ABOUT THE FILM: During World War II, Captain Ericson, after being drafted into service, takes command of HMS Compass Rose, a Flor-class corvette of the British navy, in order to protect convoys in the open sea. The first problem that the Captain faces is the lack of experience of most of his crew, however, thanks to his efforts and his command skills, the ship has managed to cross the Atlantic Ocean several times without any problems, thus allowing the crew and officers to gain more experience and become a large group of Sailors. After three years of service in convoy escort, the ship is torpedoed by a German submarine U-boats, which cause the deaths of most of the crew members. After taking command of a new unit, the HMS Saltash Castle, Captain Ericson will accompany the convoys at sea, but this time, facing a new attack by a German submarine, they will have the best chance of avenging their old crew. DIRECTED BY: Charles Frend GENRE: War, Drama ORIGIN: UK DURATION: 103 minutes » MAIN CAST: Jack Hawkins ... Ericson Donald Sinden ... Lockhart John Stratton ... Ferraby Denholm Elliott ... Morell John Warner ... Baker Stanley Baker ... Bennett Bruce Seton ... Tallow Liam Redmond ... Watts Virginia McKenna ... Julie Hallam Moira Lister ... Elaine Morell June Thorburn ... Doris Ferraby Megs Jenkins ... Tallow's Sister Meredith Edwards ... Yeoman Wells Glyn Houston ... Phillips Alec McCowen as Alec McCowen Tonbridge

The Third Man is a 1949 British FILM NOlR directed by Carol Reed, written by Graham Greene, and starring Joseph Cotten, Alida Valli, Orson Welles, and Trevor Howard. Set in postwar Vienna, the film centres on American Holly Martins (Cotten), who arrives in the city to accept a job with his friend Harry Lime (Welles), only to learn that Lime has died. Viewing his death as suspicious, Martins elects to stay in Vienna and investigate the matter. In 1999, the British Film Institute voted The Third Man the greatest British film of all time. In 2011 a poll of 150 actors, directors, writers, producers and critics for Time Out magazine saw it ranked the second best British film ever.

FDR and Hitler: their rise to power by Landsburg, Alan. executive producer; Cartwright, William T, producer; Potter, Anthony, writer; Sevareid, Eric, 1912-1992, host, narrator; Alan Landsburg Productions, related name; WNEW-TV (Television station : New York, N.Y.), related name The careers and styles of Franklin D. Roosevelt, aristocrat and democrat, and Adolph Hitler, bourgeois and demagogue, are contrasted to show how individual charisma and leadership can influence, even alter, history

The Dam Busters (1955) full movie, based on the true story of the World War 2 event of British Air Force 617 Squadron raid heroic Air Force attack for bombing German Ruhr Valley dams, to disrupt the German ammunition steel manufacturing, and to shorten the WW2 war from the German Nazis. Such a war type air attack to bomb dams and water supply is now an illegal war crime and against the Geneva Convention. Dam Busters starring Michael Redgrave as Barnes Wallace, Richard Todd as Guy Gibson as the 617 squadron leader, and Ursula Jeans as Mrs Wallace.

The Conformist (Italian: Il conformista) is a 1970 political drama film written and directed by Bernardo Bertolucci, based on the 1951 novel by Alberto Moravia. It stars Jean-Louis Trintignant, Stefania Sandrelli, Gastone Moschin, Enzo Tarascio, Fosco Giachetti, José Quaglio, Dominique Sanda and Pierre Clémenti. Set in 1930s Italy, The Conformist centers on a mid-level Fascist functionary (Trintignant) who is ordered to assassinate his former professor, an anti-Fascist dissident in Paris. His mission is complicated after he begins an affair with the professor's wife (Sanda). An international co-production between Italian, French and West German companies, The Conformist opened at the 20th Berlin International Film Festival. It received widespread acclaim from critics, and appeared on several lists of the best films of 1970. Among other accolades, it won the David di Donatello for Best Film, the Sutherland Trophy, and was nominated for an Academy Award for Best Adapted Screenplay and the Golden Globe Award for Best Foreign Language Film. The cinematography, by Vittorio Storaro, was also highly praised and launched his international career.[4] Retrospective reviews have been equally positive, both towards the film's cinematic merits as well as its political content.[5] The film was highly influential towards later works, including Francis Ford Coppola's Godfather trilogy,[6] and has been cited as one of the greatest films of all time.[7][8] In 2008, the film was included on the Italian Ministry of Cultural Heritage's 100 Italian films to be saved, a list of 100 films that "have changed the collective memory of the country between 1942 and 1978."[9]

Ooh you are awful, but I like you. A sound archive of the Accrington Hippodrome. (/p>

Animal Farm is a satirical allegorical novella, in the form of a beast fable,[1] by George Orwell, first published in England on 17 August 1945.[2][3] It tells the story of a group of anthropomorphic farm animals who rebel against their human farmer, hoping to create a society where the animals can be equal, free, and happy. Ultimately, the rebellion is betrayed, and under the dictatorship of a pig named Napoleon, the farm ends up in a state far worse than before. According to Orwell, Animal Farm reflects events leading up to the Russian Revolution of 1917 and then on into the Stalinist era of the Soviet Union, a period when Russia lived under the Marxist–Leninist ideology of Joseph Stalin.[1][4] Orwell, a democratic socialist,[5] was a critic of Stalin and hostile to Moscow-directed Stalinism, an attitude that was critically shaped by his experiences during the Barcelona May Days conflicts between the POUM and Stalinist forces, during the Spanish Civil War.[6][a] In a letter to Yvonne Davet, Orwell described Animal Farm as a satirical tale against Stalin ("un conte satirique contre Staline"),[7] and in his essay, "Why I Write" (1946), wrote: "Animal Farm was the first book in which I tried, with full consciousness of what I was doing, to fuse political purpose and artistic purpose into one whole".[8]

Eichmann in Jerusalem: A Report on the Banality of Evil is a 1963 book by the philosopher and political thinker Hannah Arendt. Arendt, a Jew who fled Germany during Adolf Hitler's rise to power, reported on the trial of Adolf Eichmann, one of the major organizers of the Holocaust, for The New Yorker. A revised and enlarged edition was published in 1964. Theme Arendt during the trial Arendt's subtitle famously introduced the phrase "the banality of evil." In part the phrase refers to Eichmann's deportment at the trial as the man displayed neither guilt for his actions nor hatred for those trying him, claiming he bore no responsibility because he was simply "doing his job." ("He did his 'duty'...; he not only obeyed 'orders,' he also obeyed the 'law.'")[1] Eichmann Arendt takes Eichmann's court testimony and the historical evidence available, and she makes several observations about him: Eichmann stated in court that he had always tried to abide by Immanuel Kant's categorical imperative.[2] She argues that Eichmann had essentially taken the wrong lesson from Kant: Eichmann had not recognized the "Golden Rule" and principle of reciprocity implicit in the categorical imperative, but had understood only the concept of one man's actions coinciding with general law.

Philosophical Investigations (German: Philosophische Untersuchungen) is a work by the philosopher Ludwig Wittgenstein, published posthumously in 1953. Philosophical Investigations is divided into two parts, consisting of what Wittgenstein calls, in the preface, Bemerkungen, translated by G. E. M. Anscombe as "remarks".[1] A survey among American university and college teachers ranked the Investigations as the most important book of 20th-century philosophy.[2] Relation to Wittgenstein's body of work In its preface, Wittgenstein says that Philosophical Investigations can be understood "only by contrast with and against the background of my old way of thinking". That "old way of thinking" is to be found in the only book Wittgenstein published in his lifetime, the Tractatus Logico-Philosophicus. Many of the ideas developed in the Tractatus are criticised in the Investigations, while other ideas are further developed. [citation needed] The Blue and Brown Books, a set of notes dictated to his class at Cambridge in 1933–1934, contain the seeds of Wittgenstein's later thoughts on language and are widely read as a turning point in his philosophy of language.[citation needed] The American philosopher Norman Malcolm credits Piero Sraffa with breaking Wittgenstein's hold of the notion that a proposition must literally be a picture of reality by means of a rude gesture from Sraffa, followed by Sraffa asking, "What is the logical form of that?"[3] In the Introduction to the book written in 1945 Wittgenstein said Sraffa "for many years unceasingly practiced on my thoughts. I am indebted to this stimulus for the most consequential ideas in this book".[4]

Invisible Man is Ralph Ellison's first novel, and the only one published during his lifetime. It was published by Random House in 1952, and addresses many of the social and intellectual issues faced by African Americans in the early 20th century, including black nationalism, the relationship between black identity and Marxism, and the reformist racial policies of Booker T. Washington, as well as issues of individuality and personal identity

Invisible Man won the U.S. National Book Award for Fiction in 1953, making Ellison the first African-American writer to win the award.[2] In 1998, the Modern Library ranked Invisible Man 19th on its list of the 100 best English-language novels of the 20th century.[3] Time magazine included the novel in its 100 Best English-language novels from 1923 to 2005 list, calling it "the quintessential American picaresque of the 20th century", rather than a "race novel, or even a bildungsroman".[4] Malcolm Bradbury and Richard Ruland recognize a black existentialist vision with a "Kafka-like absurdity".[5] According to The New York Times, Barack Obama modeled his 1995 memoir Dreams from My Father on Ellison's novel