HDTenEightyP/NetNews huggingface dataset:
From: u906789@bruny.cc.utas.edu.au (Mark Julian Turner)
Subject: Re: Lets clear this T 101/800 thing up.
Organization: University of Tasmania, Australia.
Date: Wed, 8 Apr 1992 00:58:51 GMT

tmkk@uiuc.edu (K. Khan) writes:


>In article <579@grivel.une.oz.au> scavanag@neumann.une.oz.au (Steven Cavanagh) writes:
>>
>>Okay everybody, here it is, pure and simple.
>>
>>Arnie is a Cyberdyne systems 800 series model 101.
>>
>>It talks about the series models in the first movie. "the 600 series
>>had rubber skin..."

>Inconclusive. How do we know Ah-nold is not an 850 series in T2? Or a
>900 series? Or even a 999 series?

>What, they look the same, you say? So do a '91 and a '92 Mustang.

>Nowhere in T2 does Ah-nold say what series he is, so there's no way you
>can be certain.

AAAARRRRRRRRRRRRRRRRGGGGGGGGGGGGGGGGGGGGGGG!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

*calms down*

In "The Terminator" Kyle Reese calls the terminator a 800 series "...bad breath"In "Terminator 2 Judgment Day" the new terminator is a T-1000.
The terminators in the 1st and 2nd films are identical.
So, it isn't strange that some people(including myself) refer to the Arnold
Schwarzenegger character as a T-800...

Probably the best solution to this is to use the names which appear in the      credits at the end of the film which are :The Terminator and T-1000.
From: djones@megatest.UUCP (Dave Jones)
Newsgroups: rec.arts.movies
Subject: Re: re: Taxi Driver
Date: 14 Apr 92 23:17:34 GMT
Organization: Megatest Corporation, San Jose, Ca

From article <35124@nntpd.lkg.dec.com>, by seltzer@ics.enet.dec.com (Richard Seltzer):
> ... In retrospect, it seems that a number of the best 
> movies from the late 60s and early 70s had indeterminate endings, 
> where the main character winds up in approximately the same kind of
> position at the end as at the beginning.

Recall what was happening then, politically, militarily, and socially.

>  It seems that those same movies if done today would end quite
> differently, and decisively.

True.

> I think of The Graduate.  If made today it would probably end with the 
> emotional high when Dustin Hoffman runs out of the church with the girl.

_The Graduate_ is one of my all time favorites. It could not be done today,
even with a whoop'em up ending. Young audiences want "return to traditional
values" stuff. We are doomed to repeat the mistakes of the past.

> But made when it was, Mike Nichols kept it going for several more painful 
> moments, as the two of them sitting next to each other on the bus begin 
> to realize that nothing has been resolved, and stare blankly ahead.

I saw the ending quite differently. They seem to have escaped, *graduated*,
from the stifling expectations of family, society, and religion.
And where do they find themselves? In a public bus. They are completely
dependent on society still, and always will be. As they look to the
front of the bus, they think about the enormity of what they have
just done, realizing that they are not in a "happy ending", but in the
beginning of a life they will face without the nurturing of the families upon
which they have been totally dependent. When they look away from each
other and face the front, they face their futures.

> If Thelma and Louise had been made then and not now, it would have ended
> with them escaping off into the desert to an uncertain fate ...

It was made then, and it didn't end like that!

_Thelma and Louise_ is loosely based on a movie (a very good one) from that
time called _Butch Cassady and the Sundance Kid_. The movie ends with
thousands of bullets already in route to mince the two into steak tartar.
Not exactly ambiguous. (Gina Davis joked about the "ambiguity" of
their version in the Oscar telecast.)

> ...
> Have others out there noticed this difference in style then and 
> now?

I have noticed the phenomenon, but I put a different interpretation on
it. I see today's movie-makers pandering to the audience's escapism. It
is quite intentional. I have screenwriting books that put it very bluntly.
From: emura@en.ecn.purdue.edu (Christopher Y Emura)
Newsgroups: rec.arts.movies
Subject: Re: Who starred in 'Rabid'?
Date: 12 Apr 92 15:43:25 GMT
Article-I.D.: en.1992Apr12.154325.8132
Organization: Purdue University Engineering Computer Network

In article <12248@tamsun.tamu.edu> rlm7638@tamsun.tamu.edu (Jack McKinney) writes:
>
>     A friend of mine is trying to remember the name of the star of a
>movie she saw (a very bad one she also comments) called 'Rabid'. She
>believes she has done some X-rated movies as well. 'Rabid' doesn't
>appear to be listed in the actresses list, so I can't find her there.
>

  I believe that the actress your friend is "trying to remember" is
Marilyn Chambers (my spelling is probably wrong).  Yes, I do believe
that she did some X-rated movies as well.  I hope this helps.



Chris
-- 
Christopher Y. Emura        | School of Electrical Engineering 
E-Mail:                     |        Purdue University         
emura@en.ecn.purdue.edu     |     West Lafayette, Indiana
From: ddrumm@amiganet.chi.il.us (Daniel Drumm)
Newsgroups: rec.arts.movies
Subject: Re: Another Blooper
Date: 15 Apr 92 06:16:00 GMT
Organization: Amiga Network Information Systems

In article <1992Apr13.205634.10962@ux1.cso.uiuc.edu>, tmkk@uiuc.edu (K. Khan)
writes:
>In the James Bond movie "Diamonds Are Forever," there's a scene in which
>Bond and Tiffiny are driving a red Mustang Mach I through a rather
>narrow alley. The ever resourceful Bond tips the car up onto two wheels
>to squeeze through the narrow part. The amazing thing is, the pair of
>wheels he's driving on at the start of the narrow passage are not the
>same pair he's driving on at the end of it. ;-)
Lee Iacooca designed the Mach I that way. It jumps from being tipped on
one side over to the other side in order to cut down on tire wear. Lee was miles ahead of the crowd on that one...you'll find that feature standard on all new 1993 Chryslers.
From: steinarb@idt.unit.no (Steinar Bang)
Newsgroups: rec.arts.movies
Subject: Re: Info on Michael Biehn?????
Date: 13 Apr 92 14:58:29 GMT
Distribution: rec
Organization: Norwegian Institute of Technology, Trondheim, Norway

>>>>> On 8 Apr 92 19:01:20 GMT, margaret@cs.arizona.edu (Margaret Newman) said:

> I don't have any information on him, actually.  But I certainly
> enjoy him in a movie and the other night on Pay-Per-View I saw a
> commercial for a movie called "Timebomb".  He was the main
> character.  I never heard of this out at the theaters, so it must of
> had problems of some kind.

Never reached the theatres here in Norway, I rented it on video. (if
they don't deem 'em worth importing then it is very often an
indication of the entertainment value,... if not the quality. Video
stores, on the other hand, will import anything to fill their
customers insatiable demand for violence/thrillers/action movies).

> Anyway, it looked pretty good to me.

Well,... it wasn't. It was boring and, at times, illogical. To show you
the quality of the movie: we rented two films, since they had a "Two
*New* Films For the Price of One" offer. The other film was "Suburban
Commando" featuring Hulk Hogan. All of us watching agreed that "SC"
was the, by far, most entertaining of the two.

On a side note:
"Timebomb" contained an almost excact rip-off of the "Terminator"
motel sequence. However, I don't think Patsy Kensit measres up to
Linda Hamilton [*]

- Steinar

[*] Then again: I don't think *any* actress does... :-) :-)
From: conrad@brahms.udel.edu (Jon Conrad)
Newsgroups: rec.arts.movies
Subject: Re: Censorship of nudity (was Re: Photo of minor)
Date: 8 Apr 92 17:29:51 GMT
Distribution: usa
Organization: University of Delaware

In article <1992Apr8.143246.1698@kong.gsfc.nasa.gov> jonke@kong.gsfc.nasa.gov (Stephen Jonke) writes:

>Any film that has a full frontal nude of a male in it generally gets an
>X (or NC-17 these days) rating...

Haven't all our lists proven that this isn't so at all?  The low number
of instance of male FF nudity in movies is not because of a rating
problem, but because the actors often don't want to do it.  (And the
[male] directors and producers understand all too well how they feel,
and are inclined to oblige them....)

Jon Alan Conrad
From: oliver@athena.mit.edu (James D. Oliver III)
Newsgroups: rec.arts.movies
Subject: Re: Jo Anne Worley
Date: 10 Apr 92 23:16:41 GMT
Organization: Massachusetts Institute of Technology

In article <1992Apr10.062755.28225@mv.mv.com> mem@mv.mv.com (Mark E. Mallett) wrote:
> When I was a teenager (a long time ago) I was a (er, *the*) junior
> photographer for a daily newspaper in NH, the Concord Monitor.  This
> job gave birth to a great many embarassing situations.  

[story deleted]

Well, it could have been worse, you could have been working for the
Onion-Lecher.  

--
____________________________
	Jim Oliver  
	oliver@athena.mit.edu /	joliver@hstbme.mit.edu
	oliver%mitwccf.BITNET@MITVMA.MIT.EDU
Newsgroups: rec.arts.movies
From: merlyn@iWarp.intel.com (Randal L. Schwartz)
Subject: Re: naked ellen barkin (was Re: Eroticism without nudity)
Reply-To: merlyn@iWarp.intel.com (Randal L. Schwartz)
Organization: Stonehenge; netaccess via Intel, Beaverton, Oregon, USA
Date: Mon, 13 Apr 1992 21:21:10 GMT

In article <1992Apr13.151324.1@mscf.med.upenn.edu>, captiveall@mscf (Mr. 14's Ubiquitous Drama) writes:
| In article <1992Apr9.173822.18985@iWarp.intel.com>, Randal L. Schwartz writes:
| 
| > And, according to "The Bare Facts Guide", Ellen used a body double for
| > the scenes in "Sea of Love".  I don't remember what it said about "The
| > Big Easy".  She *did* appear naked in Siesta, if it really matters.
| 
| which begs the obvious question, why would an actor/actress use a body
| double in one movie, yet be willing to "bare all" in another?  does it
| have to do with "degrees" of nudity? ("i'll do that, but i most
| definitely won't do *that*!).

I'll bet that since Siesta was earlier in her career, she was willing
to do it ("gimme a part... what?  nudity? ... (I need the money) ...
ok.").  Now that she thinks she's bigtime, she can say no.

On the other hand, it might also have been a decision by the director.
Sometimes, a body double is used not because the actor doesn't want to
be filmed nude, but because they don't have the exact right shape
(according to the director).

I wasn't that impressed with what I saw in Siesta (other than it being
Ellen Barkin).  The body in Sea of Love was much more, er, uh,
"stimulating".  That may have been why.

Just another moviegoer (and triggered by beautiful female bodies),
-- 
/=Randal L. Schwartz, Stonehenge Consulting Services (503)777-0095 ==========\
| on contract to Intel's iWarp project, Beaverton, Oregon, USA, Sol III      |
| merlyn@iwarp.intel.com ...!any-MX-mailer-like-uunet!iwarp.intel.com!merlyn |
\=Cute Quote: "Intel: putting the 'backward' in 'backward compatible'..."====/
From: wood@jfred.siemens.com (Jim Wood)
Newsgroups: rec.arts.movies
Subject: Oscar Trivia Answers (60)
Date: 6 Apr 92 16:35:58 GMT

I forget if I posted the answers ...

1. "It Happened One Night" (1934), "One Flew Over the Cuckoo's
    Nest" (1975), and "The Silence of the Lambs" (1991) all swept
    the 5 major Academy Awards (picture, director, screenplay,
    actor, and actress).

2. Jodie Foster won her second best actress Oscar 3 years after
    her first.  Three other actresses have done this:
      Bette Davis: "Dangerous" (1935) and "Jezebel" (1938),
      Olivia de Havilland: "To Each His Own" (1946) and "The Heiress" (1949).
      Glenda Jackson: "Women in Love" (1970) and "A Touch of Class" (1973).

3. Six films have won both best actor and best actress:
      "It Happened One Night" (1934): Claudette Colbert and Clark Gable
      "One Flew Over the Cuckoo's Nest" (1975): Louise Fletcher and
	Jack Nicholson
      "Network" (1976): Faye Dunaway and Peter Finch
      "Coming Home" (1978): Jane Fonda and Jon Voight
      "On Golden Pond" (1981): Katharine Hepburn and Henry Fonda
      "The Silence of the Lambs" (1991): Jodie Foster and Anthony
	Hopkins

4. Alan Menken and Howard Ashman won the same pair of Oscars for
    musical score and original song in "The Little Mermaid" (1989)
    and "Beauty and the Beast" (1991).

5. "The Silence of the Lambs," with 5 Oscars, and "Terminator 2:
    Judgment Day," with 4 Oscars, won the most number of awards for
    1991.

Jim Wood [wood@siemens.siemens.com] (609) 734-3643
  "Even if complaints about man-bashing in this film were 99% true, it still
   wouldn't make up for the years of portraying women as bimbos in movies."
     - Geena Davis, about "Thelma & Louise"
Newsgroups: rec.arts.movies
From: patstew@oz.plymouth.edu (Pat Steward)
Subject: Spielberg's Peter Pan motif
Reply-To: patstew@oz.plymouth.edu (Pat Steward)
Organization: Plymouth State College - Plymouth, N.H.
Distribution: na
Date: Tue, 7 Apr 92 14:21:08 GMT

I have to do an informal paper on the "Peter Pan" motif in Spielberg's
films.  Other than "Hook", which I plan to mention only briefly, what
Spielberg films do you all know of that contain that theme?  I have
some ideas already, but would prefer not viewing his entire catalog if
I don't have to.

Please reply by e-mail.  Thanks.
-- 
Pat Martin Steward                          patstew@oz.plymouth.edu
I myself have never been able to find out precisely what feminism is;
I only know that people call me a feminist whenever I express senti-
ments that differentiate me from a doormat.       Rebecca West, 1913
Newsgroups: rec.arts.movies
From: gmark@cbnewse.cb.att.com (gilbert.m.stewart)
Subject: Re: buckaroo banzai--good?? bad??
Organization: AT&T
Distribution: na
Date: Fri, 17 Apr 1992 21:14:14 GMT

In article <1992Apr17.163253.28118@aplcen.apl.jhu.edu>, dgg@llcn2.jhuapl.edu (Dave Gawron) writes:
> In <1992Apr16.182023.15105@panix.com> schuster@panix.com (Michael Schuster) writes:
> 
> >>That's interesting.  Did they also bleep out the part where Whorfin is
> >>ranting:
> >>
> >>	"Blacks... are here in New Jersey... coming to destroy us..."
> >>
> 

Now you've got my curiosity up.  Weren't they referring to the
"Black Lectroids"?  And weren't they weren't they the good guys?
I don't remember.

GMS
Newsgroups: rec.arts.movies
From: luoni@bosco.mlb.semi.harris.com (Perry Luoni)
Subject: Re: Jabberwoky (?)
Date: Wed, 15 Apr 1992 15:21:14 GMT
Distribution: usa
Organization: Harris Semiconductor, Melbourne FL

Jabberwoky is a Monty Python movie.  It is one my least favorite 
of the Monty Python movies.  It is out on video.  I does have some 
funny moments but it is slow at times also.  The best of the Monty
Python movies is THE HOLY GRAIL
Newsgroups: rec.arts.movies
From: garrem@aix.rpi.edu (Matthew Olsen Garretson)
Subject: Re: Sleepwalkers - SPOILERS
Organization: Rensselaer Polytechnic Institute, Troy NY
Date: Sat, 11 Apr 1992 14:23:23 GMT

Bleah... what a lousy movie.  And didn't those cats have anything better to do
than just sit around in the front yard??  And once he had the Mustang, why
did he change it back to a Trans Am??  

Starting at the "dance with charlie" scene near the end, it seemed that the
movie was trying to take a stab at Evil Dead 2 silliness... but it fell short.
The funniest part was when the cop shot one of the shifters and also blew 
away the cat that was hanging on the shifter's back. Mreow! That why-don't-I-
throw-the-bear-trap-onto-the-monster's-head thing was pretty funny, too.

Oh well, at least we got to see Shelley biting her lip a lot. 


-- 
Matt Garretson                       :-)                          garrem@rpi.edu
From: sjm@cocamrd.mel.cocam.oz.au (John Machin)
Newsgroups: rec.arts.movies
Subject: Re: Third Policeman
Date: 9 Apr 92 08:20:32 GMT
Organization: Co-Cam Computer Group, Oz

In article <9204030438.AA24248@emunix.emich.edu> lt503_424960@EMUNIX.EMICH.EDU (Void where prohibited by law.) writes:
>In Article 84566 of rec.arts.movies Jeff Davis writes:
>
>>There's a whole comic "tradition" of works about the restless dead. "The
>>Trouble With Harry" by Hitchcock. "The Busy Body" by Donald E. Westlake.
>>"The Third Policeman" by Brian O'Nolan. I'm sure there are gazillions of
>
>The Third Policeman?  There's this wonderful book by that title by Flann
>O'Brien but I can't quite see it as a movie somehow.  Is the title just
>a coicidence or did they really make the book into a movie.  If so, give
>details . . . please . . . 
>

Brian O'Nolan wrote his novels under the name of Flann O'Brien.
As well as "The Third Policeman", he wrote "At Swim-Two-Birds" and
"An Beal Bocht" (sp?) later translated from Irish into English
as "The Poor Mouth".  He also wrote a satirical column in the Irish
Times for many years under the name of Miles na Gopaleen.

I don't know if "The Third Policeman" was made into a movie.  Anyone?
Anyone?



-- 
John Machin
Co-Cam Computer Group
18 Trenerry Crescent, Abbotsford, Victoria 3067, Australia
Phone: +61-3-286-3456  Fax: +61-3-417-7857  ACSNet: sjm@cocam.oz.au

If he was suspicious of adventuring heroes, it was because like that gentlest
of dons, Quijote, they were wont to destroy useful windmills in the name of
dragomachy.  --  John Barth, "Giles Goat-Boy, or, The Revised New Syllabus"
From: rspence@mpd.tandem.com (Russell Spence)
Newsgroups: rec.arts.movies
Subject: Re: Movie Title!
Date: 8 Apr 92 16:36:04 GMT
Organization: Tandem Computers (MPD) Austin, TX

In article <jday.1@utkux1.utk.edu> jday@utkux1.utk.edu (Jeffrey L. Day) writes:
>
>                     All I remember is that the team
> did not know how to prepare for the Olympics so they
> adopted the training methods of the ancient Greeks.

	You mean they trained in the nude???

	:-)
	:-)
	:-)

-- 
------------------------------------------------------------------------------
Russell Spence							 Austin, Texas

What if we built this huge wooden badger?
Newsgroups: rec.arts.movies
From: fehr@ms.uky.edu (Jeff Davis)
Subject: Re: NEWSIES
Date: Tue, 7 Apr 1992 18:45:29 GMT
Organization: JJ Gittes Investigations
X-Bytes: 

mark.r.leeper writes:
>				   NEWSIES
>		       A film review by Mark R. Leeper
>
>	  Capsule review:  The story of the 1899 newsboy strike
>     in New York City is told with about the same liberty that
>     MATEWAN took. 
>
There is an odd tone to this capsule that needs a clarification. What do     
_you_ mean when you say "the same liberty that MATEWAN took." Is that the
"same liberty" that, say, "JFK" took with the Kennedy investigation. Or the 
"same liberty" that, say, "The Third Man" took with post-war Vienna.
The phrase is more than a little ambiguous given that both movies are
about labor struggles in which "Which Side Are You On" is an important
question. One stress implies discredited propaganda, the other imaginative
expansion. 
-- 
Jeff Davis <davis@keats.ca.uky.edu>  
You may think you know what you're dealing with here, 
but believe me, you you don't.
From: jrs@netcom.com (John Switzer)
Newsgroups: rec.arts.movies
Subject: New Predator II Question
Date: 14 Apr 92 22:54:55 GMT
Distribution: na
Organization: Netcom - Online Communication Services  (408 241-9760 guest)

Okay, now that the gun from the 18th century question has been solved, 
can anyone explain to me who was the father of the female cop's baby? 
Was she married? Was she just going out with one of the other cops?
Which one? Did I miss something really obvious in this? (The last one
I can answer - "probably")


-- 
John Switzer-Hoek          | "You hear it, you see it, 
(note yuppy hyphenation)   | you want to turn away, but 
74076.1250@Compuserve.com  | you CAN'T! It's Ren and Stimpy!"
jrs@netcom.com             | Happy, Happy, Happy, Joy, Joy, Joy!
Newsgroups: rec.arts.movies,rec.arts.sf.movies,alt.cult-movies
From: gberigan@cse.unl.edu (Life...)
Subject: Re: T2 - Why didn't Sarah die???
Organization: Ursa Minor Beta, 402-476-8047 @ 2400
Date: Mon, 6 Apr 1992 02:28:51 GMT

jess%miracle@merk.com (Shi'nayne) writes:

>Wait a minute here.  In T2, the T1000 pins Sarah to a wall, and tries
>to make her call to John.  She refuses.  He had the required physical
>contact with her to assume her form, why didn't he kill her right then???

He needed a voice sample as well.  She unwittingly gave it to him with
her curse.

The "physically contact" thing though is strange.  Why not take the
visual record and reform, and add the sound sample?

>Warrior Queen
>jess%miracle@merk.com

--
  ///   ____   \\\       | CAUTION:
  | |/ /    \ \| |       | Avoid eye contact.  In case of contact, flush
   \\_|\____/|_//        | mind for 15 minutes.  See a psychiatrist if
       \_)\\/            | irritation persists.  Not to be taken
gberigan `-' cse.unl.edu | seriously.  Keep out of sight of children.
From: tzung@cbnewsf.cb.att.com (tzung-i.lin)
Newsgroups: rec.arts.movies
Subject: Identify two French movies titles for me?
Date: 17 Apr 92 17:20:35 GMT
Article-I.D.: cbfsb.1992Apr17.172035.3129
Distribution: usa
Organization: AT&T

And also please indicate their availability on video.

1. A film by Claude Lelouch (sp?), I remember saw this one
in an art theater in LA which was titled "The Bandits" (or "The Gangsters"?)
It's about a thief/robber called "Mozart" who falls for a beautiful
girl whose father was a famous thief. The girl's mother was murdered
and her father was set up and caught by the police. The girl was sent
to a Switzerland boarding school. Years later, she came back to 
France to welcome her father released from the jail, only to find
her father is about to revenge the death of her mother. The girl has
a Switzerland boyfriend and hated her father's "occupation" and 
therefore dislike "Mozart". But later development involves
her love/hate relationship with Mozart in an interesting twist. 
A genuine film similar to the style of _Diva_, but less successful.
Can anyone help me identify the French title and its video availability?

2. Now, the second one can be a challenge to identify.
One reason is that I saw this film 10 years ago, and couldn't 
remember the plot. The second reason is that it's not popular.
I only remember the leading actress, she appeared in Forbidden Games
(a B/W WW II film, Criterion has a LD release), the little girl!
This was her second film shot when she was about 18 or 20.
The story begins with a young man who dislike the school life and jumped
on a wagon (or a carriage). After sometime, he arrived at a big
chaetou where a big party is going on. He wandered through a dream-like
sequence and walked into a room where he spotted a beautiful young girl
who was teaching a group of children playing piano (? not sure whether
it's piano or what). then he was dragged out by his newly acquiented friends
from the carriage to outside to join the party. The next morning (?)
all the guests are walking in a woods with streams, bridges crossing
the woods. The young man met the girl again while they passed
by each other on a bridge. Then all of a sudden his friends
dragged him and left the chaetou. After returning to his town,
he kept thinking about the girl, but didn't know where that chaetou is!
Later on, he went to college in Paris, and came back years later to find 
the girl in a small cottage. Her family lost their property and their
wealth. They got married, but something happened (I forgot what),
the man has to leave his wife to search for his best friend (for some
urging reason). When he finally returns after finding his friend and
solve the problem, he finds his wife has passed away leaving behind
a child of theirs. It's not a popular film, and is not a great film
either, but I like the leading actress alot. She only has two
films in her career, first in Forbidden Game, then this film.
Anyone who knows what I'm talking about ??

I would appreciate any information. Thanks in advance.

Tzung-I
tzung@hugo.att.com
 
Newsgroups: rec.arts.movies