prompt_front: Answer the question based on the given passages. Only give me the answer and do not output any other words.

Question: Which film came out first, Una Prostituta Al Servizio Del Pubblico E In Regola Con Le Leggi Dello Stato or The Bag Man?

The following are given passages.
Context 1: Passage 1:
The Police Serve the Citizens?
La polizia è al servizio del cittadino? (internationally released as The Police Serve the Citizens?) is a 1973 Italian giallo-poliziottesco film directed by Romolo Guerrieri  The film is set in Genova 

Cast
Enrico Maria Salerno: Commissioner Nicola Sironi
Giuseppe Pambieri: Commissioner Marino
John Steiner: Lambro
Venantino Venantini: Mancinelli
Alessandro Momo: Michele Sironi
Memmo Carotenuto: Baron
Marie Sophie Persson: Cristina
Daniel Gélin: Ing  Pier Paolo Brera
Gabriella Giorgelli: Eros, Prostitute
Enzo Liberti: Greengrocer

Release
The film was released on August 25, 1973  It was distributed by P I C  in Italy  The film grossed a total of ₤1 033 billion in Italy 
Passage 2:
Bag-in-box
A bag-in-box or BiB is a container for the storage and transportation of liquids   It consists of a strong bladder (or plastic bag), usually made of several layers of metallised film or other plastics, seated inside a corrugated fiberboard box 

Features
The bag is supplied to the company which will fill it as an empty pre-made bag  The company filling the bag with its product generally removes the tap, fills the bag (with wine, juice or other liquid) and replaces the tap and then the bag is placed in the box  
The bags are available as singles for semi-automatic machines or as web bags, where the bags have perforations between each one  These are used on automated filling systems where the bag is separated on line either before the bag is automatically filled or after  Depending on the end use, there are a number of options that can be used on the bag instead of the tap  The bags can be filled from chilled product temperatures up to 85 °C (185 °F) 
BiB packaging can be made using form seal fill (FSF) technology, where the bags are manufactured on-line from reels of film, then the FlexTap is inserted then filled on an integral rotary head filler  The BiB is currently used to package wine, soda fountain syrup products, milk, liquid chemicals, and water 

History
The first commercial BiB system was invented by American chemist William R  Scholle in 1955 for the safe transportation and dispensing of battery acid  Scholle's invention inspired a "packaging revolution " In 1991, Scholle was inducted into the packaging hall of fame for his invention 

Uses
BiB has many common commercial applications  Among the most common ones are to supply syrup to soft drink fountains and to dispense bulk supplied condiments such as ketchup or mustard in the foodservice industry (especially in fast food outlets)  BiB technology is still used for its original application of dispensing sulfuric acid for filling lead-acid batteries in garages and dealerships  As explained further below, BiBs have also been implemented for consumer applications like boxed wine For commercial syrup applications, the customer opens one end of the box (sometimes via a pre-scored opening) and connects a compatible connector to a built-in port on the bag to pump out its contents  The port itself contains a one-way valve which opens only under pressure from the attached connector and which prevents contamination of the syrup in the bag  For consumer applications like boxed wine, there is a tap already present on the bag which protrudes through a pre-cut hole on the box, so all the consumer has to do is locate the tap on the outside of the box 
Producers like BiB packaging because it is inexpensive  BiB also offers environmental benefits by allowing contents of 1 5–1000 liters, so that less packaging or labeling is required  The material it is made from is lighter than the other plastic alternatives, providing it with a better carbon footprint 

Wine cask
The 'wine cask' was invented by Thomas Angove (1918–2010) of Angove's, a winemaker from Renmark, South Australia, and patented by the company on April 20, 1965  Polyethylene bladders of 1 gallon (4 5 litres) were put into corrugated boxes for sale to consumers  An original design required that the consumer cut the corner off the bladder inside the box, pour out the desired quantity of wine and then reseal it with a special peg In 1967, Charles Malpas and Penfolds Wines patented a plastic, air-tight tap welded into an aluminised film bladder, making storage much more convenient for consumers  All modern wine casks now utilise some sort of plastic tap, which is exposed by tearing away a perforated panel on the box 
The main advantage of BiB packaging is that it prevents oxidation of the wine during dispensing  Rather than working as a conventional tap, the bladder uses gravity pressure to squeeze the liquid out of the bladder, whereas a conventional barrel tap works by allowing incoming air to displace the contents  After opening wine in a bottle, it is oxidized by air in the bottle which has displaced the wine poured; wine in a bag is not touched by air and thus not subject to oxidation until it is dispensed  Cask wine is not subject to cork taint or spoilage due to slow consumption after opening Although a promising technology, there have been production and design problems  The impermeable bladders tend to delaminate around the tap and where the two halves are joined  If tap components are deposited in the bladder during assembly, all the bladders must be destroyed to find the components as the bladders are opaque  It has also been difficult to manufacture taps that do not leak air into the bladder since tap parts usually do not join neatly, although there have been significant improvements  Most red wines require breathing before consumption which is not possible with casks, so the wine has air circulated through it before bottling (usually by running through a centrifuge), which reduces shelf life considerably  Most casks will have a best-before date stamped  As a result, it is not intended for cellaring and should be consumed within the prescribed period 

Aseptic packaging
BiB is also used extensively in the packaging of processed fruit and dairy products in aseptic processes  Using aseptic packaging equipment, products can be packed in aseptic packaging  Pasteurized or UHT treated products packed into this format can be "shelf-stable", requiring no refrigeration  Some products can have a shelf life of up to 2 years, depending on the type of bag that is used 
The key to this unique system is that the product being filled is not exposed to the external environment at any stage during the process and as such, there is no possibility of a bacterial load being added to the product during the filling process  To ensure there is no contamination from the packaging, the bag is irradiated after the bag manufacturing process 
These packs are typically from 10 to 1200 liters and offer the advantage of cheap, disposable and transport efficient packaging 

See also
Corrugated box design
Tetra Brik

Notes
Passage 3:
Bagman (disambiguation)
A bagman or bag man is a collector of dirty money for organized crime 
Bagman may also refer to:

Bagman (video game), a 1982 French platform arcade game
Bagman, a biochip containing the personality of a fallen comrade in the 2000AD comic Rogue Trooper
Bagman (film), a 2010 film about Jack Abramoff
Sack Man or Bag Man, a bogeyman-figure
Ludo Bagman, a character in J  K  Rowling's Harry Potter series
The Bag Man, a 2014 film
Bag Man (podcast), a 2018 podcast about Spiro Agnew's 1973 bribery and corruption scandal
"Bagman" (Better Call Saul), an episode of the television series Better Call Saul

See also
Bağban (disambiguation)
Bag boy (disambiguation)
Bag lady (disambiguation)
Passage 4:
Donne con le gonne
Women in Skirts (Italian: Donne con le gonne) is a 1991 Italian romantic comedy film directed by Francesco Nuti  It was the highest-grossing Italian film in Italy in 1992  The film was nominated for two awards, Best Supporting Actress and Best Costume Design 

Cast
Francesco Nuti as Renzo Calabrese
Carole Bouquet as Margherita
Barbara Enrichi as Renzo's mother
Cinzia Leone as Cinzia
Gastone Moschin as lawyer Carabba
Didi Perego as Pubblico Ministero
Daniele Dublino as count Ugolino
Passage 5:
Io piaccio
Io piaccio (also known as La via del successo    con le donne) is a 1955 Italian comedy film directed by Giorgio Bianchi 

Plot
Professor Maldi, a researcher on the company held by Commendatore Tassinetti (Aldo Fabrizi), experiments on various animals, and especially on the capon Gildo, its preparation which should give courage to the men  Pressed by Tassinetti Maldi decides to experiment on himself the latest version of its compound, without waiting to know the reaction of the capon 
Soon, the shy Maldi finds himself desired by every woman he meets: rather than courage, his discovery provides an irresistible fascination for twenty-four hours 

Cast
Walter Chiari: Prof  Roberto Maldi
Aldo Fabrizi: Commendatore Tassinetti
Peppino De Filippo: Nicolino Donati
Dorian Gray: Doriana Paris
Bianca Maria Fusari: Sandra, Maldi's assistant
Tina Pica: Sibilla
Mario Carotenuto: Marassino
Sandra Mondaini:Giovanna
Lina Volonghi: Lucia, Tassinetti's wife
Valeria Fabrizi: Wardrobe supervisor
Enrico Glori: Butler at Caprice nightclub
Riccardo Billi: Husband
Erminio Spalla: Doriana's confidence man
Bruno Corelli: Director
Dina Perbellini: Marassino's wife
Passage 6:
It's in the Bag
It's in the Bag can refer to:

It's in the Bag, a pricing game on The Price Is Right
It's in the Bag (game show), a long-running New Zealand game show
L'affaire est dans le sac (English: It's in the Bag), a 1932 French film
It's in the Bag (1936 film), a British film
It's in the Bag (1944 film), a British film
It's in the Bag! (1945 film), a 1945 American film starring Fred Allen
Passage 7:
The Bag Man
The Bag Man (also known as Motel or The Carrier) is a 2014 neo-noir crime thriller film directed by David Grovic  It is based on an original screenplay by James Russo and a rewrite by David Grovic and Paul Conway and an inspiration of The Cat: A Tale of Feminine Redemption by Marie-Louise von Franz  The film stars John Cusack, Rebecca Da Costa, Crispin Glover, Dominic Purcell, Robert De Niro, and Sticky Fingaz  The film premiered on February 28, 2014, in New York and Los Angeles 

Plot
Brutal gangster Dragna recruits professional killer Jack to pick up a bag and wait for his arrival at a motel   Dragna stresses that Jack is not to open the bag or allow anyone to view its contents under any circumstances   Confused as to why Dragna wants him to do such an apparently easy job, Jack presses for more details, but Dragna only reiterates the rules   When Jack acquires the bag and a henchman of Dragna's shoots him in the hand, Jack kills him and stuffs the body in his car's trunk   Dragna is unsympathetic when Jack calls him and instructs Jack to stick to the plan 
At the motel, Jack meets several people: Ned, the desk clerk who uses a wheelchair; Rivka, a tall hooker; and Lizard and Guano, a pair of pimps  Jack requests room number thirteen, and Ned cautions him that it is a deathtrap, as it is unconnected   When two suited men become curious about Jack, he abruptly breaks into their room and kills both  A subsequent search reveals FBI badges and a briefcase  Jack sets the briefcase aside and leaves to dump the corpse stored in his car, but promptly returns upon being spotted, only to discover that Rivka has broken into his room  Fearful that Lizard will kill her, she requests that he allow her to stay 
Jack initially demands that she leave, then detains her when he cannot be sure whether she opened the bag  Rivka points out that the briefcase contains a photo of the bag, and Jack becomes worried that others may attempt to acquire it  When Jack attempts to drive Rivka to a bus station, she spots the corpse in the back of his car  Lizard and Guano first question Jack about Rivka and later, on the road, attack him  On their corpses he finds another photo of the bag  Unsure what to do with Rivka, or of her involvement, he returns to the hotel with her to await Dragna's arrival 
Ned becomes suspicious that Jack has a guest in his room and calls the sheriff when Jack refuses to pay the double occupancy fee  Sheriff Larson briefly questions Jack, and, after Larson leaves, Jack threatens Ned  Increasingly worried about the safety of the bag, Jack buries it near the motel, only to be caught by Ned, who is now out of his wheelchair  Jack kills Ned and returns to the motel, where Larson arrests him under suspicion of Ned's disappearance 
As Larson prepares to torture Jack for information, Rivka shows up  Larson threatens to rape her, but she overpowers a deputy and frees Jack, who then kills Larson  When Rivka demonstrates detailed knowledge of the bag, Jack becomes suspicious of her again, but she points out that she has saved his life   Somewhat mollified, he retrieves the bag and waits in room fourteen  Dragna finally appears, disappointed in Jack's apparent lack of trust  Nonetheless satisfied that Jack has not looked in the bag, Dragna explains that the whole situation was a test of Jack's skills and character, as he doubted Jack's resolve in the wake of Jack's fiancee's unsolved murder some months earlier  The motel and the local cops are all on Dragna's payroll, and were all (unwittingly) part of the test 
As Dragna prepares to leave, Rivka spontaneously tells Jack that she looked in the bag  Frustrated, Jack points out that Dragna will now kill them both  Jack dutifully reports Rivka's action to Dragna, who orders her killed  Jack instead kills Dragna's bodyguard, who wounds Rivka  Jack hunts down Dragna, and both are wounded  Jack looks in the bag and discovers the head of his fiancee, whom Dragna had killed in order to prevent Jack from quitting the murder-for-hire business  Trying to persuade Jack to surrender, Dragna destroys the hotel (where Rivka supposedly is) with remote-detonated explosives  Moments later, Rivka appears and saves Jack by killing Dragna, but she is shot again  Later, in Dragna's lawyer's office, Rivka reveals herself as Dragna's mistress and personal assassin who was sent to the motel to ensure things went Dragna's way  She collects a five million dollar reward for Jack's assassination, and she and Jack drive off together 

Cast
John Cusack as Jack
Rebecca Da Costa as Rivka
Robert De Niro as Dragna
Crispin Glover as Ned Stensen
Dominic Purcell as Sheriff Larson
Sticky Fingaz as Lizard
Martin Klebba as Guano
Theodus Crane as Goose
David Shumbris as Pike
Mike Mayhall as Deputy Jones
Danny Cosmo as Bishop
David Grovic as Dragna's lawyer

Reception
Rotten Tomatoes, a review aggregator, reports that 10% of 42 surveyed critics gave the film a positive review; the average rating was 3 4/10   Metacritic rated it 28/100 based on 18 reviews   Scott Foundas of Variety called it "a tedious, self-consciously quirky postmodern noir"   Stephen Farber of The Hollywood Reporter wrote, "If it weren't for the touches of cruelty, this might have been a passable B-movie, but Bag Man ends up wasting the A-list talent caught up in the lurid exercise "  Stephen Holden of The New York Times described the plot as "a protracted and increasingly tedious cat-and-mouse game" that "pathetically tries to build up expectations about what might be in the bag"   Mike D'Angelo of The A V  Club called it a Quentin Tarantino knock-off made two decades too late 
Passage 8:
Una prostituta al servizio del pubblico e in regola con le leggi dello stato
Una prostituta al servizio del pubblico e in regola con le leggi dello stato (literally "A prostitute serving the public and complying with the laws of the state", also known as Prostitution Italian Style) is a 1970  Italian comedy-drama film written and directed by Italo Zingarelli For her performance Giovanna Ralli won the Grolla d'oro for best actress 

Cast
Giovanna Ralli: Oslavia
Giancarlo Giannini: Walter
Jean-Marc Bory: François Coly
Denise Bataille
Paolo Bonacelli
Roberto Chevalier
Passage 9:
The Man with the Bag
"The Man with the Bag" may refer to:

The Sack Man, a mythical figure
"(Everybody's Waitin' for) The Man with the Bag", a Christmas song
"The Man with the Bag", an episode of Ally McBeal
Passage 10:
The Police Serve the Citizens?
La polizia è al servizio del cittadino? (internationally released as The Police Serve the Citizens?) is a 1973 Italian giallo-poliziottesco film directed by Romolo Guerrieri  The film is set in Genova 

Cast
Enrico Maria Salerno: Commissioner Nicola Sironi
Giuseppe Pambieri: Commissioner Marino
John Steiner: Lambro
Venantino Venantini: Mancinelli
Alessandro Momo: Michele Sironi
Memmo Carotenuto: Baron
Marie Sophie Persson: Cristina
Daniel Gélin: Ing  Pier Paolo Brera
Gabriella Giorgelli: Eros, Prostitute
Enzo Liberti: Greengrocer

Release
The film was released on August 25, 1973  It was distributed by P I C  in Italy  The film grossed a total of ₤1 033 billion in Italy 
Context 2: Passage 1:
Alex Cox
Alexander B  H  Cox (born 15 December 1954) is an English film director, screenwriter, actor, non-fiction author and broadcaster  Cox experienced success early in his career with Repo Man and Sid and Nancy, but since the release and commercial failure of Walker, his career has moved towards independent films  Cox received a co-writer credit for the screenplay of Terry Gilliam's Fear and Loathing in Las Vegas (1998) for previous work on the script before it was rewritten by Gilliam 
As of 2012, Cox has taught screenwriting and film production at the University of Colorado, Boulder 

Early life
Cox was born in Bebington, Cheshire, England in 1954  He attended Worcester College, Oxford, and later transferred to the University of Bristol where he majored in film studies  Cox secured a Fulbright Scholarship, allowing him to study at the University of California, Los Angeles, where he graduated from the School of Theater, Film and Television with an MFA 

Film career
Study and independent
Cox began reading law as an undergraduate at Oxford University, but left to study radio, film and TV at Bristol University, graduating in 1977  Seeing difficulties in the British film scene at the time, he first went to Los Angeles to attend film school at UCLA in 1977  There he produced his first film, Edge City (also known as Sleep Is for Sissies), a 40-minute surreal short about an artist struggling against society  After graduation, Cox formed Edge City Productions with two friends with the intention of producing low-budget feature films  He wrote a screenplay for Repo Man, which he hoped to produce for a budget of $70,000, and began seeking funding 

Hollywood and major studio period (1978–1987)
Michael Nesmith agreed to produce Repo Man, and convinced Universal Studios to back the project with a budget of over a million dollars  During the course of the film's production, the studio's management changed, and the new management had far less faith in the project  The initial cinema release was limited to Chicago, followed by Los Angeles, and was short-lived 
After the success of the soundtrack album (notable for featuring many popular LA punk bands), there was enough interest in the film to earn a re-release in a single cinema in New York City, but only after becoming available on video and cable  Nevertheless, it ran for 18 months, and eventually earned $4,000,000 
Continuing his fascination with punk music, Cox's next film was an independent feature shot in London and Los Angeles, following the career and death of bassist Sid Vicious and his girlfriend Nancy Spungen, initially titled Love Kills and later renamed Sid and Nancy  It was met warmly by critics and fans, though heavily criticised by some, including Pistols' frontman John Lydon, for its inaccuracies  The production of this film also sparked a relationship with Joe Strummer of the Clash, who would continue to collaborate with the director on his next two films 
Cox had long been interested in Nicaragua and the Sandinistas (both Repo Man and Edge City made references to Nicaragua and/or Latin American revolution), and visited in 1984  The following year, he hoped to shoot a concert film there featuring the Clash, the Pogues and Elvis Costello  When he could not get backing, he decided instead to write a film that they would all act in  The film became Straight to Hell  Collaborating with Dick Rude (who also co-starred beside Strummer, Sy Richardson and Courtney Love), he imagined the film as a spoof of the Spaghetti Western genre, filmed in Almería, Spain, where many classic Italian westerns were shot  Straight to Hell was widely panned critically, but successful in Japan and retains a cult following  On 1 June 2012, Cox wrote an article in The New York Times about his long-standing interest in spaghetti westerns Continuing his interest in Nicaragua, Cox took on a more overtly political project, with the intention of filming it there  He asked Rudy Wurlitzer to pen the screenplay, which followed the life of William Walker, set against a backdrop of anachronisms that drew parallels between the story and modern American intervention in the area  The $6,000,000 production was backed by Universal, but the completed film was too political and too violent for the studio's tastes, and the film went without promotion  When Walker failed to perform at the box office, it ended the director's involvement with Hollywood studios, and led to a period of several years in which Cox would not direct a single film  Despite this, Cox and some critics maintain that it is his best film 

Mexican period (1988–1996)
Effectively blacklisted for working on a studio project during the 1988 Writers Guild of America strike, Alex Cox struggled to find feature work  He finally got financial backing for a feature from investors in Japan, where his films had been successful on video  Cox had scouted locations in Mexico during the pre-production of Walker and decided he wanted to shoot a film there, with a local cast and crew, in Spanish  Producer Lorenzo O'Brien penned the script  Inspired by the style of Mexican directors including Arturo Ripstein, he shot most of the film in plano secuencia; long, continuous takes shot with a hand-held camera  El Patrullero was completed and released in 1991, but struggled to find its way into cinemas 
Shortly after this, Cox was invited to adapt a Jorge Luis Borges story of his choice for the BBC  He chose Death and the Compass  Despite being a British production and an English language film, he convinced his producers to let him shoot in Mexico City  This film, like his previous Mexican production, made extensive use of long-takes  The completed 55-minute film aired on the BBC in 1992 
Cox had hoped to expand this into a feature-length film, but the BBC was uninterested  Japanese investors gave him $100,000 to expand the film in 1993, but the production ran over-budget, allowing no funds for post-production  To secure funds, Cox directed a "work for hire" project called The Winner  The film was edited extensively without Cox's knowledge, and he tried to have his name removed from the credits as a result but was denied, but the money was enough for Cox to fund the completion of Death and the Compass  The finished, 82-minute feature received a limited cinema release in the US, where the TV version had not aired, in 1996 

Liverpool period (1997–2006)
In 1996, producer Stephen Nemeth employed Alex Cox to write and direct an adaptation of Hunter S  Thompson's Fear and Loathing in Las Vegas  After creative disagreements with the producer and Thompson, he was sacked from the project, and his script rewritten when Terry Gilliam took over the film  (Cox later sued successfully for a writing credit, as it was ruled that there were enough similarities between the drafts to suggest that Gilliam's was derivative of Cox's  Gilliam countered that the screenplays were based on the source book and similarities between them were a consequence of this )
In 1997, Alex Cox made a deal with Dutch producer Wim Kayzer to produce another dual TV/feature production  Three Businessmen  Initially, Cox had hoped to shoot in Mexico but later decided to set his story in Liverpool, Rotterdam, Tokyo and Almería  The story follows businessmen in Liverpool who leave their hotel in search of food and slowly drift further from their starting point, all the while believing they are still in Liverpool  The film was completed for a small budget of $250,000  Following this, Cox moved back to Liverpool and became interested in creating films there 
Cox had long been interested in the Jacobean play, The Revenger's Tragedy, and upon moving back to Britain, decided to pursue adapting it to a film  Collaborating with fellow Liverpudlian screenwriter Frank Cottrell Boyce, the story was recast in the near future, following an unseen war  This adaptation, titled Revengers Tragedy, consisted primarily of the original play's dialogue, with some additional bits written in a more modern tone  The film is also notable for its soundtrack, composed by Chumbawamba 
Following this, Cox directed a short film set in Liverpool for the BBC titled I'm a Juvenile Delinquent – Jail Me! (2004)  The 30-minute film satirised reality television as well as the high volume of petty crime in Liverpool which, according to Cox, is largely recreational 

Microfeature period (2007–present)
In 2006, Alex Cox tried to get funding for a series of eight very low budget features set in Liverpool and produced by locals  The project was not completed, but the director grew interested in pursuing the idea of a film made for less than £100,000  He had originally hoped to shoot Repo Man on a comparable budget, and hoped that the lower overhead would mean greater creative freedom 
Searchers 2 0, named after but based on The Searchers, became Cox's first film for which he has sole writing credit since Repo Man, and marked his return to the comedy genre  A road movie and a revenge story, it tells of two actors, loosely based on and played by Del Zamora and Ed Pansullo, who travel from Los Angeles to a desert film screening in Monument Valley in the hopes of avenging abuse inflicted on them by a cruel screenwriter, Fritz Frobisher (Sy Richardson)  It was scored by longtime collaborator Dan Wool aka Pray for Rain (Sid & Nancy, Straight to Hell, Death & the Compass, The Winner, Three Businessmen, Repo Chick among others)  Although the film was unable to achieve a cinema release in America or Europe, Cox claimed the experience of making a film with a smaller crew and less restrictions was energising  It is available on DVD in Japan, and was released in October 2010 in North America Alex Cox had attempted to get a Repo Man sequel, titled Waldo's Hawaiian Holiday, produced in the mid-'90s, but the project fell apart, with the script adapted into a graphic novel of the same name  For his next micro-feature, he wrote a fresh attempt at a Repo follow-up, although it contained no recurring characters, so as to preserve Universal's rights to the original  Repo Chick was filmed entirely against a green screen, with backgrounds of digital composites, live action shots, and miniatures matted in afterwards, to produce an artificial look  It premiered at the Venice Film Festival on 9 September 2009 
As of July 2012, Cox was teaching film production and screenwriting at the University of Colorado at Boulder In 2013 Cox directed Bill, the Galactic Hero, developed from a science fiction book by Harry Harrison  It was funded by a successful Kickstarter funding campaign, raising $114,957 of the original $100,000 goal  The film was to be made, created and acted by his film students in monochrome with supervision from professional film makers who would be giving their time on the film for free Cox's 2013 book The President and the Provocateur examines events in the lives of John F  Kennedy and Lee Harvey Oswald leading up to Kennedy's assassination, with reference to the various conspiracy theories In 2017 Cox directed another crowdfunded film, Tombstone Rashomon, which tells the tale of the Gunfight at the O K  Corral from multiple perspectives in the style of Akira Kurosawa's 1950 film Rashomon In September 2019, Cox started the podcast ‘Conversations with Cox and Kjølseth’ with his friend and colleague Pablo Kjølseth  In October 2022, Cox announced the end of the podcast, citing its small audience and the comparative success of podcasts by Joe Dante, Quentin Tarantino and Cox's one-time collaborator Roger Deakins 

Moviedrome
In May 1988 Cox began presenting the long-running and influential BBC series Moviedrome  The weekly strand was a showcase for cult films  Though most of the films shown were chosen by series creator and producer Nick Jones, each film was introduced by Cox  By the time he left the show in September 1994, Cox had introduced 141 films  Various film directors have cited Moviedrome as an influence, including Ben Wheatley and Edgar Wright  The series was later presented by film director and critic Mark Cousins 

Influences and style
Cox has cited Luis Buñuel and Akira Kurosawa as influences, as well as the Western film directors Sergio Leone, Sergio Corbucci, Sam Peckinpah, John Ford and Giulio Questi  Cox also wrote a book on the history of the genre called 10,000 Ways to Die  While he once directed films for Universal Pictures, such as Repo Man and Walker, since the late 1980s, he has found himself on a self-described blacklist, and turned to producing independent films  Cox is an atheist and is decidedly left-wing in his political views  Many of his films have an explicit anti-capitalist theme or message  He was originally set to direct Fear and Loathing in Las Vegas but was replaced by Terry Gilliam due to creative differences with Hunter S  Thompson  By August 2009, Cox had announced completion of Repo Chick, which premiered at the Venice Film Festival the following month, but he remained ambivalent as to whether the film would ever be distributed to cinemas  His previous film, Searchers 2 0, was not released theatrically, and only appears on DVD in Japan and North America after a televised screening in the UK on the BBC 
Cox is a fan of the Japanese Godzilla films and appeared in a 1998 BBC documentary highlighting the series  He also narrated the documentary Bringing Godzilla Down to Size and wrote the Godzilla in Time comics for Dark Horse  He tried to direct an American Godzilla film at one point, but unsuccessfully submitted his outline to TriStar Pictures 

Personal life
As of 2011, Cox resided in Colestin, Oregon with his wife, writer Todelina Babish Davies 

Partial list of works
Feature films
Documentaries
Kurosawa: The Last Emperor (1999)
Emmanuelle: A Hard Look (2000)
Bringing Godzilla Down to Size (2007) – narrator
Scene Missing (2012)

Television
Moviedrome (as presenter) (1988 to 1994)
Godzilla: King of the Monsters – BBC, contributor
In His Life: The John Lennon Story as Bruno Koschmider
Mike Hama Must Die! (2002)
I'm a Juvenile Delinquent – Jail Me! (2003)

Books
10,000 Ways to Die: A Director's Take on the Spaghetti Western (2008)
X Films: True Confessions of a Radical Filmmaker (2008)
Waldo's Hawaiian Holiday (2008)
Three Dead Princes (Illustrator) (2010)
The President and the Provocateur: The Parallel Lives of JFK and Lee Harvey Oswald (2013)
Alex Cox's Introduction to Film: A Director's Perspective (2016)
I Am (Not) A Number: Decoding The Prisoner (2017)

Acting credits
Passage 2:
Hartley Lobban
Hartley W Lobban (9 May 1926 – 15 October 2004) was a Jamaican-born first-class cricketer who played 17 matches for Worcestershire in the early 1950s 

Life and career
Lobban played little cricket in Jamaica  He went to England at the end of World War II as a member of the Royal Air Force, and settled in Kidderminster in Worcestershire in 1947, where he worked as a civilian lorry driver for the RAF  He began playing for Kidderminster Cricket Club in the Birmingham League, and at the start of the 1952 season, opening the bowling for the club's senior team, he had figures of 7 for 9 and 7 for 37 Worcestershire invited him to play for them, and he made his first-class debut against Sussex in July 1952  He took five wickets in the match (his maiden victim being Ken Suttle) and then held on for 4 not out with Peter Richardson (20 not out) to add the 12 runs needed for a one-wicket victory after his county had collapsed from 192 for 2 to 238 for 9  A week later he claimed four wickets against Warwickshire, then a few days later still he managed 6 for 52 (five of his victims bowled) in what was otherwise a disastrous innings defeat to Derbyshire  In the last match of the season he took a career-best 6 for 51 against Glamorgan; he and Reg Perks (4 for 59) bowled unchanged throughout the first innings  Worcestershire won the game and Lobban finished the season with 23 wickets at 23 69 He took 23 wickets again in 1953, but at a considerably worse average of 34 43, and had only two really successful games: against Oxford University in June, when he took 5 for 70, and then against Sussex in July  On this occasion Lobban claimed eight wickets, his most in a match, including 6 for 103 in the first innings  He also made his highest score with the bat, 18, but Sussex won by five wickets In 1954 Lobban made only two first-class appearances, and managed only the single wicket of Gloucestershire tail-ender Bomber Wells  In his final game, against Warwickshire at Dudley, his nine first-innings overs cost 51  He bowled just two overs in the second innings as Warwickshire completed an easy ten-wicket win  Lobban played one more Second XI game, against Glamorgan II at Cardiff Arms Park; in this he picked up five wickets 
He was also a professional boxer and played rugby union for Kidderminster He later moved to Canada, where he worked as a teacher in Burnaby, British Columbia  He and his wife Celia had a son and two daughters 
Passage 3:
Waiting for the Clouds
Waiting for the Clouds (Bulutları Beklerken) is a film from 2003, Turkey  The film was directed by Yeşim Ustaoğlu  It is based on a novel by Georgios Andreadis titled Tamama  The film was produced by Setarh Farsi, Helge Albers and Behrooz Hashemian  The film was nominated in Montréal World Film Festival 2004 

Plot
The neighbor´s son Mehmet is worried about the elderly woman Ayshe, and he likes hearing her stories  When Ayshe´s older sister dies she refuses to be with the other villager and starts searching for her younger brother in Greece  Waiting for the Clouds takes place in 1975 and Mehmet´s experience is based on the directors memory from the 70s  And the character Ayshe would not have had to keep her ethnic identity a secret for 50 years if she had lived in a tolerant environment 

Hiding ethnic identity
The character of Ayshe was born Eleni, daughter of indigenous Greeks in the eastern Black Sea region of Northern Turkey, what was once the ancient country of Pontus  She was adopted by a Turkish Muslim family in the World War I  Fear is the reason that Ayshe never spoke of her ethnic past again  In the 70s Turkey the government did put a lot of pressure on the ordinary lives   If there had been tolerance, Ayshe would not have had to keep her ethnic identity a secret for 50 years  But in 1970s Turkey, paranoia and a fear of “others” was on the rise while tolerance toward minority ethnic groups diminished 

Boundaries and Ties
The movie has many commonalities with a series of movies by the renowned film maker Theodoros Angelopoulos: the borders and their impact on the lives of human beings – as in The Suspended Step of the Stork; a tedious Odyssean search for a family member – as in Landscape in the Mist; the long-lost identity and the fusion of different cultures – as in Ulysses' Gaze and The Suspended Step of the Stork  The similarities are not limited to the content and themes; they also include the form and style of the movie: carefully composed scenes and an enormous number of extended long shots  But there are telling differences as well  In Waiting for the Clouds, Ustaoglu tends to emphasize on the idea of distance, whereas Angelopolous emphasizes on the journey  We barely see Ayshe on the journey; rather, we see her at two different destinations  She belongs to a generation which has gone through the ordeal of Population exchange between Greece and Turkey, and has never managed  to fully recover from that emotional wound  When she finally decides to overcome her fears and inhibitions and go to find her lost brother, she trespasses a number of boundaries  We don’t see her cross the physical boundary, the border, – unlike Angelopolous – but her crossing the imagined boundaries that she had created for herself is manifest  “The objective properties of the community are less important than the imagined ones ” Deep in her subconscious, she imagines herself belonging to another nation, another community, and another language  But when she ventures outside her little home in the small village, she gets to see that what she had imagined to be her true community, is as strange to her as it gets  She goes back to Turkey, but she is not the same person anymore  She seems like she has put a huge burden off her shoulder  She begins to smile 
Passage 4:
Hassan Zee
Hassan "Doctor" Zee is a Pakistani-American film director who was born in Chakwal, Pakistan 

Early life
Doctor Zee grew up in Chakwal, a small village in Punjab, Pakistan  as one of seven brothers and sisters  His father was in the military and this fact required the family to move often to different cities  As a child Zee was forbidden from watching cinema because his father believed movies were a bad influence on children 
At age 13, Doctor Zee got his start in the world of entertainment at Radio Pakistan where he wrote and produced radio dramas and musical programs   It was then that he realized his passion for storytelling At the age of 26, Doctor Zee earned his medical doctorate degree and did his residency in a burn unit at the Pakistan Institute of Medical Sciences  He cared for women who were victims of  "Bride Burning," the archaic practice used as a form of punishment against women who fail to provide sufficient dowry to their in-laws after marriage or fail to provide offspring   He also witnessed how his country’s transgender and intersex people, called “hijras”, were banned from having jobs and forced to beg to survive  These experiences inspired Doctor Zee to tackle the issues of women’s empowerment and gender inequality in his films In 1999, he came to San Francisco to pursue his dream of filmmaking and made San Francisco his home

Education
He received his early education from Jinnah Public School, Chakwal  He got his medical doctor degree at Rawalpindi Medical College, Pakistan 

Film career
Doctor Zee's first film titled Night of Henna was released in 2005  The theme of the film dealt with "the conflict between Old World immigrant customs and modern Western ways   " Night of Henna focused on the problems of Pakistani expatriates who found it hard to adjust in American culture  Many often landed themselves in trouble when it came to marrying off their children 
His second film Bicycle Bride came out in 2010, which was about "the clash between the bonds of family and the weight of tradition " His third film House of Temptation that came out in 2014 was about a family which struggles against the temptations of the Devil  His fourth film “Good Morning Pakistan”, concerned a young American’s journey back to Pakistan where he confronts the contradictory nature of a beautiful and ancient culture that's marred by economic, educational and gender inequality His upcoming fifth film, "Ghost in San Francisco" is a supernatural thriller starring Felissa Rose, Dave Sheridan, and Kyle Lowder where a soldier comes home from Afghanistan to discover that his wife is having an affair with his best friend  While battling with his inner ghosts and demons, he meets a mysterious woman in San Francisco who promises him a ritual for his cure 
Passage 5:
Wale Adebanwi
Wale Adebanwi (born 1969) is a Nigerian-born first Black Rhodes Professor at St Antony's College, Oxford where he was, until June 2021, a Professor of Race Relations, and the Director of the African Studies Centre, School of Interdisciplinary Area Studies, and a Governing Board Fellow  He is currently a Presidential Penn Compact Professor of Africana Studies at the University of Pennsylvania  Adebanwi's research focuses on a range of topics in the areas of social change, nationalism and ethnicity, race relations, identity politics, elites and cultural politics, democratic process, newspaper press and spatial politics in Africa 

Education background
Wale Adebanwi graduated with a first degree in Mass Communication from the University of Lagos, and later earned his M Sc  and Ph D  in Political Science from the University of Ibadan  He also has an MPhil  and a Ph D  in Social Anthropology from the University of Cambridge 

Career
Adebanwi worked as a freelance reporter, writer, journalist and editor for many newspapers and magazines before he joined the University of Ibadan's Department of Political Science as a lecturer and researcher  He was later appointed as an assistant professor in the African American and African Studies Department of the University of California, Davis, USA  He became a full professor at UC Davis in 2016 Adebanwi is the co-editor of Africa: Journal of the International African Institute and the Journal of Contemporary African Studies 

Works
His published works include:
Nation as Grand Narrative: The Nigerian Press and the Politics of Meaning (University of Rochester Press, 2016)
Yoruba Elites and Ethnic Politics in Nigeria: Obafemi Awolowo and Corporate Agency (Cambridge University Press, 2014)
Authority Stealing: Anti-corruption War and Democratic Politics in Post-Military Nigeria (Carolina Academic Press, 2012)In addition, he is the editor and co-editor of other books, including 

The Political Economy of Everyday Life in Africa: Beyond the Margins (James Currey Publishers, 2017)
Writers and Social Thought in Africa (Routledge, 2016)
(co-edited with Ebenezer Obadare) Governance and the Crisis of Rule in Contemporary Africa (Palgrave Macmillan, 2016)
(co-edited with Ebenezer Obadare) Democracy and Prebendalism in Nigeria: Critical Interpretations (Palgrave Macmillan, 2013) 
(co-edited with Ebenezer Obadare) Nigeria at Fifty: The Nation in Narration (Routledge, 2012)
(co-edited with Ebenezer Obadare) Encountering the Nigerian State (Palgrave Macmillan, 2010) 

Awards
Rhodes Professorship in Race Relations awarded by Oxford University to Faculty of African and Interdisciplinary Area Studies 
Passage 6:
Rumbi Katedza
Rumbi Katedza is a Zimbabwean Film Producer and Director who was born on 17 January 1974 

Early life and education
She did her Primary and Secondary Education in Harare, Zimbabwe  Katedza graduated with a Bachelor of Arts in English from McGill University, Canada in 1995  In 2008 Katedza received the Chevening Scholarship that enabled her to further her studies in film  She also holds a MA in Filmmaking from Goldsmiths College, London University 

Work and filmography
Katedza has experience in Film and TV Production, Directing, Writing as well as Producing and presenting Radio shows  From 1994 to 2000, She produced and presented radio shows on Women's issues, Arts and Culture, Hip Hop and Acid Jazz for the CKUT (Montreal) and ZBC Radio 3 (Zimbabwe)  From 2004 - 2006, she served as the Festival Director of the Zimbabwe International Film Festival  Whilst there, she produced the Postcards from Zimbabwe Series  In 2008, Katedza founded Mai Jai Films and has produced numerous films and television productions under the banner namely

Tariro (2008);
Big House, Small House (2009);
The Axe and the Tree (2011);
The Team (2011)
Playing Warriors (2012)Her early works include:

Danai (2002);
Postcards from Zimbabwe (2006);
Trapped (2006 – Rumbi Katedza, Marcus Korhonen);
Asylum (2007);
Insecurity Guard (2007)Rumbi Katedza is a part-time lecturer at the University of Zimbabwe, in the department of Theatre Arts  She is a judge and monitor at the National Arts Merit Awards, responsible for monitoring new film and TV productions throughout the year on behalf of the National Arts Council of Zimbabwe  She has also lobbied Zimbabwean government to actively support the film industry 
Passage 7:
Henry Moore (cricketer)
Henry Walter Moore (1849 – 20 August 1916) was an English-born first-class cricketer who spent most of his life in New Zealand 

Life and family
Henry Moore was born in Cranbrook, Kent, in 1849  He was the son of the Reverend Edward Moore and Lady Harriet Janet Sarah Montagu-Scott, who was one of the daughters of the 4th Duke of Buccleuch  One of his brothers, Arthur, became an admiral and was knighted  Their great 
grandfather was John Moore, Archbishop of Canterbury from 1783 to 1805  One of their sisters was a maid of honour to Queen Victoria Moore went to New Zealand in the 1870s and lived in Geraldine and Christchurch  He married Henrietta Lysaght of Hāwera in November 1879, and they had one son  In May 1884 she died a few days after giving birth to a daughter, who also died In 1886 Moore became a Justice of the Peace in Geraldine  In 1897 he married Alice Fish of Geraldine  They moved to England four years before his death in 1916 

Cricket career
Moore was a right-handed middle-order batsman  In consecutive seasons, 1876–77 and 1877–78, playing for Canterbury, he made the highest score in the short New Zealand first-class season: 76 and 75 respectively  His 76 came in his first match for Canterbury, against Otago  He went to the wicket early on the first day with the score at 7 for 2 and put on 99 for the third wicket with Charles Corfe before he was out with the score at 106 for 3 after a "very fine exhibition of free hitting, combined with good defence"  Canterbury were all out for 133, but went on to win the match  His 75 came in the next season's match against Otago, when he took the score from 22 for 2 to 136 for 6  The New Zealand cricket historian Tom Reese said, "Right from the beginning he smote the bowling hip and thigh, going out of his ground to indulge in some forceful driving " Canterbury won again Moore led the batting averages in the Canterbury Cricket Association in 1877–78 with 379 runs at an average of 34 4  Also in 1877–78, he was a member of the Canterbury team that inflicted the only defeat on the touring Australians  In 1896–97, at the age of 47, he top-scored in each innings for a South Canterbury XVIII against the touring Queensland cricket team 
Passage 8:
South of the Clouds (2004 film)
South of the Clouds is a 2004 Chinese film and the second film directed by the writer Zhu Wen  The film stands in stark contrast to Zhu's previous film  In terms of production, South of the Clouds received the cooperation of the state apparatus unlike 2001's Seafood which was an underground production shot on digital hand-held cameras  In terms of story, the transgressive tale of a prostitute and a policeman in Seafood is a far cry from South of the Cloud's gentle tale of a retiree who fulfills a lifelong desire to travel to the southern province of Yunnan (literally "South of the Clouds") 
South of the Clouds stars Li Xuejian as the protagonist, Xu Daqin, and features a cameo by director Tian Zhuangzhuang as the police chief in a small town in Yunnan  It was produced by China Film Assist, an independent production company in China; South of the Clouds was the company's first production 

Background
South of the Clouds was, at heart, an attempt by Zhu Wen to capture the image and beauty of Yunnan that he had experienced upon his first visit to the province  Beyond that, however, the film was an opportunity for Zhu to present his work to his home country  Following the completion of Seafood, Zhu "wanted to make something that [he] could show to [his] parents and   friends in China  Unlike Seafood, South of the Clouds did not encounter any issues with the state censors, in part because the film strictly followed all the relevant regulations 

Awards and nominations
South of the Clouds like many Chinese art films was screened at numerous film festivals around the world  It succeeded in winning a FIPRESCI prize and the Firebird Award for New Cinema at the 28th Hong Kong International Film Festival  The film also won a NETPAC award at the Berlin International Film Festival in 2004 

See also
Mosuo - a matriarchal ethnic enclave in Yunnan, featured prominently in the film 
Passage 9:
Yeşim Ustaoğlu
Yeşim Ustaoğlu (born 18 November 1960) is a Turkish filmmaker and screenwriter 

Life and career
Ustaoğlu was born in Kars, Sarıkamış and grew up in Trabzon on the Black Sea  After studying architecture at Karadeniz Technical University she moved to Istanbul, attended master's programme in Yıldız Technical University, she worked as an architect, then as a journalist and a film critic  Before she made her feature film debut The Trace (İz) in 1994, she had made several award-winning short films  The Trace was entered into the 19th Moscow International Film Festival Ustaoğlu received international recognition for her next film, Journey to the Sun (Güneşe Yolculuk), which told a story of a friendship between a Turk and a Kurd  Her fourth film Pandora's Box (Pandora'nın Kutusu) won The Best Film and The Best Actress award in San Sebastian Film Festival and is Ustaoğlu's biggest international success to date 

Filmography
Passage 10:
Tombstone Rashomon
Tombstone Rashomon is a 2017 Western film directed by Alex Cox and starring Adam Newberry and Eric Schumacher  It tells the story of the Gunfight at the O K  Corral in Tombstone, Arizona Territory, from multiple differing perspectives in the style of Akira Kurosawa's 1950 film Rashomon 

Plot synopsis
A film crew travels back in time to film the Gunfight at the O K  Corral  They arrive after the gunfight, however, and can only interview those involved  They interview Wyatt Earp, Doc Holliday, Kate, Ike Clanton, Colonel Roderick Hafford, and Johnny Behan, each of whom has a different take on the events 

Cast
Production
As with his previous film Bill, the Galactic Hero (2014), Alex Cox used crowdfunding to finance the production of the film  This time he used an Indiegogo campaign In an interview with IndieWire, Cox stated, "I was thinking it would be a conventional western, but Rudy (Wurlitzer) wants to give it a science fiction angle — from the perspective of time-traveling women historians from the future  They’ll time-travel back in time to film at the OK Corral, but they get the day wrong and they miss it by a day, so they have to interview the survivors " Wurlitzer was involved in early stages, but not credited as a writer on the final film, the screenplay is solely credited to Cox In an interview with The Huffington Post, Cox stated that he had originally planned to film in Boulder, Colorado, but then decided to shoot in Tucson instead Filming took place at the Old Tucson Studios west of Tucson  In an interview with Tucson Weekly, Cox stated that the producers of Snowden matched the funds already accumulated, helping Cox to complete the film 

Release
The film screened as a work in progress at the Ashland Independent Film Festival at 6:40 p m  on Saturday, April 8, 2017, at the Cinedelphia Film Festival at 7:00 p m  on April 15, 2017, and at the Loft Film Fest on May 27, 2017 
Context 3: Passage 1:
The Abduction Club
The Abduction Club is a 2002 British-Irish romantic comedy-drama adventure film directed by Stefan Schwartz  Based loosely on real events, the plot centres on a group of outlaws who abduct women in order to marry them  It was written by Richard Crawford and Bill Britten 

Plot
In 18th century Ireland, there are two financially insecure young bachelors, Garrett Byrne and James Strang, whose exploits evolve from the need to secure wealth  Both are younger sons that will not inherit titles and estates so they become members of an infamous society known as the 'Abduction Club', whose main aim is to woo and then abduct wealthy heiresses in order to marry them (therefore providing themselves with financial security)  The men decide to set their sights on the beautiful yet feisty Kennedy sisters, Catherine and Anne, but are unprepared for the negative reaction they are to receive, and they soon find themselves on the run across the Irish countryside (with the sisters in tow) from Anne's cold-hearted admirer, John Power, who does not take kindly to the news of their kidnapping, and with the help of the embittered Attorney General Lord Fermoy, implicates Byrne and Strang in the murder of a Redcoat soldier 

Cast
Alice Evans as Catherine Kennedy
Daniel Lapaine as Garrett Byrne
Sophia Myles as Anne Kennedy
Matthew Rhys as James Strang
Liam Cunningham as John Power
Edward Woodward as Lord Fermoy
Patrick Malahide as Sir Myles
Tom Murphy as Knox
Passage 2:
Wooden Crosses
Wooden Crosses (French: Les Croix de Bois) is a 1932 French war film by Raymond Bernard, based upon a novel by Roland Dorgelès 

Plot
Patriotic student Demachy enlists in the French army in 1914 at the start of World War I  He and his comrades soon experience the terrifying, endless trench war in Champagne, where more and more wooden crosses have to be erected for this cannon fodder 

Cast (in credits order)
Pierre Blanchar as Adjudant Gilbert Demachy
Gabriel Gabrio as Sulphart
Charles Vanel as Caporal Breval
Raymond Aimos as Soldat Fouillard
Antonin Artaud as Soldat Vieuble
Paul Azaïs as Soldat Broucke
René Bergeron as Soldat Hamel
Raymond Cordy as Soldat Vairon
Marcel Delaitre as Sergent Berthier
Jean Galland as Capitaine Cruchet
Pierre Labry as Soldat Bouffioux, Le Cuistot
Geo Laby as Soldat Belin
René Montis as Lieutenant Morache
Jean-François Martial as Soldat Lemoine
Marc Valbel as Maroux
Passage 3:
John McMahon (Surrey and Somerset cricketer)
John William Joseph McMahon (28 December 1917 – 8 May 2001) was an Australian-born first-class cricketer who played for Surrey and Somerset County Cricket Clubs in England from 1947 to 1957 

Surrey cricketer
McMahon was an orthodox left-arm spin bowler with much variation in speed and flight who was spotted by Surrey playing in club cricket in North London and brought on to the county's staff for the 1947 season at the age of 29  In the first innings of his first match, against Lancashire at The Oval, he took five wickets for 81 runs In his first full season, 1948, he was Surrey's leading wicket-taker and in the last home game of the season he was awarded his county cap – he celebrated by taking eight Northamptonshire wickets for 46 runs at The Oval, six of them coming in the space of 6 3 overs for seven runs  This would remain the best bowling performance of his first-class career, not surpassed, but he did equal it seven years later  In the following game, the last away match of the season, he took 10 Hampshire wickets for 150 runs in the match at Bournemouth  In the 1948 season as a whole, he took 91 wickets at an average of 28 07  As a tail-end left-handed batsman, he managed just 93 runs in the season at an average of 4 22 The emergence of Tony Lock as a slow left-arm bowler in 1949 brought a stuttering end of McMahon's Surrey career  Though he played in 12 first-class matches in the 1949 season, McMahon took only 19 wickets; a similar number of matches in 1950 brought 34 wickets  In 1951, he played just seven times and in 1952 only three times  In 1953, Lock split the first finger of his left hand, and played in only 11 of Surrey's County Championship matches; McMahon played as his deputy in 14 Championship matches, though a measure of their comparative merits was that Lock's 11 games produced 67 wickets at 12 38 runs apiece, while McMahon's 14 games brought him 45 wickets at the, for him, low average of 21 53  At the end of the 1953 season, McMahon was allowed to leave Surrey to join Somerset, then languishing at the foot of the County Championship and recruiting widely from other counties and other countries 

Somerset cricketer
Somerset's slow bowling in 1954 was in the hands of leg-spinner Johnny Lawrence, with support from the off-spin of Jim Hilton while promising off-spinner Brian Langford was on national service  McMahon filled a vacancy for a left-arm orthodox spinner that had been there since the retirement of Horace Hazell at the end of the 1952 season; Hazell's apparent successor, Roy Smith, had failed to realise his promise as a bowler in 1953, though his batting had advanced significantly 
McMahon instantly became a first-team regular and played in almost every match during his four years with the county, not missing a single Championship game until he was controversially dropped from the side in August 1957, after which he did not play in the Championship again In the 1954 season, McMahon, alongside fellow newcomer Hilton, was something of a disappointment, according to Wisden: "The new spin bowlers, McMahon and Hilton, did not attain to the best standards of their craft in a wet summer, yet, like the rest of the attack, they would have fared better with reasonable support in the field and from their own batsmen," it said  McMahon took 85 wickets at an average of 27 47 (Hilton took only 42 at a higher average)  His best match was against Essex at Weston-super-Mare where he took six for 96 in the first innings and five for 45 in the second to finish with match figures of 11 for 141, which were the best of his career  He was awarded his county cap in the 1954 season, but Somerset remained at the bottom of the table 
The figures for the 1955 were similar: McMahon this time took 75 wickets at 28 77 apiece  There was a small improvement in his batting and the arrival of Bryan Lobb elevated McMahon to No 10 in the batting order for most of the season, and he responded with 262 runs and an average of 9 03  This included his highest-ever score, 24, made in the match against Sussex at Frome  A week later in Somerset's next match, he equalled his best-ever bowling performance, taking eight Kent wickets for 46 runs in the first innings of a match at Yeovil through what Wisden called "clever variation of flight and spin"  These matches brought two victories for Somerset, but there were only two others in the 1955 season and the side finished at the bottom of the Championship for the fourth season running At the end of the 1955 season, Lawrence retired and McMahon became Somerset's senior spin bowler for the 1956 season, with Langford returning from National Service as the main support  McMahon responded with his most successful season so far, taking 103 wickets at an average of 25 57, the only season in his career in which he exceeded 100 wickets  The bowling average improved still further in 1957 to 23 10 when McMahon took 86 wickets  But his season came to an abrupt end in mid-August 1957 when, after 108 consecutive Championship matches, he was dropped from the first team during the Weston-super-Mare festival  Though he played some games for the second eleven later in August, he regained his place in the first team for only a single end-of-season friendly match, and he was told that his services were not required for the future, a decision, said Wisden, that "proved highly controversial" 

Sacked by Somerset
The reason behind McMahon's sacking did not become public knowledge for many years  In its obituary of him in 2002, McMahon was described by Wisden as "a man who embraced the antipodean virtues of candour and conviviality"  It went on: "Legend tells of a night at the Flying Horse Inn in Nottingham when he beheaded the gladioli with an ornamental sword, crying: 'When Mac drinks, everybody drinks!'" The obituary recounts a further escapade in second eleven match at Midsomer Norton where a curfew imposed on the team was circumvented by "a POW-type loop" organised by McMahon, "with his team-mates escaping through a ground-storey window and then presenting themselves again"  As the only Somerset second eleven match that McMahon played in at Midsomer Norton was right at the end of the 1957 season, this may have been the final straw  But in any case there had been "an embarrassing episode at Swansea's Grand Hotel" earlier in the season, also involving Jim Hilton, who was also dismissed at the end of the season  Team-mates and club members petitioned for McMahon to be reinstated, but the county club was not to be moved 
After a period in Lancashire League cricket with Milnrow Cricket Club, McMahon moved back to London where he did office work, later contributing some articles to cricket magazines 


== Notes and references ==
Passage 4:
Stefan Schwartz
Stefan Schwartz (born 1 May 1963) is an English and Canadian film and television director, writer and actor, most known for the feature film Shooting Fish and his work on the BBC's Spooks and Luther, AMC's The Walking Dead and Fear The Walking Dead as well as The Americans and The Boys 

Career
1992–2007
Stefan Schwartz teamed up with Richard Holmes at The University of York and formed The Gruber Brothers  The duo made a number of films together including their feature film debut Soft Top Hard Shoulder (1992) starring Peter Capaldi and Phyllis Logan, which won two BAFTAs in Scotland and the London Film Festival's prestigious audience award  Building on this success in 1995 he directed Giving Tongue, shown as part of BBC2′s Wicked Women series and in 1997 wrote and directed Shooting Fish, a crime-caper comedy starring Kate Beckinsale which won several awards and made over twenty million dollars worldwide He then signed a three-year deal to write and direct for Miramax and wrote screenplays for them, teaming up with notable producers such as Laurence Bender and Jennifer and Suzanne Todd before directing The Abduction Club (2002) for Pathe Films His next film as writer/director was the romantic comedy The Best Man starring Stuart Townsend, Amy Smart and Seth Green in 2005 

2007–2015
In television, he directed Hustle, the award-winning Spooks and The Ghost Train for Lynda La Plante before moving on to the season finale of the ground-breaking series, Luther, for the BBC  In the US he has directed several episodes of the critically acclaimed Crash with Dennis Hopper, joined the Starz series Camelot, which he directed for and also co-executive produced, and directed for the much praised Dexter series 
After finishing Being Human for Syfy Stefan directed in the final season of House and worked in New York on White Collar  He then went back to Showtime for another episode of Dexter 
Autumn 2012 he worked in Paris with Jean Reno on the series Jo, before travelling to Atlanta to shoot The Walking Dead for which he won Online Film & Television Association -  Television Award - Best Direction in a Drama Series for The Walking Dead 
Early 2013 he directed the mid-season finale of ABC's hit show Revenge, then went back to work on the final season of Dexter 
AMC then asked him back to direct Low Winters Sun in Detroit before heading back to New York to shoot the season opener of  White Collar  From there to Pittsburgh to direct Chloe Sevigny and James D'Arcy in Those Who Kill, and then to South Africa to shoot the first episode of Black Sails for Starz, (second season) 
In 2014 he started the year in New York on The Americans then worked with Diane Kruger on The Bridge  He won the OFTA Television Award for Best Direction in a Drama Series  – The walking Dead 
Summer 2014 he completed an episode of the new Starz show called Flesh and Bone set in the world of ballet and written by Adam Rapp and Moira Walley-Beckett  Then Power 

2015–2018
In 2015 Stefan returned to Cape Town to shoot two new episodes of Black Sails directing some of the most complex action/vfx sequences on television at that time  In the same year, he also directed the season finale of Fear the Walking Dead season 1 in Los Angeles, before crossing the country to direct episode 4 of The Americans season 4 in New York 

Filmography
Film
Television
As director
As actor
Passage 5:
Hartley Lobban
Hartley W Lobban (9 May 1926 – 15 October 2004) was a Jamaican-born first-class cricketer who played 17 matches for Worcestershire in the early 1950s 

Life and career
Lobban played little cricket in Jamaica  He went to England at the end of World War II as a member of the Royal Air Force, and settled in Kidderminster in Worcestershire in 1947, where he worked as a civilian lorry driver for the RAF  He began playing for Kidderminster Cricket Club in the Birmingham League, and at the start of the 1952 season, opening the bowling for the club's senior team, he had figures of 7 for 9 and 7 for 37 Worcestershire invited him to play for them, and he made his first-class debut against Sussex in July 1952



ground_truth: Una Prostituta Al Servizio Del Pubblico E In Regola Con Le Leggi Dello Stato

prompt_front: Answer the question based on the given passages. Only give me the answer and do not output any other words.

Question: Which film has the director who was born first, Tombstone Rashomon or Waiting For The Clouds?

The following are given passages.
Context 3:  He took five wickets in the match (his maiden victim being Ken Suttle) and then held on for 4 not out with Peter Richardson (20 not out) to add the 12 runs needed for a one-wicket victory after his county had collapsed from 192 for 2 to 238 for 9  A week later he claimed four wickets against Warwickshire, then a few days later still he managed 6 for 52 (five of his victims bowled) in what was otherwise a disastrous innings defeat to Derbyshire  In the last match of the season he took a career-best 6 for 51 against Glamorgan; he and Reg Perks (4 for 59) bowled unchanged throughout the first innings  Worcestershire won the game and Lobban finished the season with 23 wickets at 23 69 He took 23 wickets again in 1953, but at a considerably worse average of 34 43, and had only two really successful games: against Oxford University in June, when he took 5 for 70, and then against Sussex in July  On this occasion Lobban claimed eight wickets, his most in a match, including 6 for 103 in the first innings  He also made his highest score with the bat, 18, but Sussex won by five wickets In 1954 Lobban made only two first-class appearances, and managed only the single wicket of Gloucestershire tail-ender Bomber Wells  In his final game, against Warwickshire at Dudley, his nine first-innings overs cost 51  He bowled just two overs in the second innings as Warwickshire completed an easy ten-wicket win  Lobban played one more Second XI game, against Glamorgan II at Cardiff Arms Park; in this he picked up five wickets 
He was also a professional boxer and played rugby union for Kidderminster He later moved to Canada, where he worked as a teacher in Burnaby, British Columbia  He and his wife Celia had a son and two daughters 
Passage 6:
Raymond Bernard
Raymond Bernard (10 October 1891 – 12 December 1977) was a French film director and screenwriter whose career spanned more than 40 years  He is best remembered for several large-scale historical productions, including the silent films Le Miracle des loups (The Miracle of the Wolves) and Le Joueur d'échecs (The Chess Player) and in the 1930s Les Croix de bois (Wooden Crosses) and a highly regarded adaptation of Les Misérables 

Biography
Raymond Bernard was born in Paris in 1891, the son of the author and humorist Tristan Bernard and younger brother of the playwright Jean-Jacques Bernard  He began his career as an actor appearing on stage in plays written by his father, including Jeanne Doré (1913) alongside Sarah Bernhardt (also filmed in 1916)  In 1917, Bernard began to work behind the camera as assistant to Jacques Feyder at Gaumont and then continued as a director, principally adapting plays by his father  In these popular entertainments, he soon gained experience of working with leading performers such as Max Linder and Charles Dullin In 1924, Bernard embarked upon a new style of film, the historical spectacle, with Le Miracle des loups set in 15th-century France in the reign of Louis XI  This proved to be the most expensive film of its day and one of the more profitable  Bernard's ability to combine dramatic narrative with spacious settings and large numbers of performers was utilised in the two remaining productions of his silent film career, Le Joueur d'échecs (1927) and Tarakanova (1930) Bernard's film-making in the sound era continued for nearly three decades  Further large-scale productions included his film about the First World War, Les Croix de bois (1932), and a three-part adaptation of Victor Hugo's Les Misérables (1934) which was nearly five hours in length  In his later films, he returned to modest projects and budgets, including a number of sophisticated comedies  During the wartime Occupation of France, Bernard as a Jew was obliged to remain in hiding, and his film-making ceased until the end of the war 
He retired from film-making in 1958, but in the 1970s, when he was in his 80s, he was able to supervise the reconstruction of Les Misérables, which had been severely truncated in the 1940s for easier distribution  In 1977, shortly after the broadcast of a nearly complete version on French television, Bernard died at age 86 Raymond Bernard was an Officer of the Legion of Honour 

Filmography (as director)
Le Ravin sans fond (1917) (co-directed with Jacques Feyder)
Le Traitement du hoquet (1917)
Le Gentilhomme commerçant (1918)
Le Petit Café (1919) (The Little Café)
Le Secret de Rosette Lambert (1920) (The Secret of Rosette Lambert)
La Maison vide (1921)
Triplepatte (1922)
L'Homme inusable (1923)
Grandeur et Décadence (1923)
Le Costaud des Épinettes (1923)
Le Miracle des loups (1924) (The Miracle of the Wolves)
Le Joueur d'échecs (1927) (The Chess Player)
Tarakanova (1930)
Faubourg Montmartre (1931) (Montmartre)
Les Croix de bois (1932) (Wooden Crosses)
Les Misérables (1934)
Tartarin de Tarascon (1934)
Amants et Voleurs (1935) (Lovers and Thieves)
Anne-Marie (1936)
Le Coupable (1937) (Culprit)
Marthe Richard au service de la France (1937)
J'étais une aventurière (1938) (I Was an Adventuress)
Les Otages (1939) (The Mayor's Dilemma)
Cavalcade d'amour (1940) (Love Cavalcade)
Un ami viendra ce soir (1946) (A Friend Will Come Tonight)
Adieu chérie (1946) (Goodbye Darling)
Maya (1949)
Le Cap de l'espérance (1951) (The Cape of Hope)
Le Jugement de Dieu (1952) (Judgement of God)
La Dame aux camélias (1953) (Lady of the Camelias)
La Belle de Cadix (1953) (The Beauty of Cadiz)
Les Fruits de l'été (1955) (Fruits of Summer)
Le Septième Commandement (1957) (The Seventh Commandment)
Le Septième Ciel (1958) (Seventh Heaven)
Passage 7:
Deepak Sareen
Deepak Sareen is a Bollywood film director and assistant director  His first film as director was Ranbhoomi and last film as director was Albela 

As assistant director
Deewaar (1975)
Kabhi Kabhi (1976)
Doosra Aadmi (1977)
Silsila (1981)
Mashaal (1984)
Faasle (1985)

As director
Ranbhoomi (1991)
Aaina (1993)
Gaddaar (1995)
Jab Pyaar Kisise Hota Hai (1998)
Albela (2001)

External links
Deepak Sareen at IMDb
Passage 8:
Ringo-en no shōjo
Ringo-en no shōjo (リンゴ園の少女, Ringo-en no shōjo, lit  "Girl of Apple Park") is a 1952 black and white Japanese film directed by Koji Shima The art director was Tomoo Shimogawara 

Cast
Hibari Misora as Marumi
Akihiko Katayama
Kokuten Kōdō
Yōko Kosono as Yoko Kozono
Koji Mitsui
Hideaki Miura
Bontarō Miyake as Bontaro Miake
Zeko Nakamura as Zekō Nakamura
Takeshi Sakamoto
Isao Yamagata
So Yamamura

See also
List of films in the public domain in the United States
Passage 9:
Henry Moore (cricketer)
Henry Walter Moore (1849 – 20 August 1916) was an English-born first-class cricketer who spent most of his life in New Zealand 

Life and family
Henry Moore was born in Cranbrook, Kent, in 1849  He was the son of the Reverend Edward Moore and Lady Harriet Janet Sarah Montagu-Scott, who was one of the daughters of the 4th Duke of Buccleuch  One of his brothers, Arthur, became an admiral and was knighted  Their great 
grandfather was John Moore, Archbishop of Canterbury from 1783 to 1805  One of their sisters was a maid of honour to Queen Victoria Moore went to New Zealand in the 1870s and lived in Geraldine and Christchurch  He married Henrietta Lysaght of Hāwera in November 1879, and they had one son  In May 1884 she died a few days after giving birth to a daughter, who also died In 1886 Moore became a Justice of the Peace in Geraldine  In 1897 he married Alice Fish of Geraldine  They moved to England four years before his death in 1916 

Cricket career
Moore was a right-handed middle-order batsman  In consecutive seasons, 1876–77 and 1877–78, playing for Canterbury, he made the highest score in the short New Zealand first-class season: 76 and 75 respectively  His 76 came in his first match for Canterbury, against Otago  He went to the wicket early on the first day with the score at 7 for 2 and put on 99 for the third wicket with Charles Corfe before he was out with the score at 106 for 3 after a "very fine exhibition of free hitting, combined with good defence"  Canterbury were all out for 133, but went on to win the match  His 75 came in the next season's match against Otago, when he took the score from 22 for 2 to 136 for 6  The New Zealand cricket historian Tom Reese said, "Right from the beginning he smote the bowling hip and thigh, going out of his ground to indulge in some forceful driving " Canterbury won again Moore led the batting averages in the Canterbury Cricket Association in 1877–78 with 379 runs at an average of 34 4  Also in 1877–78, he was a member of the Canterbury team that inflicted the only defeat on the touring Australians  In 1896–97, at the age of 47, he top-scored in each innings for a South Canterbury XVIII against the touring Queensland cricket team 
Passage 10:
Wale Adebanwi
Wale Adebanwi (born 1969) is a Nigerian-born first Black Rhodes Professor at St Antony's College, Oxford where he was, until June 2021, a Professor of Race Relations, and the Director of the African Studies Centre, School of Interdisciplinary Area Studies, and a Governing Board Fellow  He is currently a Presidential Penn Compact Professor of Africana Studies at the University of Pennsylvania  Adebanwi's research focuses on a range of topics in the areas of social change, nationalism and ethnicity, race relations, identity politics, elites and cultural politics, democratic process, newspaper press and spatial politics in Africa 

Education background
Wale Adebanwi graduated with a first degree in Mass Communication from the University of Lagos, and later earned his M Sc  and Ph D  in Political Science from the University of Ibadan  He also has an MPhil  and a Ph D  in Social Anthropology from the University of Cambridge 

Career
Adebanwi worked as a freelance reporter, writer, journalist and editor for many newspapers and magazines before he joined the University of Ibadan's Department of Political Science as a lecturer and researcher  He was later appointed as an assistant professor in the African American and African Studies Department of the University of California, Davis, USA  He became a full professor at UC Davis in 2016 Adebanwi is the co-editor of Africa: Journal of the International African Institute and the Journal of Contemporary African Studies 

Works
His published works include:
Nation as Grand Narrative: The Nigerian Press and the Politics of Meaning (University of Rochester Press, 2016)
Yoruba Elites and Ethnic Politics in Nigeria: Obafemi Awolowo and Corporate Agency (Cambridge University Press, 2014)
Authority Stealing: Anti-corruption War and Democratic Politics in Post-Military Nigeria (Carolina Academic Press, 2012)In addition, he is the editor and co-editor of other books, including 

The Political Economy of Everyday Life in Africa: Beyond the Margins (James Currey Publishers, 2017)
Writers and Social Thought in Africa (Routledge, 2016)
(co-edited with Ebenezer Obadare) Governance and the Crisis of Rule in Contemporary Africa (Palgrave Macmillan, 2016)
(co-edited with Ebenezer Obadare) Democracy and Prebendalism in Nigeria: Critical Interpretations (Palgrave Macmillan, 2013) 
(co-edited with Ebenezer Obadare) Nigeria at Fifty: The Nation in Narration (Routledge, 2012)
(co-edited with Ebenezer Obadare) Encountering the Nigerian State (Palgrave Macmillan, 2010) 

Awards
Rhodes Professorship in Race Relations awarded by Oxford University to Faculty of African and Interdisciplinary Area Studies 



ground_truth: Tombstone Rashomon

prompt_front: Answer the question based on the given passages. Only give me the answer and do not output any other words.

Question: Which film whose director was born first, The Abduction Club or Wooden Crosses?

The following are given passages.
Context 4:  and Mrs  Smith (Paul Ford and Lillian Gish), an elderly American couple who wish to set up a vegetarian complex for education and nutrition for the locals; and the central character, a cynical, washed-up hotel owner named Brown, portrayed by Richard Burton 
Upon arrival, Major Jones presents his credentials to Captain Concasseur (Raymond St  Jacques), a law enforcement officer, who notices that the official who invited Jones has been deposed and imprisoned  Concasseur and his men rough up and imprison Jones 
Brown has been bequeathed a hotel in the capital from his late British mother, but has been unable to sell it in his trip to New York City  Brown also has an ongoing affair with Martha (Elizabeth Taylor), the German-born wife of the Uruguayan ambassador to Haiti, Pineda (Peter Ustinov)  When Martha and Brown have an argument, Brown goes to Mere Catherine's brothel where he discovers that not only has Jones been released, but he's a guest of Captain Concasseur and is enjoying the hospitality of Brown's favourite prostitute, Marie Therese (Cicely Tyson) 
Jones has gained the favour of the new regime, who are keen to receive a supply of arms  They have paid a down payment, and Jones claims the weapons are impounded in a warehouse in Miami, but the weapons may be imaginary and a confidence trick by Jones  The government will not allow Jones to leave the island until they are sure the weapons exist 
Mr  Smith, a former "Vegetarian Party" candidate for the Presidency of the United States against Harry S  Truman, is given a tour of the new capital, an empty shambles called Duvalierville  He and Mrs  Smith follow a local procession that they believe is a religious ceremony but turns out to be an audience for executions by firing squad  Captain Concasseur and his men enter Brown's hotel and beat him up until Mrs  Smith bluffs the thugs by threatening to inform her husband, the American "presidential candidate " The Smiths depart the next day 
Brown watches as the Duvalier regime seeks to put down any dissent with an iron fist  He becomes friends with Dr  Magiot (James Earl Jones), the rebel leader who was once a close friend of Brown's late mother 
As Brown becomes a reluctant participant in the planned insurrection, the rebels recruit Major Jones to provide military leadership  Jones has been regaling the other expatriates with his tales of heroism as a commando officer in the Burma Campaign that Brown does not quite believe  Brown hosts a meeting of the group, including Magiot, Jones, and Ambassador Pineda  But trouble ensues soon thereafter – Duvalier’s spies from the Tonton Macoute are watching Brown’s Hotel Trianon and his every step 
When the government informs Jones that they wish to have Captain Concasseur fly to Miami to inspect the apparently fictional arms Jones wishes to sell to the regime  Jones flees to Brown's hotel  Brown is able to get Jones into the Uruguayan embassy where he pleads asylum  He escapes by dressing as Brown's female cook, wearing drag and blackface 
The day after the meeting, three assassins confront Magiot while he’s performing surgery and cut his throat with a scalpel knife   Taking him to a rebel rendezvous in the place of Dr  Magiot, Brown suspects that Jones has become involved with Martha Pineda  The inebriated Jones makes matters worse by bragging about his conquest 
Driving carelessly up the treacherous, winding road, Brown hits an embankment and breaks the car’s front axle  On foot, they arrive at a remote cemetery, the designated meeting point  They settle in for the night with Jones admitting that his jungle war stories were total fabrication, as was his claimed conquest of Martha   His wartime career involved running a cinema in India, and he'd never been with a woman he hadn't paid "or promised to pay "
In the morning, Captain Concasseur and one Tonton Macoute accost Brown at the cemetery  Brown denies that the Major is there, talking loudly to warn Jones  But a sleepy Jones approaches anyway  Commanded to stop, Jones turns and runs, but is killed  Brown is ordered into a jeep, but shots from rebels ring out  Concasseur and his henchman drop dead 
Asked about Jones, Brown tells the two rebels in dismay: "You arrived two minutes too late " The rebels plead with Brown to assume the role of Jones, seeing this as the only hope they have left  Brown hesitates, but relents after being asked whether he wants to continue living like this 
The three meet up with a ragtag group of poorly equipped rebels who believe that Brown is Jones  He gives a cynical, taunting speech, apparently without being understood, since the rebels speak French and he English 
The Pinedas are leaving the island  Petit Pierre (Roscoe Lee Browne), a journalist friend of Brown, tells them about a battle between government troops and rebels  He says two rebels have been killed, one "unidentified " As the plane takes off, Martha notices smoke on a hillside of the island  The question whether Brown has survived remains unanswered 

Cast
Richard Burton as Brown
Elizabeth Taylor as Martha Pineda
Alec Guinness as Major Jones
Peter Ustinov as Ambassador Pineda
Georg Stanford Brown as Henri Philipot
Roscoe Lee Browne as Petit Pierre
Paul Ford as Mr  Smith
Gloria Foster as Mrs  Philipot
Lillian Gish as Mrs  Smith
James Earl Jones as Dr  Magiot
Zakes Mokae as Michel
Douta Seck as Joseph
Raymond St  Jacques as Captain Concasseur
Cicely Tyson as Marie Therese

Production
Because political conditions in Haiti made filming there impossible, location shooting took place in Dahomey (now part of the Republic of Benin)  Filming also took place on the Côte d'Azur in France  A short promotional documentary titled The Comedians in Africa was released in 1967 which chronicled the difficulties encountered by the on-location crew and cast  The film featured a group of black American actors who would be famous into the 1970s: Raymond St  Jacques, James Earl Jones, and Cicely Tyson  Of these stars, both Tyson and Jones would later be nominated for Academy Awards  Other black stars in the film included Zakes Mokae, Roscoe Lee Browne, Gloria Foster, and Georg Stanford Brown 
This was the final film directed by Glenville, who three years earlier directed Burton in an award-winning production of Becket   Glenville previously directed the premier of Greene's first play, The Living Room, at Wyndham's Theatre in April 1953  
Several of the characters were based on real people the newspaper columnist Petit Pierre for instance was based on Aubelin Jolicoeur 

Reception
The film was poorly received, despite the all-star cast  On Rotten Tomatoes it has an approval rating of 27% based on reviews from 11 critics Variety called the film "plodding, low-key, and eventually tedious"  Roger Ebert wrote in the Chicago Sun-Times that "the movie tries to be serious and politically significant, and succeeds only in being tedious and pompous", and denounced the "long, very wordy discussions", though he conceded that "the atmosphere of the Caribbean is invoked convincingly"  Bosley Crowther gave the film a mixed review, praising the atmosphere and some individual scenes, but stating: "Mr  Greene's characteristic story of white men carrying their burdens cheerlessly and with an undisguised readiness to dump them as soon as they can get away from this God-forsaken place is no great shakes of a drama  It is conventional and obvious, indeed, and is rendered no better or more beguiling by some rather superfluous additions of amorous scenes" 
The film received some recognition from several critics' circles  Lillian Gish received a Golden Globe nomination for Best Supporting Actress  Paul Ford won the 1967 National Board of Review Award for Best Supporting Actor for his role as Smith, and Alec Guinness tied with Robert Shaw in A Man for All Seasons for the 1968 Kansas City Film Critics Circle Award for Best Supporting Actor for his role as Jones 
The film was not successful financially 

See also
List of American films of 1967
Passage 8:
List of comedy films of the 1950s
A list of comedy films released in the 1950s 
Passage 9:
List of comedy films of the 1980s
A list of comedy films released in the 1980s 

American films
1980s
1980
1981
1982
1983
1984
1985
1986
1987
1988
1989
British films
Comedy-horror
1981

An American Werewolf in London
Full Moon High
The Funhouse
Motel Hell1982

Basket Case
Big Meat Eater
Hysterical1983

Bloodbath at the House of Death
Frightmare1984

Bloodsuckers from Outer Space
Gremlins
The Toxic Avenger1985

Mr  Vampire
Once Bitten
Re-Animator
The Return of the Living Dead1986

Blood Hook
Class of Nuke 'Em High
Critters
Evil Laugh
From Beyond
Haunted Honeymoon
House
Little Shop of Horrors
Monster in the Closet
Night of the Creeps
The Seventh Curse
TerrorVision
Vamp1987

Bad Taste
A Chinese Ghost Story
Deathrow Gameshow
Evil Dead II
House II: The Second Story
I Was a Teenage Zombie
The Monster Squad1988

Beetlejuice
Curse of the Queerwolf
Dead Heat
Elvira: Mistress of the Dark
High Spirits
Hollywood Chainsaw Hookers
Killer Klowns from Outer Space
The Lair of the White Worm
My Best Friend Is a Vampire
Night of the Demons
Return of the Living Dead Part II
Waxwork1989

Cannibal Women in the Avocado Jungle of Death
Chopper Chicks in Zombietown
Cutting Class
Dr Caligari
My Mom's a Werewolf
Out of the Dark
Over-sexed Rugsuckers from Mars
The Toxic Avenger Part II
The Toxic Avenger Part III: The Last Temptation of Toxie

Sci-fi comedy
Comedy-drama
Parody films
Passage 10:
F the Prom
F the Prom (also known as F*&% the Prom) is a 2017 American teen comedy film directed and produced by Benny Fine and written by him, Rafi Fine, and Molly Prather  In the film, two estranged best friends reunite due to unfortunate circumstances and conspire to destroy the senior prom  The film stars Danielle Campbell, Joel Courtney, Madelaine Petsch, and Cameron Palatas, with Meg DeLacy, Nicholle Tom, Richard Karn, Jill Cimorelli, Luke Bilyk, Brendan Calton, Michael Chey, Adan Allende, Diamond White, Cheri Oteri, and Ian Ziering in supporting roles  It was released online and on-demand on December 5, 2017 

Plot
Best friends Maddy Datner and Cole Reed attend their first day of high school at Charles Adams High  Cole is pantsed by a fellow student, revealing his white briefs and earning him the nickname "Tighty"  Rather than stand up for him, Maddy decides not to intervene, and refuses to talk to Cole from that point on  Three years later, Maddy is at the top of the social hierarchy, and is dating the hottest boy at school, Kane  Cole, still shunned by his peers, has decided to apply to a prestigious art college 
Maddy catches her best friend Marissa making out with Kane  Revealing her disgust with Maddy's recent self-centered behavior, Marissa explains that she intends to be crowned Queen at the upcoming senior prom, which Maddy was expected to win  That night, Maddy goes to Cole's house, and they reconnect, reminiscing about their former friendship  Maddy suggests that they ruin the prom, enlisting Cole's friend Felicity to help  Felicity refuses to help at first, but when Maddy stands up for Cole against Kane, she agrees, and enlists the help of other social outcasts to execute the plan 
Maddy announces that she intends to take Cole to the prom, which greatly increases his status  Marissa tries to steal Cole's affections, but he rebuffs her  Kane, meanwhile, seeks forgiveness from Maddy  Felicity reveals that at one time, she and Kane were together, until Marissa manipulated Kane into dumping her for Maddy  As the date for prom approaches, Maddy forgives Kane and reneges on her commitment to take Cole as her date  Feeling hurt, Cole nearly calls the plan off, but his father intervenes  A former prom king himself, he has come to regret his behavior in high school, and believes his lack of humility was the reason why Cole's mom left them  He also believes that if his prom had been ruined, he would be more humble  Cole initially does not believe him, but his father urges him to humble the popular kids so they do not turn out like him, and he reluctantly agrees to go through with the plan 
The night of the prom, Felicity and the other conspirators rig the voting system, drug Marissa's punch, and turn the popular kids against each other using social media, including posting fake pornographic images of one boy  At the end of the night, Maddy is crowned prom queen, and is thus doused with tar—the punishment intended for Marissa—before one of the kids pulls the fire alarm  Marissa takes revenge on Cole for rejecting her by once again pantsing him in front of the crowd  Enraged, Cole delivers a lengthy speech in which he criticizes how the students have hurt each other in pursuit of popularity that is ultimately without meaning or worth 
Cole ignores Maddy for the rest of the school year due to her betrayal at prom and the fact that she could have helped him all the past years in high school, but instead stood idly by and watched as he was tormented by other students  After graduation, Felicity explains to Cole that the only reason he was accepted into the college he has been trying to attend is because Maddy sent his profile in to a recruiter  Unaware of this information, Cole stops by Maddy's house to give her a graphic novel of his drawings as both a thank you and a going-away present, since he leaves for school that weekend  He also confesses his feelings for her  Maddy reciprocates, and they kiss, but Cole ultimately rejects her offer of a relationship, wishing to remain friends instead 

Cast
Danielle Campbell as Madeline "Maddy" Datner
Joel Courtney as Cole Reed
Madelaine Petsch as Marissa
Cameron Palatas as Kane
Meg DeLacy as Felicity "City" Stufts / Stuffs
Jill Cimorelli as TIG / Abbey
Luke Bilyk as T J 
Michael Chey as Sweats / Larry
Brendan Calton as Strings / Efraim
Adan Allende as Mutey / Emile
Ian Ziering as Ken Reed
Logan Shroyer as Young Ken
Cheri Oteri as Christine Datner
Mika Cigic as Young Christine
Richard Karn as Murphy Datner
Michael McLean as Young Murphy
Nicholle Tom as Principal Statszill
Diamond White as Rayna
Tom Phelan as Jerry
Eric Beckerman as Akiva
Ethan James Teague as Barry
Jeannie Elise Mai as Anna
Edward Zo as Yang
Lilly Singh as Miss Fallsburg (cameo appearance)



ground_truth: Wooden Crosses