldini, quindi salgono furtivamente per la "scala fausa"(un'ingrsso posteriore e nascosto)e, approfittando dell’attimo di confusione, circondano la Corte e incatenano il Re: il Mastro di Campo, tolta la maschera, finalmente abbraccia la Regina, riuscendo a coronare il loro segreto sogno d'amore, e termina così la grande festa di Mezzojuso, col corteo che sfilerà per le strade del paese ed...il re in catene.
Hello
The motif today's is : " the sun he shines for all " as you he used to be well into Belém , he underwent this one magnify tree with the sun such bright.
AND I FotoClick.
I chose this motif , on this account forms part from the history from my life , a day somebody myself has said : " does have easygoing. the sun he shines for all AND concert he did not in case that let's forget as of te illuminate " AND he went do you really mean it nowdays I am a lot brightens , if not if he may go by the sun AND By God on this account I never ando all alone! I hope that is fond of.
And that commentator , but also who not commenting how are you , I did not I find evil! ehehehe kisses Vanexita
SPIRIT
In 2002, Spirit became the first Montana Grizzly to be placed at the Center. As a six-year-old, mother of two, Spirit was known by Fish, Wildlife and Parks biologists as “Easy” because of her easygoing personality and was often seen roaming the beach or golf course near the community in Whitefish, Montana. She obtained human food and was passing on this behavior to her cubs. Although she never was involved with aggressive tendency toward humans, it was only a matter of time before a dangerous situation became a reality. Spirit was relocated six times, but continued to return to the golf community even after intensive aversive conditioning. After one of her cubs was killed by a car, officials decided to remove the other cub by placing it in captivity at the Denver Zoo, and then to remove Spirit from the wild forever. She actively interacts with Sow 101, Coram, Grant and Roosevelt.