he is perhaps best remembered for his voice roles between 1949 and 1960 in the bbc radio-comedy serial take it from here .

wallas eaton

wallas eaton ( 18 february 1917 – 3 november 1995 ) , sometimes credited as wallace eaton or wallis eaton , was an english film , radio , television and theatre actor .
wallas eaton ( 18 february 1917 – 3 november 1995 ) , sometimes credited as wallace eaton or wallis eaton , [ 1 ] was an english film , radio , television and theatre actor .
wallas eaton was born on february 18 , 1917 in leicester , leicestershire , england . he was an actor , known for
wallas heaton , actor : born leicester 18 february 1917 ; died australia 3 november 1995 .
a . leonard eaton is an actor , known for american coffee ( 2001 ) .
wallas eaton was born on february 18 , 1917 in leicester , leicestershire , england . he was an actor , known for complete and utter history of britain ( 1969 ) , up pompeii ! ( 1969 ) and the last wave ( 1977 ) . he died on november 3 , 1995 in australia .
michele a . eaton is an actress , known for p . d . q . bach in houston : we have a problem ( 2006 ) .
eaton was born in leicester , leicestershire , england . he was educated at the alderman newton school , and later would read history and english at christ ' s college , cambridge . eaton joined the army in 1940 , and served with distinction during world war ii , eventually becoming a major in charge of a searchlight battery .
eaton ' s stage career now really took hold and he was cast by joan littlewood in fings ain ' t wot they used t ' be ( 1959 ) .
wallas eaton temporarily hung up his ‘old wal’ hat , and became the spluttering newspaper letter - writer , ‘ disgusted of tunbridge wells’ , who literally showers his listeners with complaints . for the next season however , wal was back but now as one of the nouveau riche with pots of money , allowing him to buy his wife a diamond tiara to prevent her hair from dangling when she was frying fish .
eaton was born in leicester , leicestershire , england . [ 2 ] he was educated at the alderman newton school , and later would read history and english at christ ' s college , cambridge . eaton joined the army in 1940 , and served with distinction during world war ii , eventually becoming a major in charge of a searchlight battery . [ 2 ]
she was buried next to jack murray , who had died in 1979 , aged 90 , while his wife was rehearsing for the english farce by ben travers , the bed before yesterday at the theatre royal . in the best showbusiness tradition , hobbs got on with the show , not telling other cast members , including rachel roberts , wallas eaton , gwen plumb and barry otto . she buried her husband the day after opening night .
in 1944 , he appeared in shaw ' s too true to be good at the lyric theatre , hammersmith . eaton enjoyed a series of good , if small , roles , including appearing alongside vivien leigh at the phoenix theatre in 1945 in thornton wilder ' s the skin of our teeth . in films , eaton had a role in caesar and cleopatra ( 1945 ) .
in 1944 , he appeared in shaw ' s too true to be good at the lyric theatre , hammersmith . eaton enjoyed a series of good , if small , roles , appearing alongside vivien leigh at the phoenix theatre in 1945 in thornton wilder ' s the skin of our teeth . in films , eaton had a role in caesar and cleopatra ( 1945 ) . [ 2 ]
in addition to his work in radio on the long - running bbc radio comedy take it from here , eaton appeared in over twenty - five films and over fifty television productions . eaton debut for bbc television in arthur askey ' s top - rated series
before your very eyes
in 1952 , and he had parts in the frankie howerd series
up pompeii
and
the rivals of sherlock holmes
.
catchphrases had been a staple ingredient in comedy shows of the period , and tifh continued the tradition , jim winding up with the lion’s share . he began his monologues with ‘greetings , gentlefolk ! ’ ( which he was able to modify when addressing a party of opticians to ‘greetings focal gents ! ’ ) and if the audience failed to respond , his school - masterly cry ‘wake up at the back there ! ’ was always effective . dick would be put in his place with ‘gently , bentley’ ( which later became the title of a muir / norden penned show for dick ) or ‘black mark bentley ! ’ and when wallas eaton mentioned a girl supposedly from jim’s past , jim’s reaction was ‘what a ghastly name ! ’ . wallas’s character was ‘old wal from the buildings’ , who saw through jimmy’s ‘posh talk’ , being familiar with his working class background , and always urging him to ‘take the plunge , jim edwards’ and ‘learn a trade’ .
eaton joined the army in 1940 and served with distinction in the second world war , leaving with the rank of major in command of a searchlight battery . in 1944 he appeared in too true to be good at the lyric theatre , hammersmith . good , if small , roles continued , including an appearance with vivien leigh in the skin of our teeth , thornton wilder ' s
history of our world in comic strip
, at the phoenix in 1945 . films , however , failed to make much use of eaton , despite a promising debut in caesar and cleopatra ( 1945 ) .
wal
, the very common common man and voice of
professor
jimmy edwards ' s conscience , first made his heart - cry of
come ' ome , jim edwards , come back to the buildings where you belong !
on 4 january 1949 . and in one way or another he went on making this heart - felt plea right to the end , 10 years later , when the bbc ' s most popular radio series , take it from here , closed down .
wal
was wallas eaton , a straight actor turned funny - voice man via a string of stage revues and comedies including 1066 and all that ( 1947 ) , slings and arrows ( 1948 ) and for amusement only ( 1958 ) .
tifh was still not widely known at the end of the first series , but shortly into the second series , with a variety of voices provided by wallas eaton for the first time , came the unexpected death of tommy handley and the end of his famous radio show itma , leaving its repeat time slots vacant . tifh filled the saturday lunch spot and , gathering regular itma devotees , started to achieve national popularity . the shows were typically divided into three spots : the opening ‘stage patter’ , where issues such as jim’s waistline or dick’s cigarette advertising deal were discussed , a ‘gimmick’ sketch on a recent news event or a series of sketches on a particular topic ( eg : country life , education or popular music ) and finally a film parody . muir & norden tackled these in reverse order , allowing them to include topical references in the gimmick and the opening dialogue .
each series brought a fresh theme , with wal begging edwards to
save the buildings
or to go straight and marry -
take the plunge , jim edwards !
from 1953 eaton played the pub landlord to whom edwards as pa glum poured out the latest affairs of his dim son ron ( bentley ) and fiancee eth , played by the all - purpose genius june whitfield .
eaton ' s favourite pastime was sailing , and he made a trip to australia in 1975 to pursue his interest , after which he settled there permanently . he featured in the australian soap the young doctors in 1979 as roland perry , a rich friend of principal character ada simmonds . he also made a few appearances in later episodes of the television drama serial
a country practice
.
eaton ' s favourite pastime was sailing , and he made a trip to australia in 1975 to pursue his interest , after which he settled there permanently . he featured in the australian soap the young doctors in 1979 as roland perry , a rich friend of principal character ada simmonds . [ 1 ] he also made a few appearances in later episodes of the television drama serial
a country practice
.
in addition to working on the long - running bbc radio comedy take it from here , eaton appeared in more than twenty - five films and over fifty television productions . his debut for bbc television was in arthur askey ' s top - rated series
before your very eyes
in 1952 , and he had parts in the frankie howerd series
up pompeii
and
the rivals of sherlock holmes
.
in addition to working on the long - running bbc radio comedy take it from here , eaton appeared in more than twenty - five films and over fifty television productions . his debut for bbc television was in arthur askey ' s top - rated series
before your very eyes
in 1952 , and he had parts in the frankie howerd series
up pompeii
and
the rivals of sherlock holmes
.
as wal , eaton brought shame to the professor by revealing his humble roots in the buildings , presumably peabody ' s .
come ' ome , jim edwards ,
wal would plead ,
the eyes of the buildings is upon you ! don ' t desert them what reared you ! oh jim , they ' re goin ' to tear down the buildings and make a night - club for the troops . an ensa niterie .
his first stage appearance was at the theatre royal in his home town of leicester in 1936 . three years later he made his london debut playing the small part of the announcer in auden and isherwood ' s the ascent of f6 at the old vic . the following year eaton played the second priest in eliot ' s murder in the cathedral in 1940 and he followed this with what was his first comedy role , in the body was well nourished by sidney gilliat and frank launder .
radio was still the main source of family entertainment in the forties , and creeping up behind the poll - topping it ' s that man again , starring the nation ' s favourite funny man tommy handley , was a brand new post - war series entitled take it from here . written by the new team of frank muir and denis norden , the only unoriginal thing about it was its title . ( this was borrowed from a successful 1943 radio series starring richard haydn , the fabulous fish mimic . ) the three stars were professor jimmy edwards , an ebullient euphonium player , master dick bentley , ageing buffoon , and the glamorous songstress joy nichols . necessary character voices came from the bbc drama rep stalwart wilfred babbage , who was soon replaced by clarence wright , a refugee from itma . as a change from his silly salesman (
good morning ! nice day !
) , wright played henpecked harry hickory (
shush . . . i thought it was her for a minute !
) . the first programme was broadcast in 1948 , and when the second series opened in 1949 the voice of wallas eaton was heard on the air for the first time .
his first stage appearance was at the theatre royal in his home town of leicester in 1936 . three years later he made his london debut playing the small part of the announcer in auden and isherwood ' s the ascent of f6 at the old vic . the following year eaton played the second priest in eliot ' s murder in the cathedral in 1940 and he followed this with what was his first comedy role , in the body was well nourished by sidney gilliat and frank launder . [ 2 ] [ 3 ]
the 10th series began with a celebration , the 250th episode , and the glums became the main feature at the end of each show , a flashback story recounted by mr . glum into the uninterested ear of ted , the barman of his local . after a duet by dick and june ( alma had left after the last series ) the listener would be transported into the pub and above the noise of the crowd wallas eaton would insist ‘time , gentlemen please ! – drink up , mr . glum’ . there followed some classic stories , many involving ron in a predicament of his own design , with a sixpence stuck up his nostril , a yul brynner haircut , his head stuck between park railings , or marooned all night on an island in the middle of the serpentine . on other occasions it was mr . glum who was out of luck , deserted by his wife after he pawned her teeth , or suffering the indignity of getting his toe stuck in the bath plug hole . in this latter saga , eth’s assistance is required , but there is a problem with mr . glum’s delicate situation , so ron is ordered to empty packets of gravy browning into the bath till the water becomes so opaque they’d have got a ‘u’ certificate from any censor in the country .
following a promising debut for bbc television in arthur askey ' s top - rated series before your very eyes ( 1952 ) , eaton ' s television appearances were not very frequent . he had parts in the rivals of sherlock holmes and later in the frankie howerd series up pompeii . in 1975 he made a trip to australia , where he could indulge his favourite hobby of sailing . he decided to settle there - an intriguing choice considering his close involvement with dick bentley and joy nichols , both australians who preferred to live in england .
eaton was born in leicester in 1917 and educated at the alderman newton school . this led to christ ' s college , cambridge , where he read history and english . he made his first stage appearance in his home town at the theatre royal in 1936 , and his london debut at the old vic three years later , playing the small part of the announcer in the ascent of f6 . in 1940 he was the second priest in murder in the cathedral , which he followed with his first comedy role in the body was well nourished .
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- a few quiet questions ( 1976 ) . . . sir dennis o ' brien
john stone ( coffee factory ) / col . steiger / prison warder / . . .
- guess who ' s coming to sin ' er nymphia ( 1970 ) . . . sen . ludicrus sextus
- lysistrata the peace treaty ( 1970 ) . . . sen . ludicrus sextus
- secret agents jamus bondus ( 1970 ) . . . sen . ludicrus sextus
- what seems to be the trouble ? ( 1969 ) . . . dr . french
- rogues gallery : the fearful image ( 1969 ) . . . sir silas wintersett
- james the mcfirst to oliver cromwell ( 1969 ) . . . guy fawkes
- the great and glorious age of elizabeth ( 1969 ) . . . king of spain / bishop of filey / howard of effingham
- edward the first to richard the last ( 1969 ) . . . richard iii
- richard the lionheart to robin the hood ( 1969 ) . . . king john
- vie et mort d ' un réseau ( dt . : der zufall ) ( 1968 ) . . . peter barville
- everybody ' s rich except us ( 1967 ) . . . bennie sax
- a soirée at blossom ' s hotel ( 1966 ) . . . gert
- man o ' brass : pilot ( 1963 ) . . . mr . longbottom
- a place in the sun ( 1963 ) . . . mr . crispin
- the root of all evil ( 1963 ) . . . mr . crispin
- where there ' s a will ( 1963 ) . . . mr . crispin
- all our yesterdays ( 1953 ) . . . a gentleman in the coach
- ah ! the peace of it all ( 1950 ) . . . potter
he acted in lionel bart ' s musical ,
fings ain ' t what they used t ' be ,
in a joan littlewood production at the garrick theatre in london , england with avis bunnage , victor spinetti , glynn edwards , barbara windsor , toni palmer , yootha joyce , and george sewell in the cast . john bury was designer .
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ensa niterie ?
roared the prof .
that ' s insanitary !
so the gags continued .
your mum ' s being turned out without a doorstep to lay ' er ' ead on ! she ' s prostrate !
has she tried legal aid ?
asked edwards .
legal aid , orangeade , methylated spirits ,
answered wal .
that ' s why she ' s prostrate !
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born : 18 february 1917 , leicester , leics . died : 3 november 1995
the liberal middle - class mask well and truly slips in this intense love triangle drama penned by john hopkins .
director lindsay anderson and leading man richard harris put themselves on the map with this riveting study of a rugby - league player tormented by feelings for a grieving widow .
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he is perhaps best remembered for his voice roles between 1949 and 1960 in the bbc radio - comedy serial take it from here . [ 2 ]
o lucky man ! ( 1973 ) - john stone ( coffee factory ) / col . steiger / prison warder / meths drinker / film executive
palmer , howard ( 10 august 1965 )
hilarious night
. the age ( via google news ) . accessed 2015 - 09 - 19 .
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he is perhaps best remembered for his voice roles between 1949 and 1960 in the bbc radio - comedy serial take it from here .
sixties and seventies - pan & fontana , michel parry , richard davis , hugh lamb & co .
aickman , barnard , chetwynd - hayes & danby . the fontana horror , ghost , tales of terror series ' . . . and beyond .
gothic , victorian , edwardian . the stuff that wordsworth editions are made of .
miscellany of misery . yet more books , film , tv , radio , music , agro ! , sav . west , sci - fi , etc .
the past is catching up with me . . . the 1970s have just turned up ! that is , the bits of the 70s that revolved round terrifying television programmes , creepy comics , petrifying public information films , fright - filled films , ghastly games , and beastly books , and all the other things that made childhood so . . . ah . . . interesting in the 1970s . scarred for life volume one by stephen brotherstone and dave lawrence is a thick brick of a book , 740 pages wide , illustrated throughout , and with a free , full colour pdf copy if you buy the print edition . just flicking through it , it goes from the expected horrors of sapphire and steel , a ghost story for christmas , doctor who , quatermass , the pan books of horror , misty and spellbound comics , and so on , to more specific scenes or sequences that strike home - i thought i was the only one who found the revelation of the possessed baby in the sitcom soap utterly terrifying . i can imagine many of my fellow vault dwellers finding lots to enjoy within these pages , with chapters on nel , killer crabs , pulp paperbacks , and various horror comics getting a sizable chunk of coverage . ( in fact , i see our very own vault keeper listed in the acknowledgements now i look more closely . ) i think i ' ll be dipping into this one for some time to come . if i don ' t emerge again it ' ll mean i ' ve ended up trapped in a time - loop somewhere around 1977 and i may be some time in escaping . . . urltoken urltoken
- even at that early stage ( about this time last year ) it was a thing of rare beauty . think they ' ve also made substantial progress on vol ii : the eighties , which should put to bed once and for all the myth that the ' seventies were
the decade that fashion ( and taste ) forgot
. particularly enjoyed the sections on the pan horrors , richard allen ' s
novels and many of the days other terrifying paperbacks & comics , plus entries on hideous sit - coms and scores of tv shows i never heard of . arguably the scariest of all , a sequence devoted to the public information films that traumatised an entire generation . am really pleased they ' ve got the thing published !
from the first , i set myself against
literature
; the story was the thing , and no amount of style could persuade me to select a story that lacked genuine , unadulterated horror . for those who wanted something high - brow there was plenty . - christine campbell thomson
* aarrrrrgggghhh * ! ! ! ! yet another
must buy
- why do the gods of popular culture continue to torture me ? while obviously it ' s the 1970s with a british focus , the front cover alone brings back enough memories - good and bad - to make me desperately want a copy .
speaking of
hideous sit - coms
, what could be more appropriate than
love thy neighbour
, highlighted in the cover ' s lower right hand corner ? though if you think that was bad , the short - lived australian version - in which loveable small - minded bigot eddie migrates to oz - was even worse , if that ' s possible . . . . .
that got shown in the uk . my memories of it are vague , thankfully , but i recall seeing an episode or two . just one of several uk comedies that got picked up in australia after the uk version had been cancelled or was on a break , as ' doctor down under ' picked up after ' doctor on the go ' ended , and things like ' the two ronnies ' and ' are you being served ' had australian runs , and a stage version of ' steptoe and son ' toured australian theatres in the late 70s , years after the series had finished . the australian aybs is particularly odd . john inman and a bunch of old bbc aybs scripts in a different shop staffed by wonky semi - clones of the grace brothers staff . since the bbc original already seemed to be known in australia , i can ' t quite figure out why re - using already familiar scripts but with a cast doing iffy impersonations was seen as a good idea . unlike the australian ' love thy neighbour ' , i don ' t think any of the others got shown in the uk .
i suspect that as well as capitalising on the local popularity of the original versions , it may have been a relatively cheap and simple way to help some of the commercial stations to meet
australian content
broadcasting requirements . the aussie non - government networks have never really been noted for their originality when it comes to developing programs .
in roman times , patrick cargill would have been venerated as the living incarnation of the numen of the arched eyebrow and the veiled icy sneer . divinity in any age . . . cheers , h .
in roman times , patrick cargill would have been venerated as the living incarnation of the numen of the arched eyebrow and the veiled icy sneer .
in roman times he was the emperor nero . . . at least according to the
all the old comedy stars are going down under , i hear .
well , it ' s age , dear . ye - esss . it strikes us all and spares no - one . oh , what ? yes . no , don ' t . it ' s wicked to mock !
etc . . . meanwhile , back at the book , a few chapters in and working my way through the selection of essays on 70s children ' s programmes , i ' m pleased to say that the book is great fun to read . the authors have done plenty of research , but the text is far from dry . though it thankfully avoids the sneery tone some commentators will use when looking back on the decade , or an attempt at forced jokiness . a definite feel of a celebration of the era and the shows .
i ' m interested in that book . it ' s too bad it would most likely cost me around 30 bucks in postage to order it since i live in the us . there was a really interesting interview with the director of the lonely waters film in a book to which i contributed last year , unsung horrors . i did pay the thirty bucks to have that shipped over but don ' t think i will be springing for the sequel even though i am writing a couple of bits for it . cheers , h .
i ' m interested in that book . it ' s too bad it would most likely cost me around 30 bucks in postage to order it since i live in the us .
i did pay the thirty bucks to have that shipped over but don ' t think i will be springing for the sequel even though i am writing a couple of bits for it .
helrunar - it may cost you quite a bit less than that , since it ' s a print on demand book through lulu . i ' ve ordered a copy and i assume it ' ll be printed here in australia . the standard postage option i chose was only a few dollars , which is a fairly cheap domestic postage rate for what looks to be a rather substantial book . it ' s certainly worth following the link and finding out the cost before making a decision .
hi , i ' m one of the writers of the book . many thanks to those of you who ' ve bought it and i hope you enjoy it as much as we enjoyed writing it . if any of you have particular suggestions for the 80s book let me know !
the tomatometer score — based on the opinions of hundreds of film and television critics — is a trusted measurement of critical recommendation for millions of fans . it represents the percentage of professional critic reviews that are positive for a given film or television show .
movies and tv shows are certified fresh with a steady tomatometer of 75 % or higher after a set amount of reviews ( 80 for wide - release movies , 40 for limited - release movies , 20 for tv shows ) , including 5 reviews from top critics .
in northern england in the early 1960s , frank machin is mean , tough and ambitious enough to become an immediate star in the rugby league team run by local employer weaver .
spell - binding . the way lindsay anderson writes love letters to his leading men on screen . . . this bowled me over , there ' s an energy in anderson ' s film - making that makes you not want to miss a single moment . like 1968 ' s if . . . . which i saw a number of years ago , there are shots in this film that don ' t let you go for days , months , maybe years afterwards . immeasurable sadness in rachel roberts , and an unpredictability in richard harris that makes it impossible to look away .
has to contain the first - ever inclusion of william morris wallpaper as a symbol of decline - for that alone , this film is an instant favourite .
i kept thinking
richard harris looks a lot like jared harris from mad men .
20 minutes later , i realize they share the same last name and , more than likely , are father and son . i felt like an idiot .
let me first start by saying - why the hell have i never heard of richard harris ? my god , this guy gives an amazing performance , perfectly evoking pain , aggression , ambition , isolation and determination . all of these qualities portrayed deftly with a smidgen of vulnerability buried deep underneath all the macho - posturing .
watching richard harris ' performance as frank machin in lindsay anderson ' s 1963 masterpiece
this sporting life
you might be reminded of marlon brando ' s work in
a streetcar named desire
or indeed of robert de niro ' s jake la motta in scorsese ' s later
raging bull
, ( scorsese ' s film owes a great deal to
this sporting life
without ever quite measuring up ) . all three characters share the same animalistic intensity and an inability to communicate except in the most primordial level . this was the film that made harris a star and it ' s his greatest performance ; he was nominated for the oscar and won the best actor prize at cannes . his co - star is the great rachel roberts as the widowed landlady who takes machin into her…
richard harris and rachel roberts are immense as the working class dysfunctional couple where she ' s a widower whose husband may have committed suicide with a lathe at his factory thus denying her a pension , he ' s a dumb brute with a lot of heart and ambition who if he isn ' t winning at football may strike out violently at whomever ' s near . director lindsay anderson and cinematographer denys coop achieve a transcendent cinema - verite in beautiful black and white on a par with scorsese ' s / chapman ' s raging bull , which has to be an influence on that film . like de niro ' s jake la motta , harris ' frank machin is a brute who ' s inner humanity is brought out by the amazing actor under his skin .
i chose to watch this sporting life because of rachel roberts , who co - stars in one of my favorite films , picnic at hanging rock . i ' d say roberts actually gives a stronger performance in this sporting life , yet i was totally swept away by richard harris as boorish , macho rugby champ frank machin . he looks like the offspring of ryan lochte and an easter island head . frank is more deep and sensitive than he initially seems , of course , and harris plays him with tremendous care . really impressive .
he was a professional rugby player , he was picked up on the streets , and he delivered one of the finest roles of the 1960s . that is the story of “this sporting life” and its star richard harris . the irish actor had an outstanding career in the following years but this one , of a rough rugby player , remains his high point . here , he is a time bomb . for a first performance , harris destroyed it . i was blown away by the raw and ominous act , displaying a crude and animalistic man , unable to connect to other people . on one hand , he expresses the features of kowalski from “streetcar” – he’s truly loving , but because of his history and nature he cannot show…
richard harris broods like brando as rugby league player frank machin , a man who takes no prisoners on or off the field . harris shines through out but its the scenes he shares with rachel roberts as machin ' s landlady turned lover margaret hammond that stay in the memory . director lindsay anderson winds most of their scenes together so tight and tense , it always feels like something is going to snap as machin can ' t really express how he feels and hammond is doing her best not to feel anything at all .
for some reason its taken me this long to get round to watching this and it wasn ' t as good as i was expecting or wanted it to be but this kitchen sink / communal bath drama is much like frank machin . emotional and always ready to pack a punch .
a brutal kitchen sink drama with a tour de force performance from richard harris .
um dos momentos de maior intensidade dramática do cinema inglês e mundial moram na atuação soberba de richard harris neste longa . temos aqui uma explosão de energia , esmagando o tédio , a complacência e a hipocrisia da sociedade britânica . david storey adaptou seu próprio romance para a tela : lindsay anderson dirigiu e ganhou de richard harris uma performance para rivalizar com brando ( e é um páreo duro ! ) . ele é frank machin , um talentoso esportista que quer se realizar como um jogador profissional de rugby , mas é pungente no amor com sua senhoria viúva , interpretada por rachel roberts . frank é um superstar no campo ; ele tem dinheiro , sucesso com as mulheres e um senso de si mesmo que irrita a classe dominante abafada . frank é a coisa mais rara do cinema britânico da época : um sucesso . harris ganhou o prêmio de melhor ator em cannes e ambos ( ele e rachel roberts ) foram indicados ao oscar . uma obra prima !
richard harris looks , moves and acts like young brando . complex relationships and drives . classic ' s a classic for a reason .
highly regarded film that i did not take to . harris is excellent and anderson is a better than good director , here and most other films . do not have the film .
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pack your beach blanket for a bittersweet tale of love and summer ' s magic .
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the breakthrough film for both director lindsay anderson and star richard harris , this grim portrait of a tormented rugby player features what is likely the actor ' s finest performance and remains one of the few to explore the dark side of an athlete ' s life . frank machin ( harris ) emerges from the coal mines of yorkshire to wage war in the rugby scrum on his way to wealth and stardom . but the brutality that has taken him to the top corrodes all of his relationships , especially that with married paramour rachel roberts . in many ways a precursor to martin scorsese ' s raging bull ( 1980 ) , anderson records the relentless pounding of the scrum with a gritty immediacy , drawing a direct line from that bloody battle to the athletes ' destructive off - the - field behavior . along with albert finney , harris was one of the first british actors to be influenced by the work of marlon brando and the techniques developed by the actors studio , and it would not be wrong to think of the character of frank as a descendant of stanley kowalski . like many of their contemporaries in the era of the angry young man , both anderson and harris were also steeped in italian neorealism , another strong influence on the film ' s style and tone . while anderson would go on to produce more cerebral and explicit critiques of british society , none of his other films approach this one in terms of raw emotional power .
scottish writer and former vocalist for the punk band the skids , richard jobson makes his . . .
scottish writer and former vocalist for the punk band the skids , richard jobson makes his directorial debut with 16 years of alcohol , the stylized psychological drama based on his own semi - autobiographical novel . through voice - over narration and various flashback methods , troubled . . .
for many years , the blue gardenia was virtually a lost fritz lang film . financed independently , . . .
for many years , the blue gardenia was virtually a lost fritz lang film . financed independently , the movie wasn ' t widely seen at the time of its release , despite being distributed by warner bros . , and as it subsequently bounced between distributors , the . . .
leon prochnik adapted the evocative robert moresco play child ' s play for the screen , with sidney . . .
leon prochnik adapted the evocative robert moresco play child ' s play for the screen , with sidney lumet assuming directorial duties . beau bridges stars as a young teacher at an exclusive catholic boy ' s boarding school named paul reis . an outbreak of violence . . .
this two - part hbo miniseries is based on the pulitzer prize - winning novel by richard russo . having . . .
this two - part hbo miniseries is based on the pulitzer prize - winning novel by richard russo . having long since sacrificed youthful ideals and values to remain in his new england hometown for the sake of his family , middle - aged miles roby ( ed harris ) . . .
john slattery ' s feature directorial debut , an adaptation of pete dexter ' s first novel , god ' s pocket stars . . .
john slattery ' s feature directorial debut , an adaptation of pete dexter ' s first novel , god ' s pocket stars philip seymour hoffman as mickey scarpato , who lives in the gritty , blue - collar neighborhood of god ' s pocket with his wife jeanie ( christina hendricks ) , a lifelong resident . . .
star james caan made his directorial debut in the fact - based hide in plain sight . caan . . .
star james caan made his directorial debut in the fact - based hide in plain sight . caan plays a divorced husband and father who comes to visit his ex - wife and children , only to discover that they ' ve evidently disappeared from the face of . . .
though this interesting film was among many responsible for the critical success of french autuer . . .
though this interesting film was among many responsible for the critical success of french autuer robert bresson , it was by no means a commercial success . slightly different than his other films , director bresson utilized the contrasty photography of philippe agostini . . .
robert hall ' s drama lightning bug concerns a young man trapped in a small southern town . . .
robert hall ' s drama lightning bug concerns a young man trapped in a small southern town with an abusive stepfather . the young man has developed a remarkable facility at creating make - up effects for horror films , and he hopes these skills will . . .
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in the 1970s , jessica hathaway ( angela punch mcgregor ) joins the staff of brentwood hospital , a government facility for handicapped children in melbourne , australia . one of her patients is annie o ' farrell ( tina arhondis ) , whose cerebral palsy has kept her institutionalized since the age of 3 . convinced the girl , now 13 , has been misdiagnosed as legally retarded , jessica teaches her to communicate through a ouija board in this true story about the fight to free annie from institutional care . annie ' s coming out ( also known as a test of love ) is a 1984 australian drama film directed by gil brealey . it is based on the non - fiction book annie ' s coming out by disability activists rosemary crossley and anne mcdonald . the book tells the story of mcdonald ' s early life in a government institution for people with severe disabilities and her subsequent release .
it ' s important to note that this film covers events that took place in america during the 70s . released in 1982 , i first saw this film in the late 80s . i was actually staying in a residential disabled children ' s home at the time . the comparison with my lovely surroundings could not have been starker . where i stayed was a place of luxury compared to the miserable hospital annie was imprisoned in . i was outraged that people could be treated so badly . that said , the film does have it ' s moments that make you smile , and ultimately has a happy ending ( at least for annie ) . i hope that ' s not a spoiler , but i think it ' s important . if by the description of the film you ' re thinking this is for you , then it definitely is . i have also read the book , and as the write up above comments , there is much more to the true story that is not told in the film , so makes a good accompaniement . i was pleased a few years ago to receive an email from annie & rosemary , who are still fighting for the rights of disabled children in australia , although obviously times have changed dramatically thank goodness . i have seen this film many times , i practically know it word for word , but i ' ve ordered this as i really want to hear the commentary .
i had seen this film many years before and knew it was based on a true story . it ' s a good film about the empowerment of people who may have a disability ; one that everyone should see at least once in their life . maybe not quite as good as ' the miracle worker ' ( 1962 ) with anne bancroft in the story of helen keller but not far from it . i recommend it to you .
will not play on the two main dvd players . i borrowed a portable dvd player and this movie will play on this . shouldn ' t the dvd play on all of my dvd players ?
a true and very moving story . the young girl playing the role of annie is captivating . annie ' s story of discovery and ultimate freedom shouldn ' t be missed . i knew the story going into the viewing , and was pleased to see it was done beautifully .
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the first take it from here broadcast was on 23rd march 1948 , coinciding with jimmy’s twenty - eighth birthday , but seemed to pass by unnoticed according to reactions the next day . in fact the audience figures for the whole series were low , but largely thanks to charles maxwell’s support , it lasted six months . the shows settled into a format which was to see them through the next five series as well , and already familiar characters emerged , such as dick bentley’s poet who always began his monologue with the strangulated cry “oh mavis ! ” , and joy’s husky - voiced miss arundel , who interpreted every remark as a reference to her red - blooded fiancé , gilbert .
muir & norden delighted in puns , and later continued to indulge with their own radio show my word . tifh scripts were liberally injected with exchanges such as this between king henry viii and his valet : ‘cornelius , i must find a man who is minded to show his fealty towards me’ – ‘me , your majesty , me ! no man is more fealty - minded than i am ! ’ . another favourite mirth - raiser was the personal reference , and not a show went by without a gag about dick’s age . so there was jimmy unable to count the candles on dick’s birthday cake because the heat drove him back , jimmy agreeing that dick is his oldest friend : ‘there are friends i’ve known longer , but you’re the oldest ! ’ , and in tifh’s contribution to a special gala radio show for the coronation , dick is informed that he was asked to attend because he is the only actor on the bbc who’s been an elizabethan both times ! jim , of course , also comes in for a serve , common topics being his girth and his nasal appendages . in one opening , joy is praising window boxes with flowers in full bloom : ‘it must be lovely to lean out of the window and have a mass of sweet smelling foliage growing right under your nose , jimmy’ – ‘aren’t you being rather personal , dear ? ’
other program conventions such as the trite theme song and the staid closing credits were perverted : the tifh theme boasted that this was the show with ‘every minute packed with seconds’ , and the announcements at the end were of the ilk : ‘frank muir & denis norden wrote the script in a weekend and charles maxwell produced it in a weak moment’ , or for a special broadcast from the naval barracks at portsmouth : ‘charles maxwell captained the crew , while frank muir and denis norden as usual pumped the bilge’ . amongst the closing credits was the name herbert mostyn , which was not in fact a real person but rather the middle names of frank and denis respectively and represented their contributions , reading odd lines or taking on regular small parts .
with increasing popularity during the third series , impresario jack hylton suggested that the show could transfer to the stage , and the three stars appeared at the top of a variety bill at the victoria palace for a short while before moving to the prince of wales theatre . after a summer season at blackpool , the show opened at the adelphi in london on 31st october 1950 under the negotiated title take it from us . it was a spectacular production with a troupe of chorus girls , an adagio act , lavish sets , solo spots for joy , dick and jimmy ( the latter with assistance from his euphonium ) and a finale sketch ‘friends , romans , countrymen’ or ‘what a sphinx ! ’ , adapted by future carry on script - writer , talbot rothwell from a radio script by muir and norden . the show was a success , as proven by its long run of 580 performances over a period of a year , and it closed with only jimmy remaining of the three principals .


the sheep thief ( aka : sheep 's feast ) is a 1997 united kingdom 16 mm short film by asif kapadia lasting 24 minutes , and is kapadia ’s graduation film from the royal college of art .

the sheep thief

this is a drafting type game . players can play sheep cards to add sheep to the board , or play the sheepdog card to herd the sheep into their pens . once they are in the pens they are safe . if a thief card is played the thieves will move , if the encounter a sheep they will steal the sheep .
breed some sheep , and watch them prosper , but watch out for those shifty sheep thieves .
we’d love your help . let us know what’s wrong with this preview of the sheep thief by al walker .
but the one who enters by the gate is the shepherd of the sheep . …
not entering in by the door to the fold of the sheep , but climbing up another way , he is a thief and a robber .
whenever there was a sickness , the sheep thief came to care for the ill with soup and a soft touch . whenever there was work needing to be done , the sheep thief came to help with a lending hand . it made no difference if the person were rich or poor , the sheep thief was there to help . never accepting pay for his good deeds , he lived his life for others .
a man stops to help the unconscious boy , but when he discovers the stigma branded on the thief’s forehead , he abandons him again . luckily it starts to rain . the sheep thief wakes up and comes to his feet .
in short the sheep thief tells the story of a thief who , not unlike aladdin , survives by using magic . his development is vitalized through the use of the red scarf and by his progress as a magician . in the beginning the thief shows magic tricks to the brothers , but in the end he may be the cause of a cloudburst . it is then told that he is going to help other families with his magic . the magic represents the glimpse of hope that exists in the sheep thief .
the reflection of the sky colours the sheep thief ' s eyes in such a way that the two correspond . in this way , the film seems to suggest an underlying harmony between the two .
the trailer had a load of a number of sheep and one sheep was at the back of the bakkie with two male passengers ,
khosana said .
magic plays an important role in the sheep thief . one of the poetic highlights of the film is the scene at the market , in which the sheep thief tells the younger of the two brothers that he can make it rain . he asks the boy to look up at the sky and then sprays some water from a bottle at him . another of these moments we find in the scene in which the thief shows to the brothers how to make resin run from a tree trunk .
i can guarantee this truth : the person who doesn ' t enter the sheep pen through the gate but climbs in somewhere else is a thief or a robber .
when asked , the driver could not specify who the sheep belonged to or provide the documents for the stock .
truly i tell you , anyone who doesn ' t enter the sheep pen by the gate but climbs in some other way is a thief and a robber .
i assure you : anyone who doesn ' t enter the sheep pen by the door but climbs in some other way , is a thief and a robber .
jesus said ,
i am telling you the truth : the man who does not enter the sheep pen by the gate , but climbs in some other way , is a thief and a robber .
with the headline : screen : sheep bandits ; ‘orgosolo’ introduces de seta , director .
verily , verily , i say unto you , he that entereth not by the door into the fold of the sheep , but climbeth up some other way , the same is a thief and a robber .
it is through a refined use of classical dramatic elements in the setting of a short film that asif kapadia opens up his main character . the same can be said about the construction of the protagonist in the sheep thief .
very truly i tell you pharisees , anyone who does not enter the sheep pen by the gate , but climbs in by some other way , is a thief and a robber .
truly , truly , i tell you , one who does not enter by the door into the sheep fold , but climbs up some other way , the same is a thief and a robber .
verily , verily , i say to you , he that entereth not by the door into the sheep - fold , but climbeth up some other way , the same is a thief and a robber .
most certainly , i tell you , one who doesn ' t enter by the door into the sheep fold , but climbs up some other way , the same is a thief and a robber .
a carmarthenshire sheep rustler awaits sentencing after a ground - breaking investigation used dna evidence to prove a genetic link between the progeny of stolen sheep and secure a conviction .
i was introduced to al walker the author of , “ the sheep thief , ” through tracey jones the daughter of charlie “tremendous” jones who published al’s book and is now running the publishing company since her fathers death .
“truly , truly , i say to you , he who does not enter by the door into the fold of the sheep , but climbs up some other way , he is a thief and a robber .
the set - up and establishment of pov occur in the most dramatic sequence in the sheep thief . the pov of the film is fixed in this sequence that is defined and framed by the two shots of the boy lying unconscious on the sand . the pov of the boy finds its fixed form during the climax of the sequence as the thief hits his opponent’s eye and blinds him . though the sheep thief is not a film that in any way questions conventional cinematic codes or the position of the spectator , it provides an interesting solution to the problem of establishing the protagonist’s pov , in this case through the destruction of another pov . the action reduces the possibilities for identification . the spectator’s pov is established with a violence that is absent in the rest of the film . this sharpens our sensibility to the new world that opens to the thief and to us as spectators . at one and the same time , the dramatic moment in the set - up limits the possibilities for identification and opens the spectator’s eyes to the thief’s special world .
blood tests taken from lambs born from the sheep had corresponding genetic links to rams from the victim’s farm .
in the fictitious universe of the sheep thief , the protagonist is literally making the sky cry . he is the boy whose words come true . situated in the space between the realistic and the mythic plane , he binds the two together . like the water meeting on his face , he is a figure of transgression and mediation , reconciling binary opposites : always on the edge of society , the sheep thief connects the social world with the individuality of the outcast , belonging with loneliness , and wrong ( stealing ) with right ( doing magic ) .
al walker utilizes the parable of the sheep thief and the character of mr . taylor , a successful corporate board member and mentor , to remind us that anyone , anywhere can make a positive change in life .
truly , truly , i say to you , he who does not enter by the door into the fold of the sheep , but climbs up some other way , he is a thief and a robber .
the protagonist in the sheep thief is caught in the act of stealing a sheep , is branded on the forehead and expelled from society . the film is centred around his subsequent struggle to achieve social acceptance and recognition , and it largely obeys the laws and design of classical narration as it portrays the young indian boy’s efforts and eventuallyhis final fall . with a plot that easily summarised it is evident that the sheep thief doesn’t invest its 23 minutes in a complex narrative structure . hence the question arises as to how time is spent in this production .
kapadia’s film is entitled the sheep thief , which almost automatically leads one’s thoughts to vittorio de sica’s neorealistic classic , the bicycle thief from 1947 . kapadia’s film , like de sica’s , is shot on location , the dialogue is minimal and children and other amateur actors are seen in the leading parts . at the same time , the sheep thief tells a tragic and stark story about the absolutely lowest level of indian existence , while never losing sight of the beauty and possibilities inherent in this existence . as a story , the sheep thief has all the classical neorealistic virtues . the film can be seen as an adventure in a poor but beautiful india and as an illustration of the mechanisms that turn a boy into a thief . it is important to keep in mind that the quality of the film lies in its way of interweaving these problems with a simple plot , but what lifts it beyond just being good and sympathetic craftsmanship is its ambiguity . the richness in nuance is especially obvious in the description of the thief’s character and his development .
- - the former of these words means the petty thief who commits the smaller or unobserved robbery . the latter means the brigand or highwayman , and is applied ,
possibly inspired by the younger brother , the thief steals a golden lamp from a local temple . some young men from the village follow him and beat him up . an elderly man observes the attack and as he approaches the scene the attackers hurry away . the thief succeeds in turning the situation to his own advantage . he gives the lamp to the elderly man and tells him that he was trying to prevent the others from stealing it . the sheep thief is suddenly hailed as a hero . after that , the selling of the mangoes becomes a prosperous business .
finally , after having been approved by the village counsel the sheep thief is caught up by his past in the shape of the man who had branded him – an incarnation of destiny . eventually the protagonist’s fate is fulfilled . he must obey ’the law of gravity’ .
she discovered two things by this sight . one was that the sheep thief was only stealing the sheep in order to survive , not just for some fun or entertainment . the sheep thief only took what he had needed for that day to survive . two , that he was a young man about her age and suffering like this . that any one even herself could have ended up like this . trying to survive and fighting for her life every day . surviving in a small area of the woods in order to eat he had to steal sheep . the world was no longer perfect for lise .
in lise’s eye was finally reviled though what the reader see at the beginning . it also proved the point that the sheep thief only took what was needed , and nothing more . the ring that once meant so much to her was now as worthless as the handkerchief .
all who came before me were thieves and robbers , but the sheep did not listen to them .
once a thief , now a king , eugenides knows the palace of attolia better than anyone , even his wife , the queen .
of course the protagonist is more than just a construction in a film like the sheep thief . however it is still possible to extract some essential components from the figure . the main character in the film is , first and foremost , a child and a thief . he is therefore , by definition , both innocent and guilty . the character’s inner drive is embedded in this simple antagonism .
maybe out of pity for the sheep thief she held out her most precious item , her wedding ring . “but he did not take the ring . as she let it go it dropped to the ground as her handkerchief had done . ”
so he said to them again , “truly , truly , i tell you , i am the gate for the sheep .
the tale falls into three parts . ( 1 ) a flock of sheep disappear one by one . ( 2 ) tiger , or his equivalent , puts on the animal ' s skin in order to catch the thief . ( 3 ) the thief is caught , but escapes his captor ; or he provides a substitute ; or he is pursued and takes refuge in the roof .
a young boy gets caught stealing a sheep and is shaved of all his hair and branded with a mark on his forehead so that everyone will know that he is a thief and not to be trusted . dumped in the desert , the thief covers his marking with a headscarf and goes to the nearest village where he is taken in by a trusting family in return for his work . however , has be actually changed or is he still the same thief at heart ?
zee takes a look at this new and enhanced version of sheep & thief , a light drafting game for families . buy great games at urltoken find more reviews and videos at urltoken bgg link : urltoken
10 : 1 - 5 here is a parable or similitude , taken from the customs of the east , in the management of sheep . men , as creatures depending on their creator , are called the sheep of his pasture . the church of god in the world is as a sheep - fold , exposed to deceivers and persecutors . the great shepherd of the sheep knows all that are his , guards them by his providence , guides them by his spirit and word , and goes before them , as the eastern shepherds went before their sheep , to set them in the way of his steps . ministers must serve the sheep in their spiritual concerns . the spirit of christ will set before them an open door . the sheep of christ will observe their shepherd , and be cautious and shy of strangers , who would draw them from faith in him to fancies about him .
the fact that mak and gill so adamantly claim that the sheep they have stolen is their child seems to imply that they themselves are sheep ( because only a sheep can give birth to a sheep , right ? ) run astray . considering they are thieves ( or at least mak is ) this is an easy comparison to make . the newborn jesus is to be their shepherd . the angel summons the three shepherds to meet the infant jesus because they share a common profession . he summons his flock of shepherds because , like vincent pointed out , they believe in forgiveness , a common tenet of christianity . they seek out the sheep gone astray ( their literal sheep as well as mak and gill ) and ask the human sheep to admit their crime . they simply ask for a confession , another feature familiar to the catholic faith .
if sigismund would forget about his sheep to come and find her . “sigismund would look for her in all directions ; he would be unable to understand what had come of her and for a minute a short minute… . ” lise wanted sigismund to worry about her just like he had worried about the sheep . by doing this she encountered the sheep thief in her small void . “as she rose looked into the face of a man that was already in the shelter . ”
jesus said : i tell you for certain only thieves and robbers climb over the fence instead of going in through the gate to the sheep pen .
i tell you the solemn truth , the one who does not enter the sheepfold by the door , but climbs in some other way , is a thief and a robber .
the bicycle is however replaced by a sheep both as a main motif and in the title , as a reminder that kapadia’s film is located in india , primarily dealing with indian society . the sheep thief evidently draws inspiration from indian culture and film culture . a fact which is reflected , for instance , by the simplicity of the thoroughly composed pictures , the pronounced and sensuous colour scheme , the mythic condensed universe and the deliberately naive use of symbols .
but when the family tries to sell the fruit at the village market , no one is interested in buying their produce . the younger of the two brothers asks the thief if he can help them by using his magic .
[ the men ] were arrested and charged for possession of suspected stolen items . the nissan 1400 bakkie and sheep were confiscated .
. the difference between a thief and a robber , with the jews , was , that the former took away a man ' s property privately , and the latter openly ( p ) .
the two brothers were likable , but undisciplined , with a wild streak in them . their mischievous behavior turned serious when they began stealing sheep from the local farmers—a serious crime in this pastoral place , so long ago and far away . in time , the thieves were caught . the local farmers decided their fate : the two brothers would be branded on the forehead with the letters st for “sheep thief . ” this sign they would carry with them forevermore .
at the same time , we have a character who tries to hide his true identity . the main character’s hidden identity gives the film its tension and suspense . but at the same time it sets in relief an important aspect of the figure . the protagonist always represents the spectator’s eye and is therefore our main point of entrance into the fiction . the main character mediates between the real world outside and the fiction . the boy in the sheep thief is a stranger , and because of his secret he can never be an integrated part of the world of the family with the mango tree . this again qualifies him as the spectator ' s agent . throughout most of the film , the thief even carries a visible mark signifying this . the red scarf hides his second identity and thereby constitutes itself as sign of the boy’s main conflict and function . this is classical . but the division in the thief’s character also shows up on several levels . the thief is burned by the sun and by the stigma in his forehead , but at the same time , he produces rain and resin . he carries the sign of destruction , but he makes the family business prosper . the thief mediates several conditions and this tension and the development it encourages makes him attractive and open for identification .
amen , amen i say to you : he that entereth not by the door into the sheepfold , but climbeth up another way , the same is a thief and a robber .
later , we shall take a closer look at the ways in which kapadia establishes the point of view of the main character . the establishment of pov is a critical moment in any movie , but as i will try to show , the solution to the problem in the sheep thief is particularly refined . i shall also briefly situate the film with respect to genre . but first , back to the plot :
before leaving the family , however , the protagonist tears his scarf in two and hands the pieces over to the two kids . with pride they tie them around their foreheads , wearing them as a symbol of gratitude and admiration . the sheep thief is thus , in short , a story about a thief turning into a magician and a scarf thereby changing value : from being a piece of cloth used to conceal , it is turned into an emblem of honour .
( 2 ) the thief - catcher is
head - man
in edwards as in jamaica ; in barker he is a man who comes to town ; in wona , he is tacoomah ; in parsons , a lion gets in with the sheep and is taken as the plumpest of them .
in most solemn truth i tell you that the man who does not enter the sheepfold by the door , but climbs over some other way , is a thief and a robber .
i can make the sky cry
the protagonist tells the younger boy in the family at the market and plays a simple trick on him : he lures him to focus on the sky , then squirts water in his face , thereby giving the illusion that he can perform
magic
. the sheep thief is installed not only as an icon of theft , but also as an icon of magic in the eyes of the two young boys . that is why , when the family has difficulties selling their mangoes at the market , one of the boys asks the protagonist to do magic that will make people buy their fruits . in the following sequence , and almost as an answer to the request , the protagonist heads towards the temple , presumably to pray to higher forces for a miracle . but once again he is overwhelmed by his fate , which is communicated to the spectator by the film’s pov - strategy , where the frame is drawn from the religious icon of the temple to a golden jug . in the next scene , the sheep thief is running away with the jug , his latest object of desire , but he is watched and attacked during his escape . he nevertheless succeeds in holding on to the jug . one of the villagers , who witnesses the scene from a distance , misinterprets the situation and by an almost divine intervention , the protagonist is celebrated as the savior of the jug . in the mythic universe of the sheep thief misdeed is turned into virtue , and thanks to the reputation that subsequently arises around the protagonist and the family which has taken him under their wing , almost everyone in the village makes a pilgrimage to the family booth at the market . the sheep thief has , in a roundabout way , fulfilled the young boy’s request and the dividing line between theft and magic is erased as the former is metamorphosed into the latter .
in the film , the boy continues to steal but the spectator easily forgives him . we can understand the impossible situation he is in , but empathy is also dependent on the emotional involvement of the spectator . it is , as mentioned , a critical moment in most movies if this identification is well established . in the sheep thief the problem is solved both in an exciting and an effective way .
john williams , “the book thief” steven price , “gravity” william butler and owen pallett , “her” alexandre desplat , “philomena” thomas newman , “saving mr . banks”
the second shepherds’ play intends to make biblical stories interesting to a largely uninformed population , but the play seems to contain a very notable amount of material that had no biblical source . was the nativity scene involving the well - known thief , mak , stealing the shepherd’s sheep and calling it his “baby” purely for the audience’s entertainment or was there a deeper explanation ?
“truly , truly , i tell you , whoever does not enter the sheepfold by the gate , but climbs in some other way , is a thief and a robber .
“timeless truth i speak with you : whoever enters not by the gate to the sheepfold , but comes up from another place , is a thief and a robber . ”
verily , verily , i say unto you , he that entereth not by the door into the sheepfold , but climbeth up some other way , the same is a thief and a robber .
verily , verily , i say unto you , he that enters not by the door into the sheepfold , but climbs up some other way , the same is a thief and a robber .
truly , truly , i say to you , he that enters not by the door into the sheepfold , but climbs up some other way , the same is a thief and a robber .
“the farmers who unsuspectingly bought the sheep at market also deserve my thanks and appreciation for their assistance in this investigation along with colleagues from apha for providing the forensic opportunities . ”
the opening of this short by asif kapadia is overwhelming . under the burning sun , from an olympian high angle shot , we see a young boy lying on the glowing sand on the one side of two wheel - tracks . after the title - sequence we cut back in time . now , at ground level , we see the boy hiding in the dark city night . in front of a house , a sheep is tied up . the boy cautiously crawls out of his hiding - place , unties the sheep and grabs it . the theft is soon discovered and the boy , closely pursued by two men , runs through the narrow alleys of the city carrying the animal in his arms . when one of the pursuers reaches out to grab the sheep thief , the latter suddenly stops and hits him with a primitive weapon . the pursuer is hit in the eye and falls to the ground . the sheep thief finds a hiding place under a house , but when he is about to pick up a coin somebody lost in the street , he is discovered by the second pursuer . the punishment for theft is cruel . the boy gets a stigma burnt onto his forehead . his wild hair is cut and he is left to his fate on the sand outside the city .
however , the artefacts in the sheep thief are not completely detached from a realistic universe . the spectator does not witness a process of de - realisation by aesthetic means . what he does witness , however , is how the film’s stylistic emphasis throws objects into the foreground , thereby giving them additional meaning . they open a door to a mythic plane which coexists alongside the realistic one . therefore the universe of the sheep thief is not a uniform , prosaic one . it is , on the contrary , a world charged with meaning and connectedness . following this line of argument , to be rightfully understood , the artefacts in the film should be interpreted as mediating symbols : present in realistic space , referring to a mythic reality .
a victim - instigated inquiry within the farming community traced 21 of the sheep to llanybydder livestock market within two weeks , where they were bought by unsuspecting farmers .
truly , i tell all of you emphatically , the person who doesn ' t enter the sheepfold through the gate , but climbs in by some other way , is a thief and a bandit .
the film recounts their arduous trek across the rockcovered mountainside , a grim , doomed , solitary journey with a bitterly ironic conclusion . the motif is reminiscent of “the bicycle thief” and the rash of neo‐realistic postwar italian films , but the documentary‐style technique is spare and modern .
“truly , truly , i say to you , he who does not enter the sheepfold by the door but climbs in by another way , that man is a thief and a robber .
this magic represents the one glimpse of hope that exists in the sheep thief and at the same time it equips the protagonist with some of the inner tension that makes him interesting as an object of identification . i will later take a closer look at the creation of this figure of identification and in that connection , will naturally focus on the dramatic set - up in the film . but first i will briefly comment on both stylistics and genre relations .
warrant officer malebo khosana said police pulled over a bakkie pulling a trailer en route to senekal . it was alleged the sheep were being taken to lesotho .
john 10 : 1
truly , truly , i tell you , whoever does not enter the sheepfold by the gate , but climbs in some other way , is a thief and a robber .
alf ventress mounts a large - scale surveillance operation in an effort to track down the wool thief responsible for de - fleecing sheep in aidensfield . bernie finds himself in hot water when an estranged son arrives to bury his father - who is already six feet under . drama , starring james carlton and peter benson .
kapadia’s first visit to cannes was in 1997 , when his student film the sheep thief took second place in the cinefondation awards , and he has been a frequent visitor to the croisette ever since . in 2013 , he attended as an executive producer on amit kumar’s monsoon shootout , which played , as amy will , out of competition in a midnight screenings slot .
furthermore , like water , he is a link to fertility and life , which is pointed out in his relation to the family , whose material and spiritual needs he meets . this is very well reflected in the film’s final line , spoken by the mother answering her son’s question as to where the sheep thief has gone :
to help another family
, she replies promptly and resolutely .
a patient dyfed - powys police force waited for the sheep to lamb before requesting the animal plant health agency ( apha ) to blood sample lambs , which then linked them to blood samples from the farmer’s ram .
the ring by isak dinesen summary a young newlywed couple was going for a walk . they had just been married after ten or so years of secretly seeing each other because the woman ' s , lovisa ' s , parents would not approve . on their walk they come along a sheep master who needs the husband ' s assistance with his sick sheep . while talking with him he tells them of the thief that has been stealing his sheep and murdering people . this interests lovisa a lot . the husband tells lovisa to go home because it might take a while . on her walk home she comes up with a plan to see how much her husband truly cares for her . so she hides in some shrubbery to wait for him to look for her . while she ' s hiding , the thief / murderer appears in the shrubbery . he holds a knife to her neck but then puts it down . she carefully removes her wedding ring to offer for her freedom . she drops it and he kicks it away . she then drops her handkerchief and the thief picks it up and leaves . she goes to her husband and the only thing she tells him is that she lost her wedding ring . literary elements irony : lovisa did not want to have any secrets from her husband but by the end of the story , she kept the biggest secret from him . symbolism : lovisa ' s innocence - white dress and sunhat loss of innocence - lovisa leaves her hat with her husband . foreshadowning : loss on innocence - little red riding hood conflicts man vs . self : lovisa struggle with her change in character throughout the story . man vs . man : lovisa is on conflict with the thief in the shrubbery . theme the theme is that due to a loss of innocence ; one is forced to change . plot diagram exposition : background information to their lives so the reader gets a sense of who they are . inciting force : when lovisa first hears about the thief and is intrigued . conflict : when lovisa is confronted with her change and with the thief that causes the conflict . rising action : their walk up until . . . crisis : lovisa gives up her wedding ring to the thief . climax : lovisa sees the thief in the shrubbery with his knife . falling action : the thief leaves her in the shrubbery and she goes to her husband resolution : she tells her husband that she misplaced her wedding ring somewhere but won ' t tell him where
at the end of the film , we get a pay - off to ensure that the line
i can make the sky cry
becomes almost prophetic in nature : the sheep thief lies on his back on desert rocks , staring into the cloudless sky . the camera focuses on his face and shows the sky’s reflection in his eyes [ 3 ] . we cannot fail to see the tear running down his cheek . in an absolutely non - realistic scenario there is a sudden cloudburst . heavy rain starts pouring down from the blue sky and teardrops and raindrops melt together on the face of the protagonist .
all kinds of spiritual reasons are given for this campaign of lies , but ultimately it leaves weak believers exposed and unprotected before the “gates of hell” ( matthew 16 : 18 ) , and scatters the sheep away from the fold and the shepherds .
but soon the past catches up with the thief . the man who had branded him recognises him at the market , and the next day , the boy is expelled from the village . before he leaves , he divides his red scarf into two strips and gives one to each brother . the three boys lie on the sand outside the city and for a while they look up at the sky . suddenly it starts raining and the two brothers return home . the thief walks on and continues towards an uncertain future .
to help another family
, as the mother puts it when she and her two sons work around the mango tree again in the closing scene . and one of the boys replies :
he can help them with his magic
.
in his
researches concerning the book of sindibad
, pfls 9 : 144 . a rich herder camps beside a village at night . a prowling lion gets among the beasts . a thief comes and , feeling the animals to see which is the plumpest , lays hands upon the lion .
the story of the sheep - thief and the disguised watchman is popular in jamaica , especially in st . ann parish , and i have given three versions in order to show the range of variation and the persistence of the essential plot . i have abbreviated white ' s version without other change except the insertion of the incident of the misunderstood warning , which comes from another version and commonly precedes the episode of the
refugees in the roof .
besides these three versions , wona has the story , 30 - 36 , and in jekyll , 88 , tiger puts on a similar disguise at the conclusion of annancy and candle - fly ( see number 7 ) .
by several means , the process of falling is established as the centre of attention in the film . in the scene mentioned earlier , in which the family picks fruits for the market , specific emphasis is put on the mangoes’ movement from treetop to ground , which is accentuated by audio - visual means . it is clearly established how the fall of the mangoes can be considered a mise - en - abyme commenting on the boy’s social déroute . but as the mangoes’ fall proves to be fruitful , so does the sheep thief’s . the development of the protagonist is mirrored by the scar on his forehead , which is transformed from an ugly , inflamed wound attracting flies , into a beautiful rounded sign .
sheep present a serious problem in “bandits of orgosolo , ” the sincerely intended italian drama that arrived yesterday at the paris . a new young director named vittorio de seta has made his film modestly and well , but he never strays far away from his flock . the film is visual , original , poignant and intelligent , but it moves at a sheep ' s pace .
johannesburg - four men were arrested when they were found in possession of 14 stolen sheep , police in ventersburg , free state , said on sunday .
,
in this first verse , our lord ( as in ver . 7 ) meant at once to designate himself . this is not necessary . he rather summons the pharisees to recognize the fact that there is a door , a way of sure and divinely appointed admission to the
fold of the sheep ,
through which the veritable shepherd passes , bringing his flock with him by well - known voice and manner . later on , our lord claims to be the one way ' by which all under - shepherds can gain true access to the flock , and all the sheep of god ' s pasture can find protection and freedom ; but here he suggests the principle of discrimination between a true shepherd and a thief or robber . the
) , they had thrust him out from the fold of god . the true shepherd had sought and found this lost sheep , who is now standing near , in his presence and in that of the false shepherds . he teaches who the shepherd and what the flock of god really are .
( 1 ) the witty opening of the jamaica versions based on a compensation motive ( see numbers 22 and 63 ) , in which the rascal takes advantage of an open - handedness common to aristocratic wealth , does not occur outside jamaica . compare tremearne , fl 21 : 213 - 214 . in parsons , he pleads his wife ' s illness ; in edwards and barker , he is a mere thief . in barker , as in jamaica , the story accepts the absurdity that all the sheep have disappeared except the last .
is used in this place only , equivalent to
from some other quarter than the ordinary home of the shepherd
) . his purpose is not to benefit the sheep , but to seize them , or slaughter them for his own purposes (
i feel as if the nativity scene involving the thief , mak , stealing the shepherd’s sheep and calling it his “baby” was for the audience’s entertainment , but also had deeper meaning . i agree with someone above that this was during a time that people still didn’t know much about religion and just would have found this humerus , but the author obviously clearly knew the biblical story he was referencing and made it to be funny and made it so the story was more casual while also including a lesson . it also seems as if maybe the author was using mak to explain to the audience christ’s birth .
last year , three of the academy’s five best animated feature nominees received annie award nods prior to oscar placement : shaun the sheep movie , anomalisa , and inside out , which ultimately won both the academy award and the annie . the annies and the oscars have awarded the same film in the category 10 times since 2001 – the year the academy introduced its best animated feature honor . at the 1992 oscars , the annies’ first best animated feature winner , 1991’s beauty and the beast , became the first animated film in history to be nominated for best picture .
andrew paul thomas , aged 39 , bryncethin road , garnant , previously pleaded not guilty before forensic techniques proved he stole 50 pregnant sheep from near ammanford in january 2015 .
although it is the meeting with the friendly family that catalyses the thief’s transition from wild boy to magician , it is obvious that his stigmatization plays a major role in his development . had he not been discovered and literally torn out of the darkness that surrounds him in the beginning , he would never have met the family with the mango tree and there would probably not have been any progression at all .
is one who would use violent means to secure his purpose ( judas was a
thief ,
barabbas was a
robber
) . the false shepherd disdains the door , and climbs up some other way along his own selfish lines of action (
from some part of the fence , away from the door where the porter is watching .
most of the play deals with the efforts of three shepherds to keep a thieving scoundrel named mak from stealing their sheep ( these are the shepherds to whom the angels and the christmas star announced the birth of jesus ) . in spite of their vigilance , mak manages to steal a lamb . the scene in which mak and his wife , gil , try to pass the lamb off as their newborn baby is some of the best comedy ever written . the play ends with angels greeting baby jesus in the manger .
in the beginning it clearly represents how lise is young and naïve . not knowing of the danger around her . “it was not a long time since she has played with dolls… . ” as it goes on the reader can quickly discover something wrong with sigismund and lise’s marriage . by the quote , “so she was turned away by an impatient husband to whom the sheep meant more then the sheep . ” the sheep that sigismund owned and took pride in . that seemed more important then his wife . lise has not yet found out this fact showing her nativity to the world once again . her “perfect” world is still perfect to her , from her eyes . this perfect world that she had created is soon to be unraveled , like a ball of yarn with a cat playing with it .
eddis had heard several people , out of the thief ' s hearing , lamenting the loss of his acerbic comments on the court , but found that she missed his grin more . he still smiled from time to time , his smiles sweeter for their infrequency , but he no longer grinned .
casanova quinn , a decadent thief and black sheep to the most famous family in global super - espionage , gets kidnapped across parallel dimensions where survival means masquerading as the greatest secret agent the world has ever known . . . casanova quinn . the first volume of the ultimate in science fiction spy psychedelia collected in an ultra - deluxe oversized edition . at long last , all the covers , all the content , all the comics , between two gorgeous covers . by matt fraction ( sex criminals , satellite sam , hawkeye ) , gabriel bá ( umbrella academy , daytripper ) , and fábio moon ( daytripper , bprd ) . collects casanova # 1 - 4
i am out of town this week , so i asked my friend , asher intrater , to share a recent article he wrote on “scattering the sheep . ” it is a warning and reminder for believers in yeshua !
i think , like many elements in this play , that the scene in which mak steals the sheep is included because of it’s comedic entertainment . including the background story of mak and his wife , along with the stealing and the scene that follows where the shepherds find the stolen sheep , was an attempt to make the story enjoyable for the audience . however , enjoyment was not the only thing that the author intended for the audience to take away from this play . the author would not have made so many biblical and manger - scene references if he wasn’t trying to get across a deeper message . not being fully confident in my thinking about what the exact point the author was attempting to make , i will say that perhaps the author was trying to make the shepherds more personable by showing their vulnerability to mak and the lies that he tells . another point that i think is being shown is that even though mak is able to deceive the shepherds at first , he fails at the end because the three shepherds are able to figure out his wrong - doings .
firstly , mobil producing nigeria a subsidiary of exxon mobil is the operator of the nigerian national petroleum corporation ( nnpc ) / mpn joint venture . exxon mobil takes a gargantuan 40 % of the profits made from the venture while the “whole of nigeria” takes 60 % . we all know over 20 billion dollars of our profit grew wings just like the windfall of the gulf war . we should know that exxon mobil is the powerful thief called nnpc ravaging and plundering our resources with impunity .
an atmospheric short about young orphan who is caught stealing a sheep but is taken in by a family . will he fit in to his new village ? i loved the naturalistic acting and suspect that most of the cast ( there is no cast list for the film ) were not actors .
a young street kid , tashan , is caught stealing a sheep , branded and left for dead . he awakes , covers his mark and embarks on his journey . on a dirt . . .
the nameless thief helps two boys harvesting a mango tree and succeeds in becoming friends with them . he also shows some magic tricks to the boys , and step by step , they end up trusting him . the boys’ mother invites him to stay , provided that he help them with their daily harvesting work , which he does .
( 3 ) barker ' s version has a moralizing tendency ; it is the friend who accompanies the thief who , all a flash of lightning , detects the trap and escapes . in edwards , as in version ( b ) , the rascal shifts the burden to his unsuspecting accomplice and himself escapes , edwards and parsons both conclude with the episode of taking refuge in the roof , as in version ( c ) . for references see parsons , . 117 note 2 .
lise’s sense of the perfect world had just been shattered . “she had never in her life been exposed to danger . ” at first fear shot through her body . the sight that laid before lise is what brought terror though her . what stood before her was the sheep thief , now discovering this fact . “his arms hung down to his side , his right hand clasped the hilt of a knife . ” but soon she realized that there was nothing to be afraid of . “she sensed that the alcove had been turned into a convert . on the ground a couple of sacks formed a couch ; there were some gnawed bones by it . ”
amy winehouse documentary from the director of senna will play in the midnight secreenings section of the cannes film festival .
temporary inspector matthew howells thanked the carmarthenshire farming community for its patience , applauding the victim for the determination shown .