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Bella Idiota-Marco Masini (Letra y Subtitulo en español)
 
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Bella idiota-Marco Massini.
Views: 6227469 Milas Canas
Bella stronza Marco Masini - Karaoke
 
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Bella stronza Marco Masini - Karaoke In questo canale troverete centinaia di video karaoke delle più belle canzoni di tutti i tempi, italiane e straniere. Suggeriteci le vostre canzoni preferite. Iscrivetevi al canale per non perdervi neanche un attimo di divertimento! ------------------------------------------------ In this channel you can find tons of karaoke vids of best songs ever ! Request us if you have some ideas or if your favourite song isn't here! Subscribe on our channel for more fun
Views: 371 Karaoke Tube
ALEXANDER GLIGO -MI PEQUEÑO GRAN AMOR LETRA.wmv
 
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EN VIVO EL AUDIO CON LETRA, acustico, grabado en vivo
Views: 6897 ggkrazy
LO MEJOR DE LA MÚSICA LATINA PARTE 1 MIX
 
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LO MEJOR DE LA MÚSICA LATINA PARTE 1 MIX , ESPERO LES GUSTE MUCHO :) ESTE MIX QUE REALICE ESPERO SU LIKE Y COMENTARIOS . LISTA DE LAS CANCIONES QUE APARECEN EL VÍDEO Franco de vita - Te Amo Laura Pausini - Soledad en mi Cristian Castro - Nunca voy a olvidarte LOS RANCHEROS. mujer Enrique Iglesias - Si tu te vas Eros Ramazzotti - Otra Como Tu Marco Masini- Bella idiota Ricardo Montaner - El poder de tu amor Eros Ramazzotti - La Cosa Mas Bella Alejandro Sanz - Mi Soledad Y Yo Luis Miguel - 'La Incondicional' Ricardo Arjona - Historia De Taxi Chayanne - Atado A Tu Amor Jerry Rivera - Ese Alejandro Sanz -La Fuerza Del Corazón Enrique Iglesias - Nunca Te Olvidaré Ricky Martin - Vuelve alejandro zans - Amiga mia Chayanne - Yo Te Amo Franco De Vita - No Hay Cielo Luis Fonsi - Imaginame Sin Ti Cristian Castro - por amarte asi Shakira - Tú OSCAR DE LA HOYA - VEN A MI Maná - Vivir sin aire RICARDO ARJONA – CUANDO Alejandro Sanz Cuando Nadie Me Ve Marc Anthony And Jennifer Lopez - No Me Ames Laura Pausini - Entre Tu Y Mil Mares La Oreja De Van Gogh - La playa
ME CUESTA TANTO OLVIDARTE    eliasss
 
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Y tu recuerdo... no me permite ausentarme de ti, en cada calle, en cada risa, en cada canción, en cada mujer, allí permaneces tu. Mis ojos forman un oasis con tu figura y mi corazón cual iluso se emociona creyendo verte junto a mí.
Views: 755 eliasss
Los Rancheros Me canse de amarte  Mejor video
 
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Me Canse De Amarte Muy Romantico
Views: 6607142 Alee
Romantico - Grupo Optimo (GQe)
 
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GQE Romantico del Grupo Optimo
Todos los días - Canción
 
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Todos los días siempre son iguales. todos los dias siempre está el sol. Todos los dias quiere uno estar alegre pero cambia sin saberlo por dolor. Todos los dias encuentra uno mucha gente Todos los días busca uno mucho amor pero a veces cambia de repente se convierte en tristeza el corazón. Coro : Solo quiero un minuto de tu tiempo, Solo pido el sonido de tu voz. Yo te tengo en mi mente tan presente y hasta el aire me huele a tu olor Letra: Henry López / https://www.facebook.com/henrieme Voz y música: Andrea Alvarez
Views: 120 MUSYARTE
When I Look into your eyes - Richard Dedal photo slide show and a video tribute
 
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A Slide show of Richard Dedal with the music by Firehouse - When I Look into your eyes...
Views: 72 Richard Dedal
Karaoke  - Ta Buena  (Prod. Aci2)  VIDEO LYRIC
 
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SUSCRIBETE Facecook..Max el perro Instagram. Maxelperro28 Max El Perro - Ta Buena (La Cabina Negra) VIDEO LYRICMax El Perro - Ta Buena (La Cabina Negra) VIDEO LYRICMax El Perro - Ta Buena (La Cabina Negra) VIDEO LYRICMax El Perro - Ta Buena (La Cabina Negra) VIDEO LYRICMax El Perro - Ta Buena (La Cabina Negra) VIDEO LYRICMax El Perro - Ta Buena (La Cabina Negra) VIDEO LYRICMax El Perro - Ta Buena (La Cabina Negra) VIDEO LYRICMax El Perro - Ta Buena (La Cabina Negra) VIDEO LYRICMax El Perro - Ta Buena (La Cabina Negra) VIDEO LYRICMax El Perro - Ta Buena (La Cabina Negra) VIDEO LYRICMax El Perro - Ta Buena (La Cabina Negra) VIDEO LYRICMax El Perro - Ta Buena (La Cabina Negra) VIDEO LYRICMax El Perro - Ta Buena (La Cabina Negra) VIDEO LYRICMax El Perro - Ta Buena (La Cabina Negra) VIDEO LYRICMax El Perro - Ta Buena (La Cabina Negra) VIDEO LYRICMax El Perro - Ta Buena (La Cabina Negra) VIDEO LYRICMax El Perro - Ta Buena (La Cabina Negra) VIDEO LYRICMax El Perro - Ta Buena (La Cabina Negra) VIDEO LYRICMax El Perro - Ta Buena (La Cabina Negra) VIDEO LYRICMax El Perro - Ta Buena (La Cabina Negra) VIDEO LYRICMax El Perro - Ta Buena (La Cabina Negra) VIDEO LYRICMax El Perro - Ta Buena (La Cabina Negra) VIDEO LYRICMax El Perro - Ta Buena (La Cabina Negra) VIDEO LYRICMax El Perro - Ta Buena (La Cabina Negra) VIDEO LYRICMax El Perro - Ta Buena (La Cabina Negra) VIDEO LYRICMax El Perro - Ta Buena (La Cabina Negra) VIDEO LYRICMax El Perro - Ta Buena (La Cabina Negra) VIDEO LYRICMax El Perro - Ta Buena (La Cabina Negra) VIDEO LYRICMax El Perro - Ta Buena (La Cabina Negra) VIDEO LYRICMax El Perro - Ta Buena (La Cabina Negra) VIDEO LYRICMax El Perro - Ta Buena (La Cabina Negra) VIDEO LYRICMax El Perro - Ta Buena (La Cabina Negra) VIDEO LYRICMax El Perro - Ta Buena (La Cabina Negra) VIDEO LYRICMax El Perro - Ta Buena (La Cabina Negra) VIDEO LYRICMax El Perro - Ta Buena (La Cabina Negra) VIDEO LYRICMax El Perro - Ta Buena (La Cabina Negra) VIDEO LYRICMax El Perro - Ta Buena (La Cabina Negra) VIDEO LYRICMax El Perro - Ta Buena (La Cabina Negra) VIDEO LYRIC
Views: 258 MaxelperroVEVO
ALEJANDRO ESPINOZA EN EL RECOVECO DE TU ABRAZO
 
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REPRESENTACIÓN DE LA CANCIÓN "EN EL RECOVECO DE TU ABRAZO" "EN EL RECOVECO DE TU ABRAZO HE ENCONTRADO UN MUNDO NUEVO, DONDE DEJO UN PEDAZO DE MI AMOR Y DE MIS SUEÑOS".
Views: 1298 alejandro espinoza
Comiendole el culo a un Ferrari
 
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Sin comentarios
Views: 1247 RubensPonteareas
Kinetic Monkey - Vinyl Playback - You'll find me here.
 
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Download the high quality version of the track for free here: http://kineticmonkey.bandcamp.com/track/you-will-find-me-here
Views: 51 KineticMonkeyMusic
MC Massini - Polytechnic (Full Mixtape)
 
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MC Massini's first ever mixtape dropped April 26, Polytechnic. Download the songs for free on SoundCloud.com/mcmassini For a hard copy contact me on facebook, twitter, DM, Text, comment, whatever. I will have to charge a $5 fee for materials and stuff. Tracklist: 1. Introlude (That's Love - Chance the Rapper Remix) 0:00 2. ADAM 1:45 3. 3 Months (Prod. by Aaron) 6:09 4. Ferrari 10:15 5. Power Outage (New School Version) [feat. Bones & Travie] {Prod. Tre} 13:04 6. 11-22-63, A Date 16:19 7. Feels / Experiment Freestyle 20:38
Views: 359 MassiniMonster
Julio "el catras" video promocional
 
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Un video promocional de Julio "El Catras", Yanuis, Bilosky, Yeye, Marc Anthony & Vision para toda la gente
Views: 981 rkdh10
Lobo Hombre en paris, Hector Jason.wmv
 
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El Lobo-Hombre (Le Loup-garou), entre 1945 y 1952 , es un cuento corto del autor Francés Boris Vian, el cual cuenta la historia de un lobo mordido por un mago y se convierte en hombre, el grupo la unión hizo popular esta canción en Europa y estados unidos también en la latinoamerica rockera, aquí les traigo mi versión porque me encanta este tema
Views: 706 jasongrafic
Week 0, continued
 
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Week 0, continued
Views: 372724 CS50
Calling All Cars: The 25th Stamp / The Incorrigible Youth / The Big Shot
 
01:28:24
The radio show Calling All Cars hired LAPD radio dispacher Jesse Rosenquist to be the voice of the dispatcher. Rosenquist was already famous because home radios could tune into early police radio frequencies. As the first police radio dispatcher presented to the public ear, his was the voice that actors went to when called upon for a radio dispatcher role. The iconic television series Dragnet, with LAPD Detective Joe Friday as the primary character, was the first major media representation of the department. Real LAPD operations inspired Jack Webb to create the series and close cooperation with department officers let him make it as realistic as possible, including authentic police equipment and sound recording on-site at the police station. Due to Dragnet's popularity, LAPD Chief Parker "became, after J. Edgar Hoover, the most well known and respected law enforcement official in the nation". In the 1960s, when the LAPD under Chief Thomas Reddin expanded its community relations division and began efforts to reach out to the African-American community, Dragnet followed suit with more emphasis on internal affairs and community policing than solving crimes, the show's previous mainstay. Several prominent representations of the LAPD and its officers in television and film include Adam-12, Blue Streak, Blue Thunder, Boomtown, The Closer, Colors, Crash, Columbo, Dark Blue, Die Hard, End of Watch, Heat, Hollywood Homicide, Hunter, Internal Affairs, Jackie Brown, L.A. Confidential, Lakeview Terrace, Law & Order: Los Angeles, Life, Numb3rs, The Shield, Southland, Speed, Street Kings, SWAT, Training Day and the Lethal Weapon, Rush Hour and Terminator film series. The LAPD is also featured in the video games Midnight Club II, Midnight Club: Los Angeles, L.A. Noire and Call of Juarez: The Cartel. The LAPD has also been the subject of numerous novels. Elizabeth Linington used the department as her backdrop in three different series written under three different names, perhaps the most popular being those novel featuring Det. Lt. Luis Mendoza, who was introduced in the Edgar-nominated Case Pending. Joseph Wambaugh, the son of a Pittsburgh policeman, spent fourteen years in the department, using his background to write novels with authentic fictional depictions of life in the LAPD. Wambaugh also created the Emmy-winning TV anthology series Police Story. Wambaugh was also a major influence on James Ellroy, who wrote several novels about the Department set during the 1940s and 1950s, the most famous of which are probably The Black Dahlia, fictionalizing the LAPD's most famous "cold case", and L.A. Confidential, which was made into a film of the same name. Both the novel and the film chronicled mass-murder and corruption inside and outside the force during the Parker era. Critic Roger Ebert indicates that the film's characters (from the 1950s) "represent the choices ahead for the LAPD": assisting Hollywood limelight, aggressive policing with relaxed ethics, and a "straight arrow" approach. http://en.wikipedia.org/wiki/LAPD
Views: 387068 Remember This
Suspense: Eve
 
01:02:56
Plots of thrillers involve characters which come into conflict with each other or with outside forces -- the threat is sometimes abstract or unseen. An atmosphere of creepy menace and sudden violence, such as crime and murder, characterize thrillers. Thrillers often present the world and society as dark, corrupt and dangerous. But in Hollywood they usually feature upbeat endings in which evil is overcome. The tension usually arises when the character(s) is placed in a menacing situation, a mystery, or a trap from which escaping seems impossible. Life is threatened, usually because the principal character is unsuspectingly or unknowingly involved in a dangerous or potentially deadly situation.[15] Thrillers emphasize the puzzle aspect of the plot. There are clues and the viewer/reader should be able to determine the solution at about the same times as the main character. In thrillers the compelling questions isn't necessarily who did it but whether the villain will be caught before committing another crime. Hitchcock's films often placed an innocent victim (an average, responsible person) into a strange, life-threatening or terrorizing situation, in a case of mistaken identity, misidentification or wrongful accusation.[16] Thrillers take place mostly in ordinary suburbs and cities, although sometimes they may take place wholly or partly in exotic settings such as foreign cities, deserts, polar regions, or the high seas. Usually, tough, resourceful, but essentially ordinary heroes are pitted against villains determined to destroy them, their country, or the stability of the free world. Often in a thriller the protagonist is faced with what seem to be insurmountable problems in his mission, carried out against a ticking clock, the stakes are high and although resourceful they face personal dilemmas along the way forcing them to make sacrifices for others. http://en.wikipedia.org/wiki/Thriller_%28genre%29
Views: 40453 Remember This
Week 4
 
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Views: 71105 CS50
The Great Gildersleeve: Marjorie's Boy Troubles / Meet Craig Bullard / Investing a Windfall
 
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The Great Gildersleeve (1941--1957), initially written by Leonard Lewis Levinson, was one of broadcast history's earliest spin-off programs. Built around Throckmorton Philharmonic Gildersleeve, a character who had been a staple on the classic radio situation comedy Fibber McGee and Molly, first introduced on Oct. 3, 1939, ep. #216. The Great Gildersleeve enjoyed its greatest success in the 1940s. Actor Harold Peary played the character during its transition from the parent show into the spin-off and later in a quartet of feature films released at the height of the show's popularity. On Fibber McGee and Molly, Peary's Gildersleeve was a pompous windbag who became a consistent McGee nemesis. "You're a haa-aa-aa-aard man, McGee!" became a Gildersleeve catchphrase. The character was given several conflicting first names on Fibber McGee and Molly, and on one episode his middle name was revealed as Philharmonic. Gildy admits as much at the end of "Gildersleeve's Diary" on the Fibber McGee and Molly series (Oct. 22, 1940). He soon became so popular that Kraft Foods—looking primarily to promote its Parkay margarine spread — sponsored a new series with Peary's Gildersleeve as the central, slightly softened and slightly befuddled focus of a lively new family. Premiering on August 31, 1941, The Great Gildersleeve moved the title character from the McGees' Wistful Vista to Summerfield, where Gildersleeve now oversaw his late brother-in-law's estate and took on the rearing of his orphaned niece and nephew, Marjorie (originally played by Lurene Tuttle and followed by Louise Erickson and Mary Lee Robb) and Leroy Forester (Walter Tetley). The household also included a cook named Birdie. Curiously, while Gildersleeve had occasionally spoken of his (never-present) wife in some Fibber episodes, in his own series the character was a confirmed bachelor. In a striking forerunner to such later television hits as Bachelor Father and Family Affair, both of which are centered on well-to-do uncles taking in their deceased siblings' children, Gildersleeve was a bachelor raising two children while, at first, administering a girdle manufacturing company ("If you want a better corset, of course, it's a Gildersleeve") and then for the bulk of the show's run, serving as Summerfield's water commissioner, between time with the ladies and nights with the boys. The Great Gildersleeve may have been the first broadcast show to be centered on a single parent balancing child-rearing, work, and a social life, done with taste and genuine wit, often at the expense of Gildersleeve's now slightly understated pomposity. Many of the original episodes were co-written by John Whedon, father of Tom Whedon (who wrote The Golden Girls), and grandfather of Deadwood scripter Zack Whedon and Joss Whedon (creator of Buffy the Vampire Slayer, Firefly and Dr. Horrible's Sing-Along Blog). The key to the show was Peary, whose booming voice and facility with moans, groans, laughs, shudders and inflection was as close to body language and facial suggestion as a voice could get. Peary was so effective, and Gildersleeve became so familiar a character, that he was referenced and satirized periodically in other comedies and in a few cartoons. http://en.wikipedia.org/wiki/Great_Gildersleeve
Views: 44858 Remember This
Our Miss Brooks: English Test / First Aid Course / Tries to Forget / Wins a Man's Suit
 
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Our Miss Brooks is an American situation comedy starring Eve Arden as a sardonic high school English teacher. It began as a radio show broadcast from 1948 to 1957. When the show was adapted to television (1952--56), it became one of the medium's earliest hits. In 1956, the sitcom was adapted for big screen in the film of the same name. Connie (Constance) Brooks (Eve Arden), an English teacher at fictional Madison High School. Osgood Conklin (Gale Gordon), blustery, gruff, crooked and unsympathetic Madison High principal, a near-constant pain to his faculty and students. (Conklin was played by Joseph Forte in the show's first episode; Gordon succeeded him for the rest of the series' run.) Occasionally Conklin would rig competitions at the school--such as that for prom queen--so that his daughter Harriet would win. Walter Denton (Richard Crenna, billed at the time as Dick Crenna), a Madison High student, well-intentioned and clumsy, with a nasally high, cracking voice, often driving Miss Brooks (his self-professed favorite teacher) to school in a broken-down jalopy. Miss Brooks' references to her own usually-in-the-shop car became one of the show's running gags. Philip Boynton (Jeff Chandler on radio, billed sometimes under his birth name Ira Grossel); Robert Rockwell on both radio and television), Madison High biology teacher, the shy and often clueless object of Miss Brooks' affections. Margaret Davis (Jane Morgan), Miss Brooks' absentminded landlady, whose two trademarks are a cat named Minerva, and a penchant for whipping up exotic and often inedible breakfasts. Harriet Conklin (Gloria McMillan), Madison High student and daughter of principal Conklin. A sometime love interest for Walter Denton, Harriet was honest and guileless with none of her father's malevolence and dishonesty. Stretch (Fabian) Snodgrass (Leonard Smith), dull-witted Madison High athletic star and Walter's best friend. Daisy Enright (Mary Jane Croft), Madison High English teacher, and a scheming professional and romantic rival to Miss Brooks. Jacques Monet (Gerald Mohr), a French teacher. Our Miss Brooks was a hit on radio from the outset; within eight months of its launch as a regular series, the show landed several honors, including four for Eve Arden, who won polls in four individual publications of the time. Arden had actually been the third choice to play the title role. Harry Ackerman, West Coast director of programming, wanted Shirley Booth for the part, but as he told historian Gerald Nachman many years later, he realized Booth was too focused on the underpaid downside of public school teaching at the time to have fun with the role. Lucille Ball was believed to have been the next choice, but she was already committed to My Favorite Husband and didn't audition. Chairman Bill Paley, who was friendly with Arden, persuaded her to audition for the part. With a slightly rewritten audition script--Osgood Conklin, for example, was originally written as a school board president but was now written as the incoming new Madison principal--Arden agreed to give the newly-revamped show a try. Produced by Larry Berns and written by director Al Lewis, Our Miss Brooks premiered on July 19, 1948. According to radio critic John Crosby, her lines were very "feline" in dialogue scenes with principal Conklin and would-be boyfriend Boynton, with sharp, witty comebacks. The interplay between the cast--blustery Conklin, nebbishy Denton, accommodating Harriet, absentminded Mrs. Davis, clueless Boynton, scheming Miss Enright--also received positive reviews. Arden won a radio listeners' poll by Radio Mirror magazine as the top ranking comedienne of 1948-49, receiving her award at the end of an Our Miss Brooks broadcast that March. "I'm certainly going to try in the coming months to merit the honor you've bestowed upon me, because I understand that if I win this two years in a row, I get to keep Mr. Boynton," she joked. But she was also a hit with the critics; a winter 1949 poll of newspaper and magazine radio editors taken by Motion Picture Daily named her the year's best radio comedienne. For its entire radio life, the show was sponsored by Colgate-Palmolive-Peet, promoting Palmolive soap, Lustre Creme shampoo and Toni hair care products. The radio series continued until 1957, a year after its television life ended. http://en.wikipedia.org/wiki/Our_Miss_Brooks
Views: 69734 Remember This
model 3 event live Main Stage
 
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model 3 event live Main Stage 14:12 : Project Loveday videos 22:31 : Countdown 27:00 : Safety video Tesla Model 3 vs Volvo S60 33:35 : Standard / Long range Model 3 price 1:39:20 : Inside of the Tesla Model 3 1:44:21 : Marques Brownlee with a famous owner of a Tesla YouTuber. See Model 3 Production Test Drive here: https://www.youtube.com/watch?v=jcgGz4h4eTM -----Get UNLIMITED Supercharging and $1000 discount on purchase of your Tesla! http://ts.la/christopher5460 ----- If you Find my Content Helpful, and Wish to contribute to creation of more content, please consider supporting me through https://www.patreon.com/KmanAuto ►https://www.facebook.com/KmanAuto ►https://www.YouTube.com/KmanAuto ►http://www.SuperchargerTravel.com ►https://www.youtube.com/channel/UCMr8AuzRAq0DrJUXFh9hN0Q KmanEnergy [email protected] 414-807-8354
Views: 48201 KmanAuto
Words at War: Eighty-Three Days: The Survival Of Seaman Izzi / Paris Underground / Shortcut to Tokyo
 
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The French Résistance has had a great influence on literature, particularly in France. A famous example is the poem "Strophes pour se souvenir", which was written by the communist academic Louis Aragon in 1955 to commemorate the heroism of the Manouchian Group, whose 23 members were shot by the Nazis. The Résistance is also portrayed in Jean Renoir's wartime This Land is Mine (1943), which was produced in the USA. In the immediate post-war years, French cinema produced a number of films that portrayed a France broadly present in the Résistance.[188][189] The 1946 La Bataille du rail depicted the courageous efforts of French railway workers to sabotage German reinforcement trains,[190] and in the same year Le Père tranquille told the story of a quiet insurance agent secretly involved in the bombing of a factory.[190] Collaborators were hatefully presented as a rare minority, as played by Pierre Brewer in Jéricho (1946) or Serge Reggiani in Les Portes de la nuit (1946), and movements such as the Milice were rarely evoked. In the 1950s, a less heroic interpretation of the Résistance to the occupation gradually began to emerge.[190] In Claude Autant-Lara's La Traversée de Paris (1956), the portrayal of the city's black market and general mediocrity revealed the reality of war-profiteering during the occupation.[191] In the same year, Robert Bresson presented A Man Escaped, in which an imprisoned Résistance activist works with a reformed collaborator inmate to escape.[192] A cautious reappearance of the image of Vichy emerged in Le Passage du Rhin (1960), in which a crowd successively acclaim both Pétain and de Gaulle.[193] After General de Gaulle's return to power in 1958, the portrayal of the Résistance returned to its earlier résistancialisme. In this manner, in Is Paris Burning? (1966), "the role of the resistant was revalued according to [de Gaulle's] political trajectory".[194] The comic form of films such as La Grande Vadrouille (1966) widened the image of Résistance heroes to average Frenchmen.[195] The most famous and critically acclaimed of all the résistancialisme movies is Army of Shadows (L'Armee des ombres), which was made by the French film-maker Jean-Pierre Melville in 1969. The film was inspired by Joseph Kessel's 1943 book, as well as Melville's own experiences, as he had fought in the Résistance and participated in Operation Dragoon. A 1995 television screening of L'Armee des ombres described it as "the best film made about the fighters of the shadows, those anti-heroes."[196] The shattering of France's résistancialisme following the events of May 1968 emerged particularly clearly in French cinema. The candid approach of the 1971 documentary The Sorrow and the Pity pointed the finger on anti-Semitism in France and disputed the official Résistance ideals.[197][198] Time magazine's positive review of the film wrote that director Marcel Ophüls "tries to puncture the bourgeois myth—or protectively askew memory—that allows France generally to act as if hardly any Frenchmen collaborated with the Germans."[199] Franck Cassenti, with L'Affiche Rouge (1976); Gilson, with La Brigade (1975); and Mosco with the documentary Des terroristes à la retraite addressed foreign resisters of the EGO, who were then relatively unknown. In 1974, Louis Malle's Lacombe, Lucien caused scandal and polemic because of his absence of moral judgment with regard to the behavior of a collaborator.[200] Malle later portrayed the resistance of Catholic priests who protected Jewish children in his 1987 film Au revoir, les enfants. François Truffaut's 1980 film Le Dernier Métro was set during the German occupation of Paris and won ten Césars for its story of a theatre production taking place while its Jewish director is concealed by his wife in the theatre's basement.[201] The 1980s began to portray the resistance of working women, as in Blanche et Marie (1984).[202] Later, Jacques Audiard's Un héros très discret (1996) told the story of a young man's traveling to Paris and manufacturing a Résistance past for himself, suggesting that many heroes of the Résistance were imposters.[203][204] In 1997, Claude Berri produced the biopic Lucie Aubrac based on the life of the Résistance heroine of the same name, which was criticized for its Gaullist portrayal of the Résistance and over-emphasis on the relationship between Aubrac and her husband.[205] In the 2011 video game Call of Duty: Modern Warfare 3, in which a hypothetical World War III is depicted, a French resistance movement is formed to act against Russian occupation. The playable characters of many factions in-game receive assistance from this Resistance . This is in line with previous, World War II-based Call of Duty games, which often featured involvement with the Resistance of that era. http://en.wikipedia.org/wiki/French_Resistance
Views: 177155 Remember This
Dragnet: Homicide / The Werewolf / Homicide
 
01:26:57
Dragnet is a radio and television crime drama about the cases of a dedicated Los Angeles police detective, Sergeant Joe Friday, and his partners. The show takes its name from an actual police term, a "dragnet", meaning a system of coordinated measures for apprehending criminals or suspects. Dragnet debuted inauspiciously. The first several months were bumpy, as Webb and company worked out the program's format and eventually became comfortable with their characters (Friday was originally portrayed as more brash and forceful than his later usually relaxed demeanor). Gradually, Friday's deadpan, fast-talking persona emerged, described by John Dunning as "a cop's cop, tough but not hard, conservative but caring." (Dunning, 210) Friday's first partner was Sergeant Ben Romero, portrayed by Barton Yarborough, a longtime radio actor. After Yarborough's death in 1951 (and therefore Romero's, who also died of a heart attack, as acknowledged on the December 27, 1951 episode "The Big Sorrow"), Friday was partnered with Sergeant Ed Jacobs (December 27, 1951 - April 10, 1952, subsequently transferred to the Police Academy as an instructor), played by Barney Phillips; Officer Bill Lockwood (Ben Romero's nephew, April 17, 1952 - May 8, 1952), played by Martin Milner (with Ken Peters taking the role for the June 12, 1952 episode "The Big Donation"); and finally Frank Smith, played first by Herb Ellis (1952), then Ben Alexander (September 21, 1952-1959). Raymond Burr was on board to play the Chief of Detectives. When Dragnet hit its stride, it became one of radio's top-rated shows. Webb insisted on realism in every aspect of the show. The dialogue was clipped, understated and sparse, influenced by the hardboiled school of crime fiction. Scripts were fast moving but didn't seem rushed. Every aspect of police work was chronicled, step by step: From patrols and paperwork, to crime scene investigation, lab work and questioning witnesses or suspects. The detectives' personal lives were mentioned but rarely took center stage. (Friday was a bachelor who lived with his mother; Romero, a Mexican-American from Texas, was an ever fretful husband and father.) "Underplaying is still acting", Webb told Time. "We try to make it as real as a guy pouring a cup of coffee." (Dunning, 209) Los Angeles police chiefs C.B. Horrall, William A. Worton, and (later) William H. Parker were credited as consultants, and many police officers were fans. Most of the later episodes were entitled "The Big _____", where the key word denoted a person or thing in the plot. In numerous episodes, this would the principal suspect, victim, or physical target of the crime, but in others was often a seemingly inconsequential detail eventually revealed to be key evidence in solving the crime. For example, in "The Big Streetcar" the background noise of a passing streetcar helps to establish the location of a phone booth used by the suspect. Throughout the series' radio years, one can find interesting glimpses of pre-renewal Downtown L.A., still full of working class residents and the cheap bars, cafes, hotels and boarding houses which served them. At the climax of the early episode "James Vickers", the chase leads to the Subway Terminal Building, where the robber flees into one of the tunnels only to be killed by an oncoming train. Meanwhile, by contrast, in other episodes set in outlying areas, it is clear that the locations in question are far less built up than they are today. Today, the Imperial Highway, extending 40 miles east from El Segundo to Anaheim, is a heavily used boulevard lined almost entirely with low-rise commercial development. In an early Dragnet episode scenes along the Highway, at "the road to San Pedro", clearly indicate that it still retained much the character of a country highway at that time. http://en.wikipedia.org/wiki/Dragnet_(series)
Views: 54762 Remember This
Suspense: The Lodger
 
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Often the two overlap. However, pure crime films/novels focus on a specific crime or set of crimes, and solving the mystery or tracking down the criminal(s), with no or little violence but more drama throughout. Thrillers are usually fiction-based and fast in pace, while crime fiction tend to be more leisurely paced, dramatic and realistic. Generally, violence is also lacking in a crime fiction, but this depends if the work is based on the mafia, where violence is intense.[17] Some crime films showcase more on the gangster life, personal drama of the criminals and even their biographical film (i.e., The Godfather). Crime-thrillers, on the other hand, have more threat and suspense in them and may involve espionage (spying), frequent killings and other non-criminal conflicts (i.e., Heat). Unlike crime thrillers, crime films usually offer a more serious, grim and realistic portrayal of the criminal environment, emphasizing character development and complex narratives over suspense sequences, chase scenes and violence.[18] In crime fiction, the hero might be a police officer, or a private eye, who can still be tough and resourceful. He is pitted against villains determined to destroy him, although, unlike in thrillers, not necessarily other people, the country or the stability of the free world. Unlike in crime fiction, thrillers keep the emphasis away from the gangster, melodrama or the detective in the crime-related plot, and rather focus more on the suspense and danger that is generated. http://en.wikipedia.org/wiki/Thriller_%28genre%29
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