niryuu/sni-each-converted huggingface dataset:
The film opens in the midst of an Iraqi air raid in the state of Khuzestan in Southern Iran. Beizaei films Bashu (Adan Afravian) caught between bombs exploding, a scene of a Muslim woman (his Mother) burning, and a young girl (his sister) running lost in the smoke. He needs to escape and so he jumps into the back of a truck heading North out of the war. From this point on Bashu enters another reality in a remote farming village Gilan near the Russian border where the people are lighter skinned and speak a different language. There Bashu meets Naii (Susan Taslimi) and her children. By accepting him into her family as one of her own children, Naii poses the fundamental question we hear from the film - "Aren't we all children of Iran?" From out of war torn trauma, Bashu finds hope and trust with Naii's family.Parallels are drawn throughout the film between Bashu and Naii as culturally repressed figures in Iran. Bashu is a dark-skinned, Arab speaking boy, which at the time defied the Persian nationalism thought to unify the country. And, Naii being an uneducated woman who could not read or write would normally not be able to manage on the farm without her husband. Yet, these differences are what bring Bashu and Naii to depend on each other for support and their own sense of family and belonging. This bond is seal at the end of the film when the husband returns with a missing arm and therefore becomes grateful and accepting of Bashus role as his son on the farm.Although Naii and Bashu are culturally repressed characters due to their gender and race, Beizaei lifts them up as strong and successful characters able to survive on their own, care for each other, and thus defy the racial and sexist stereotypes against them.
Output: Question: Who is uneducated woman?, Answer: Naii
The film opens in the midst of an Iraqi air raid in the state of Khuzestan in Southern Iran. Beizaei films Bashu (Adan Afravian) caught between bombs exploding, a scene of a Muslim woman (his Mother) burning, and a young girl (his sister) running lost in the smoke. He needs to escape and so he jumps into the back of a truck heading North out of the war. From this point on Bashu enters another reality in a remote farming village Gilan near the Russian border where the people are lighter skinned and speak a different language. There Bashu meets Naii (Susan Taslimi) and her children. By accepting him into her family as one of her own children, Naii poses the fundamental question we hear from the film - "Aren't we all children of Iran?" From out of war torn trauma, Bashu finds hope and trust with Naii's family.Parallels are drawn throughout the film between Bashu and Naii as culturally repressed figures in Iran. Bashu is a dark-skinned, Arab speaking boy, which at the time defied the Persian nationalism thought to unify the country. And, Naii being an uneducated woman who could not read or write would normally not be able to manage on the farm without her husband. Yet, these differences are what bring Bashu and Naii to depend on each other for support and their own sense of family and belonging. This bond is seal at the end of the film when the husband returns with a missing arm and therefore becomes grateful and accepting of Bashus role as his son on the farm.Although Naii and Bashu are culturally repressed characters due to their gender and race, Beizaei lifts them up as strong and successful characters able to survive on their own, care for each other, and thus defy the racial and sexist stereotypes against them.
Output: Question: which actress plays the role of Naii?, Answer: Susan Taslimi
The film opens in the midst of an Iraqi air raid in the state of Khuzestan in Southern Iran. Beizaei films Bashu (Adan Afravian) caught between bombs exploding, a scene of a Muslim woman (his Mother) burning, and a young girl (his sister) running lost in the smoke. He needs to escape and so he jumps into the back of a truck heading North out of the war. From this point on Bashu enters another reality in a remote farming village Gilan near the Russian border where the people are lighter skinned and speak a different language. There Bashu meets Naii (Susan Taslimi) and her children. By accepting him into her family as one of her own children, Naii poses the fundamental question we hear from the film - "Aren't we all children of Iran?" From out of war torn trauma, Bashu finds hope and trust with Naii's family.Parallels are drawn throughout the film between Bashu and Naii as culturally repressed figures in Iran. Bashu is a dark-skinned, Arab speaking boy, which at the time defied the Persian nationalism thought to unify the country. And, Naii being an uneducated woman who could not read or write would normally not be able to manage on the farm without her husband. Yet, these differences are what bring Bashu and Naii to depend on each other for support and their own sense of family and belonging. This bond is seal at the end of the film when the husband returns with a missing arm and therefore becomes grateful and accepting of Bashus role as his son on the farm.Although Naii and Bashu are culturally repressed characters due to their gender and race, Beizaei lifts them up as strong and successful characters able to survive on their own, care for each other, and thus defy the racial and sexist stereotypes against them.
Output: Question: what is the name of the male protagonist?, Answer: bashu
The film opens in the midst of an Iraqi air raid in the state of Khuzestan in Southern Iran. Beizaei films Bashu (Adan Afravian) caught between bombs exploding, a scene of a Muslim woman (his Mother) burning, and a young girl (his sister) running lost in the smoke. He needs to escape and so he jumps into the back of a truck heading North out of the war. From this point on Bashu enters another reality in a remote farming village Gilan near the Russian border where the people are lighter skinned and speak a different language. There Bashu meets Naii (Susan Taslimi) and her children. By accepting him into her family as one of her own children, Naii poses the fundamental question we hear from the film - "Aren't we all children of Iran?" From out of war torn trauma, Bashu finds hope and trust with Naii's family.Parallels are drawn throughout the film between Bashu and Naii as culturally repressed figures in Iran. Bashu is a dark-skinned, Arab speaking boy, which at the time defied the Persian nationalism thought to unify the country. And, Naii being an uneducated woman who could not read or write would normally not be able to manage on the farm without her husband. Yet, these differences are what bring Bashu and Naii to depend on each other for support and their own sense of family and belonging. This bond is seal at the end of the film when the husband returns with a missing arm and therefore becomes grateful and accepting of Bashus role as his son on the farm.Although Naii and Bashu are culturally repressed characters due to their gender and race, Beizaei lifts them up as strong and successful characters able to survive on their own, care for each other, and thus defy the racial and sexist stereotypes against them.
Output: Question: In which country does the film open ?, Answer: iran
The film opens in the midst of an Iraqi air raid in the state of Khuzestan in Southern Iran. Beizaei films Bashu (Adan Afravian) caught between bombs exploding, a scene of a Muslim woman (his Mother) burning, and a young girl (his sister) running lost in the smoke. He needs to escape and so he jumps into the back of a truck heading North out of the war. From this point on Bashu enters another reality in a remote farming village Gilan near the Russian border where the people are lighter skinned and speak a different language. There Bashu meets Naii (Susan Taslimi) and her children. By accepting him into her family as one of her own children, Naii poses the fundamental question we hear from the film - "Aren't we all children of Iran?" From out of war torn trauma, Bashu finds hope and trust with Naii's family.Parallels are drawn throughout the film between Bashu and Naii as culturally repressed figures in Iran. Bashu is a dark-skinned, Arab speaking boy, which at the time defied the Persian nationalism thought to unify the country. And, Naii being an uneducated woman who could not read or write would normally not be able to manage on the farm without her husband. Yet, these differences are what bring Bashu and Naii to depend on each other for support and their own sense of family and belonging. This bond is seal at the end of the film when the husband returns with a missing arm and therefore becomes grateful and accepting of Bashus role as his son on the farm.Although Naii and Bashu are culturally repressed characters due to their gender and race, Beizaei lifts them up as strong and successful characters able to survive on their own, care for each other, and thus defy the racial and sexist stereotypes against them.
Output: Question: Who meets Naii?, Answer: Bashu
The film opens in the midst of an Iraqi air raid in the state of Khuzestan in Southern Iran. Beizaei films Bashu (Adan Afravian) caught between bombs exploding, a scene of a Muslim woman (his Mother) burning, and a young girl (his sister) running lost in the smoke. He needs to escape and so he jumps into the back of a truck heading North out of the war. From this point on Bashu enters another reality in a remote farming village Gilan near the Russian border where the people are lighter skinned and speak a different language. There Bashu meets Naii (Susan Taslimi) and her children. By accepting him into her family as one of her own children, Naii poses the fundamental question we hear from the film - "Aren't we all children of Iran?" From out of war torn trauma, Bashu finds hope and trust with Naii's family.Parallels are drawn throughout the film between Bashu and Naii as culturally repressed figures in Iran. Bashu is a dark-skinned, Arab speaking boy, which at the time defied the Persian nationalism thought to unify the country. And, Naii being an uneducated woman who could not read or write would normally not be able to manage on the farm without her husband. Yet, these differences are what bring Bashu and Naii to depend on each other for support and their own sense of family and belonging. This bond is seal at the end of the film when the husband returns with a missing arm and therefore becomes grateful and accepting of Bashus role as his son on the farm.Although Naii and Bashu are culturally repressed characters due to their gender and race, Beizaei lifts them up as strong and successful characters able to survive on their own, care for each other, and thus defy the racial and sexist stereotypes against them.
Output: Question: Who plays Bashu?, Answer: Adan Afravian
Paul Aufiero, a 35-year-old parking-garage attendant from Staten Island, is the self-described "world's biggest New York Giants fan". He lives at home with his mother, spending his off hours calling in to local sports-radio station 760 The Zone, where he rants in support of his beloved team, often against his mysterious on-air rival, Eagles fan Philadelphia Phil. His family berates him for doing nothing with his life, but they don't understand the depth of his love of the Giants or the responsibility his fandom carries.One night, Paul and his best friend Sal spot Giants star linebacker Quantrell Bishop at a gas station in their neighborhood. They impulsively follow his limo into Manhattan, to a strip club, where they hang in the background, agog at their hero. Paul cautiously decides to approach him, stepping into the rarefied air of football stardom--and things do not go as planned.The fallout of this chance encounter brings Paul's world crashing down around him as his family, the team, the media and the authorities engage in a tug of war over Paul, testing his allegiances and calling into question everything he believes in. Meanwhile, the Giants march toward a late-season showdown with the Eagles, unaware that sometimes the most brutal struggles take place far from the field of play.Following up his first filmed screenplay, THE WRESTLER, writer-director Robert Siegel once again demonstrates a unique and potent vision of the human experience, in all of it its harsh truths and hopeful humanity [D-Man2010]
Output: Question: Who is Paul Aufiero's on-air rival?, Answer: Philadelphia Phil.
Paul Aufiero, a 35-year-old parking-garage attendant from Staten Island, is the self-described "world's biggest New York Giants fan". He lives at home with his mother, spending his off hours calling in to local sports-radio station 760 The Zone, where he rants in support of his beloved team, often against his mysterious on-air rival, Eagles fan Philadelphia Phil. His family berates him for doing nothing with his life, but they don't understand the depth of his love of the Giants or the responsibility his fandom carries.One night, Paul and his best friend Sal spot Giants star linebacker Quantrell Bishop at a gas station in their neighborhood. They impulsively follow his limo into Manhattan, to a strip club, where they hang in the background, agog at their hero. Paul cautiously decides to approach him, stepping into the rarefied air of football stardom--and things do not go as planned.The fallout of this chance encounter brings Paul's world crashing down around him as his family, the team, the media and the authorities engage in a tug of war over Paul, testing his allegiances and calling into question everything he believes in. Meanwhile, the Giants march toward a late-season showdown with the Eagles, unaware that sometimes the most brutal struggles take place far from the field of play.Following up his first filmed screenplay, THE WRESTLER, writer-director Robert Siegel once again demonstrates a unique and potent vision of the human experience, in all of it its harsh truths and hopeful humanity [D-Man2010]
Output: Question: What Gaints star do they encounter?, Answer: Linebacker Quantrell Bishop.
Paul Aufiero, a 35-year-old parking-garage attendant from Staten Island, is the self-described "world's biggest New York Giants fan". He lives at home with his mother, spending his off hours calling in to local sports-radio station 760 The Zone, where he rants in support of his beloved team, often against his mysterious on-air rival, Eagles fan Philadelphia Phil. His family berates him for doing nothing with his life, but they don't understand the depth of his love of the Giants or the responsibility his fandom carries.One night, Paul and his best friend Sal spot Giants star linebacker Quantrell Bishop at a gas station in their neighborhood. They impulsively follow his limo into Manhattan, to a strip club, where they hang in the background, agog at their hero. Paul cautiously decides to approach him, stepping into the rarefied air of football stardom--and things do not go as planned.The fallout of this chance encounter brings Paul's world crashing down around him as his family, the team, the media and the authorities engage in a tug of war over Paul, testing his allegiances and calling into question everything he believes in. Meanwhile, the Giants march toward a late-season showdown with the Eagles, unaware that sometimes the most brutal struggles take place far from the field of play.Following up his first filmed screenplay, THE WRESTLER, writer-director Robert Siegel once again demonstrates a unique and potent vision of the human experience, in all of it its harsh truths and hopeful humanity [D-Man2010]
Output: Question: Who is Pauls best friend?, Answer: Sal
An African storyteller humorously and kindly talks about how some of his fellow countrymen are emulating the habits of white people and âTheir stuffâ. He thus presents several cases to prove his point. In one of them a supposed to be planter and businessman who underpays an employee gets framed by his own folks. A young boy jumps from a high tree with an open umbrella to copy the way the parachutists do in the city. A few other examples are as pathetic or comical. At the epilogue our storyteller finds himself being laughed at, at a bistro in Paris. The way he deals with the situation is kind and again humorous.This was the last film directed by Jean-Pierre DikonguÃ© Pipa and it was lost for around two decades.
Output: Question: Where is the bistro at?, Answer: Paris
An African storyteller humorously and kindly talks about how some of his fellow countrymen are emulating the habits of white people and âTheir stuffâ. He thus presents several cases to prove his point. In one of them a supposed to be planter and businessman who underpays an employee gets framed by his own folks. A young boy jumps from a high tree with an open umbrella to copy the way the parachutists do in the city. A few other examples are as pathetic or comical. At the epilogue our storyteller finds himself being laughed at, at a bistro in Paris. The way he deals with the situation is kind and again humorous.This was the last film directed by Jean-Pierre DikonguÃ© Pipa and it was lost for around two decades.
Output: Question: WHAT IS THE INCIDENT WITH THE KID AND UMBRELLA ?, Answer: A boy jumps from a tall tree with an open umbrella to imitate skydivers
An African storyteller humorously and kindly talks about how some of his fellow countrymen are emulating the habits of white people and âTheir stuffâ. He thus presents several cases to prove his point. In one of them a supposed to be planter and businessman who underpays an employee gets framed by his own folks. A young boy jumps from a high tree with an open umbrella to copy the way the parachutists do in the city. A few other examples are as pathetic or comical. At the epilogue our storyteller finds himself being laughed at, at a bistro in Paris. The way he deals with the situation is kind and again humorous.This was the last film directed by Jean-Pierre DikonguÃ© Pipa and it was lost for around two decades.
Output: Question: Where is the storyteller from?, Answer: Africa
An African storyteller humorously and kindly talks about how some of his fellow countrymen are emulating the habits of white people and âTheir stuffâ. He thus presents several cases to prove his point. In one of them a supposed to be planter and businessman who underpays an employee gets framed by his own folks. A young boy jumps from a high tree with an open umbrella to copy the way the parachutists do in the city. A few other examples are as pathetic or comical. At the epilogue our storyteller finds himself being laughed at, at a bistro in Paris. The way he deals with the situation is kind and again humorous.This was the last film directed by Jean-Pierre DikonguÃ© Pipa and it was lost for around two decades.
Output: Question: What does the young boy use when jumping from the tree?, Answer: An umbrella
An African storyteller humorously and kindly talks about how some of his fellow countrymen are emulating the habits of white people and âTheir stuffâ. He thus presents several cases to prove his point. In one of them a supposed to be planter and businessman who underpays an employee gets framed by his own folks. A young boy jumps from a high tree with an open umbrella to copy the way the parachutists do in the city. A few other examples are as pathetic or comical. At the epilogue our storyteller finds himself being laughed at, at a bistro in Paris. The way he deals with the situation is kind and again humorous.This was the last film directed by Jean-Pierre DikonguÃ© Pipa and it was lost for around two decades.
Output: Question: What occupations do the subjects of the joke possess?, Answer: Planter and business man
An African storyteller humorously and kindly talks about how some of his fellow countrymen are emulating the habits of white people and âTheir stuffâ. He thus presents several cases to prove his point. In one of them a supposed to be planter and businessman who underpays an employee gets framed by his own folks. A young boy jumps from a high tree with an open umbrella to copy the way the parachutists do in the city. A few other examples are as pathetic or comical. At the epilogue our storyteller finds himself being laughed at, at a bistro in Paris. The way he deals with the situation is kind and again humorous.This was the last film directed by Jean-Pierre DikonguÃ© Pipa and it was lost for around two decades.
Output: Question: WHAT DOES THE STORYTELLER TALK ABOUT ?, Answer: His country men emulating white men
An African storyteller humorously and kindly talks about how some of his fellow countrymen are emulating the habits of white people and âTheir stuffâ. He thus presents several cases to prove his point. In one of them a supposed to be planter and businessman who underpays an employee gets framed by his own folks. A young boy jumps from a high tree with an open umbrella to copy the way the parachutists do in the city. A few other examples are as pathetic or comical. At the epilogue our storyteller finds himself being laughed at, at a bistro in Paris. The way he deals with the situation is kind and again humorous.This was the last film directed by Jean-Pierre DikonguÃ© Pipa and it was lost for around two decades.
Output: Question: Who's habits are being joked about?, Answer: White people
An African storyteller humorously and kindly talks about how some of his fellow countrymen are emulating the habits of white people and âTheir stuffâ. He thus presents several cases to prove his point. In one of them a supposed to be planter and businessman who underpays an employee gets framed by his own folks. A young boy jumps from a high tree with an open umbrella to copy the way the parachutists do in the city. A few other examples are as pathetic or comical. At the epilogue our storyteller finds himself being laughed at, at a bistro in Paris. The way he deals with the situation is kind and again humorous.This was the last film directed by Jean-Pierre DikonguÃ© Pipa and it was lost for around two decades.
Output: Question: WHAT IS THE EPILOUGE?, Answer: The storyteller is being laughed at in a Paris bistro
An African storyteller humorously and kindly talks about how some of his fellow countrymen are emulating the habits of white people and âTheir stuffâ. He thus presents several cases to prove his point. In one of them a supposed to be planter and businessman who underpays an employee gets framed by his own folks. A young boy jumps from a high tree with an open umbrella to copy the way the parachutists do in the city. A few other examples are as pathetic or comical. At the epilogue our storyteller finds himself being laughed at, at a bistro in Paris. The way he deals with the situation is kind and again humorous.This was the last film directed by Jean-Pierre DikonguÃ© Pipa and it was lost for around two decades.
Output: Question: Why does the businessman get framed?, Answer: for underpaying an employee
Tori Spelling stars in Cthulhu, the terrifying reinvention of the classic HP Lovecraft tale. When Russell (Jason Cottle), a gay college professor, returns to his small hometown to rectify his late mother¹s estate, he discovers the town embroiled in a sinister plot to take over the world, and his own destiny entwined with their plans. [D-Man2010]H.P. Lovecraft's creepy classic gets a modern makeover with this debut from writer-director Dan Gildark. In CTHULHU, a Seattle man returns to his Oregon roots after the death of his mother. He reunites with a childhood friend and their meeting quickly turns passionate, but his visit becomes dangerous when he uncovers his father's connections to a cult. [D-Man2010]
Output: Question: The movie "Cthulhu" was based on what author's classic tale?, Answer: H.P. Lovecraft
Tori Spelling stars in Cthulhu, the terrifying reinvention of the classic HP Lovecraft tale. When Russell (Jason Cottle), a gay college professor, returns to his small hometown to rectify his late mother¹s estate, he discovers the town embroiled in a sinister plot to take over the world, and his own destiny entwined with their plans. [D-Man2010]H.P. Lovecraft's creepy classic gets a modern makeover with this debut from writer-director Dan Gildark. In CTHULHU, a Seattle man returns to his Oregon roots after the death of his mother. He reunites with a childhood friend and their meeting quickly turns passionate, but his visit becomes dangerous when he uncovers his father's connections to a cult. [D-Man2010]
Output: Question: The "Cthulu" protagonist returns to his roots in what state?, Answer: Oregon
Tori Spelling stars in Cthulhu, the terrifying reinvention of the classic HP Lovecraft tale. When Russell (Jason Cottle), a gay college professor, returns to his small hometown to rectify his late mother¹s estate, he discovers the town embroiled in a sinister plot to take over the world, and his own destiny entwined with their plans. [D-Man2010]H.P. Lovecraft's creepy classic gets a modern makeover with this debut from writer-director Dan Gildark. In CTHULHU, a Seattle man returns to his Oregon roots after the death of his mother. He reunites with a childhood friend and their meeting quickly turns passionate, but his visit becomes dangerous when he uncovers his father's connections to a cult. [D-Man2010]
Output: Question: Who wrote and directed "Cthulu"?, Answer: Dan Gildark
HENRY POOLE is HERE is a comedic drama about a disillusioned man who goes hiding in placid suburbia only to discover he cannot escape the forces of hope. Returning to the middleclass neighborhood where he grew up, Henry chooses to live in indulgent isolation. Real life, however, refuses to cooperate with his plans. Nosy neighbors interrupt him with curious visits and prying questions. Then the situation escalates as a stain on Henry's stucco wall is seen to have miraculous powers. His last-ditch hideout becomes a shrine; his backyard turns into an arena for passionate debate about faith and destiny. Seeking anonymous oblivion, cynical Henry Poole instead finds himself right at the center of the human comedy. A modern-day fable, director Mark Pellington's new film investigates the unexpected wonders of the everyday. A faithless man finds hope. A hopeless man finds love. Whether backyard miracles are real or triggered by hope and belief, their personal effects are permanent.
Output: Question: What did the stain on Henry's stucco wall have?, Answer: miraculous powers
HENRY POOLE is HERE is a comedic drama about a disillusioned man who goes hiding in placid suburbia only to discover he cannot escape the forces of hope. Returning to the middleclass neighborhood where he grew up, Henry chooses to live in indulgent isolation. Real life, however, refuses to cooperate with his plans. Nosy neighbors interrupt him with curious visits and prying questions. Then the situation escalates as a stain on Henry's stucco wall is seen to have miraculous powers. His last-ditch hideout becomes a shrine; his backyard turns into an arena for passionate debate about faith and destiny. Seeking anonymous oblivion, cynical Henry Poole instead finds himself right at the center of the human comedy. A modern-day fable, director Mark Pellington's new film investigates the unexpected wonders of the everyday. A faithless man finds hope. A hopeless man finds love. Whether backyard miracles are real or triggered by hope and belief, their personal effects are permanent.
Output: Question: What kind of wall has the stain?, Answer: Stucco
HENRY POOLE is HERE is a comedic drama about a disillusioned man who goes hiding in placid suburbia only to discover he cannot escape the forces of hope. Returning to the middleclass neighborhood where he grew up, Henry chooses to live in indulgent isolation. Real life, however, refuses to cooperate with his plans. Nosy neighbors interrupt him with curious visits and prying questions. Then the situation escalates as a stain on Henry's stucco wall is seen to have miraculous powers. His last-ditch hideout becomes a shrine; his backyard turns into an arena for passionate debate about faith and destiny. Seeking anonymous oblivion, cynical Henry Poole instead finds himself right at the center of the human comedy. A modern-day fable, director Mark Pellington's new film investigates the unexpected wonders of the everyday. A faithless man finds hope. A hopeless man finds love. Whether backyard miracles are real or triggered by hope and belief, their personal effects are permanent.
Output: Question: What is Henry's last name?, Answer: Poole
HENRY POOLE is HERE is a comedic drama about a disillusioned man who goes hiding in placid suburbia only to discover he cannot escape the forces of hope. Returning to the middleclass neighborhood where he grew up, Henry chooses to live in indulgent isolation. Real life, however, refuses to cooperate with his plans. Nosy neighbors interrupt him with curious visits and prying questions. Then the situation escalates as a stain on Henry's stucco wall is seen to have miraculous powers. His last-ditch hideout becomes a shrine; his backyard turns into an arena for passionate debate about faith and destiny. Seeking anonymous oblivion, cynical Henry Poole instead finds himself right at the center of the human comedy. A modern-day fable, director Mark Pellington's new film investigates the unexpected wonders of the everyday. A faithless man finds hope. A hopeless man finds love. Whether backyard miracles are real or triggered by hope and belief, their personal effects are permanent.
Output: Question: What did Henry's last ditch hideout become?, Answer: a shrine
HENRY POOLE is HERE is a comedic drama about a disillusioned man who goes hiding in placid suburbia only to discover he cannot escape the forces of hope. Returning to the middleclass neighborhood where he grew up, Henry chooses to live in indulgent isolation. Real life, however, refuses to cooperate with his plans. Nosy neighbors interrupt him with curious visits and prying questions. Then the situation escalates as a stain on Henry's stucco wall is seen to have miraculous powers. His last-ditch hideout becomes a shrine; his backyard turns into an arena for passionate debate about faith and destiny. Seeking anonymous oblivion, cynical Henry Poole instead finds himself right at the center of the human comedy. A modern-day fable, director Mark Pellington's new film investigates the unexpected wonders of the everyday. A faithless man finds hope. A hopeless man finds love. Whether backyard miracles are real or triggered by hope and belief, their personal effects are permanent.
Output: Question: What can Henry not escape?, Answer: The forces of hope.
HENRY POOLE is HERE is a comedic drama about a disillusioned man who goes hiding in placid suburbia only to discover he cannot escape the forces of hope. Returning to the middleclass neighborhood where he grew up, Henry chooses to live in indulgent isolation. Real life, however, refuses to cooperate with his plans. Nosy neighbors interrupt him with curious visits and prying questions. Then the situation escalates as a stain on Henry's stucco wall is seen to have miraculous powers. His last-ditch hideout becomes a shrine; his backyard turns into an arena for passionate debate about faith and destiny. Seeking anonymous oblivion, cynical Henry Poole instead finds himself right at the center of the human comedy. A modern-day fable, director Mark Pellington's new film investigates the unexpected wonders of the everyday. A faithless man finds hope. A hopeless man finds love. Whether backyard miracles are real or triggered by hope and belief, their personal effects are permanent.
Output: Question: What does the stain on Henry's wall have?, Answer: Miraculous powers
HENRY POOLE is HERE is a comedic drama about a disillusioned man who goes hiding in placid suburbia only to discover he cannot escape the forces of hope. Returning to the middleclass neighborhood where he grew up, Henry chooses to live in indulgent isolation. Real life, however, refuses to cooperate with his plans. Nosy neighbors interrupt him with curious visits and prying questions. Then the situation escalates as a stain on Henry's stucco wall is seen to have miraculous powers. His last-ditch hideout becomes a shrine; his backyard turns into an arena for passionate debate about faith and destiny. Seeking anonymous oblivion, cynical Henry Poole instead finds himself right at the center of the human comedy. A modern-day fable, director Mark Pellington's new film investigates the unexpected wonders of the everyday. A faithless man finds hope. A hopeless man finds love. Whether backyard miracles are real or triggered by hope and belief, their personal effects are permanent.
Output: Question: Where does Henry go to hideout?, Answer: Placid Surburbia
HENRY POOLE is HERE is a comedic drama about a disillusioned man who goes hiding in placid suburbia only to discover he cannot escape the forces of hope. Returning to the middleclass neighborhood where he grew up, Henry chooses to live in indulgent isolation. Real life, however, refuses to cooperate with his plans. Nosy neighbors interrupt him with curious visits and prying questions. Then the situation escalates as a stain on Henry's stucco wall is seen to have miraculous powers. His last-ditch hideout becomes a shrine; his backyard turns into an arena for passionate debate about faith and destiny. Seeking anonymous oblivion, cynical Henry Poole instead finds himself right at the center of the human comedy. A modern-day fable, director Mark Pellington's new film investigates the unexpected wonders of the everyday. A faithless man finds hope. A hopeless man finds love. Whether backyard miracles are real or triggered by hope and belief, their personal effects are permanent.
Output: Question: What can Henry Poole not escape?, Answer: forces of hope
HENRY POOLE is HERE is a comedic drama about a disillusioned man who goes hiding in placid suburbia only to discover he cannot escape the forces of hope. Returning to the middleclass neighborhood where he grew up, Henry chooses to live in indulgent isolation. Real life, however, refuses to cooperate with his plans. Nosy neighbors interrupt him with curious visits and prying questions. Then the situation escalates as a stain on Henry's stucco wall is seen to have miraculous powers. His last-ditch hideout becomes a shrine; his backyard turns into an arena for passionate debate about faith and destiny. Seeking anonymous oblivion, cynical Henry Poole instead finds himself right at the center of the human comedy. A modern-day fable, director Mark Pellington's new film investigates the unexpected wonders of the everyday. A faithless man finds hope. A hopeless man finds love. Whether backyard miracles are real or triggered by hope and belief, their personal effects are permanent.
Output: Question: What is being passionately debated in Henry's backyard?, Answer: Faith and Destiny
After serving in Europe during World War II, Herbie Brown (Lou Costello) and Slicker Smith (Bud Abbott) return to the United States aboard a troop ship. Also on board is their old nemesis, Sgt. Collins (Nat Pendleton). As the ship nears New York, Collins and his superiors search the men's belongings for contraband. A six-year-old French orphan, Evey (Beverly Simmons), whom Herbie and Slicker befriended, is found in Herbie's duffle bag. She is handed over to Lt. Sylvia Hunter (Joan Fulton), who delivers her to immigration officials in New York. However, during a shift change at the office, Evey is mistaken for a neighborhood kid and set free. Meanwhile, Herbie and Slicker are back to their pre-war occupation of peddling ties in Times Square. Collins is also back at his old job--a police officer assigned to the same beat. He is about to arrest the boys when Evey shows up and helps them escape.Herbie and Slicker attempt to adopt Evey, but are told that one of them must be married and have a steady income. Evey suggests that Herbie marry Sylvia. They show up at her apartment, but learn that Sylvia already has a boyfriend, Bill Gregory (Tom Brown).At one point Herbie and Slicker purchase what seems to be an ideal home for $750, but the seller doesn't want to let them see the interior prior to purchase. Before Herbie can get the front door open, the seller gives a signal and a truck hauls off the faÃ§ade, revealing that the boys had just purchased a broken-down old bus. The two have to fix it up to use as a home.Bill is a midget car racer. He is sure he will win the $20,000 prize at the Gold Cup Stakes, but his car is being held at a local garage until past-due bills are paid. Herbie and Slicker use their separation pay and loans from their old service pals to get the car out of hock. Collins, however, has other plans. He had been demoted repeatedly to ever less desirable beats thanks to the boys' escaping from him. He stakes out the garage in hopes of catching them and returning Evey to the immigration authorities to get himself back in good favor with his boss. He eventually chases them to the track, where Herbie gets in Bill's race car and leads everyone on a wild chase through the streets of New York.Herbie is eventually caught, but not before the head of an automobile company is impressed enough to order 20 of Bill's cars and 200 engines. With his financial future secure, Bill can now marry Sylvia and adopt Evey. Slicker and Herbie will be allowed to visit Evey if they get jobs. Collins' captain suggests that they join the police force, which they do--with Collins as their instructor!
Output: Question: Where is the car race led by Herbie?, Answer: New York
After serving in Europe during World War II, Herbie Brown (Lou Costello) and Slicker Smith (Bud Abbott) return to the United States aboard a troop ship. Also on board is their old nemesis, Sgt. Collins (Nat Pendleton). As the ship nears New York, Collins and his superiors search the men's belongings for contraband. A six-year-old French orphan, Evey (Beverly Simmons), whom Herbie and Slicker befriended, is found in Herbie's duffle bag. She is handed over to Lt. Sylvia Hunter (Joan Fulton), who delivers her to immigration officials in New York. However, during a shift change at the office, Evey is mistaken for a neighborhood kid and set free. Meanwhile, Herbie and Slicker are back to their pre-war occupation of peddling ties in Times Square. Collins is also back at his old job--a police officer assigned to the same beat. He is about to arrest the boys when Evey shows up and helps them escape.Herbie and Slicker attempt to adopt Evey, but are told that one of them must be married and have a steady income. Evey suggests that Herbie marry Sylvia. They show up at her apartment, but learn that Sylvia already has a boyfriend, Bill Gregory (Tom Brown).At one point Herbie and Slicker purchase what seems to be an ideal home for $750, but the seller doesn't want to let them see the interior prior to purchase. Before Herbie can get the front door open, the seller gives a signal and a truck hauls off the faÃ§ade, revealing that the boys had just purchased a broken-down old bus. The two have to fix it up to use as a home.Bill is a midget car racer. He is sure he will win the $20,000 prize at the Gold Cup Stakes, but his car is being held at a local garage until past-due bills are paid. Herbie and Slicker use their separation pay and loans from their old service pals to get the car out of hock. Collins, however, has other plans. He had been demoted repeatedly to ever less desirable beats thanks to the boys' escaping from him. He stakes out the garage in hopes of catching them and returning Evey to the immigration authorities to get himself back in good favor with his boss. He eventually chases them to the track, where Herbie gets in Bill's race car and leads everyone on a wild chase through the streets of New York.Herbie is eventually caught, but not before the head of an automobile company is impressed enough to order 20 of Bill's cars and 200 engines. With his financial future secure, Bill can now marry Sylvia and adopt Evey. Slicker and Herbie will be allowed to visit Evey if they get jobs. Collins' captain suggests that they join the police force, which they do--with Collins as their instructor!
Output: Question: who plays herbie?, Answer: Lou Costello
After serving in Europe during World War II, Herbie Brown (Lou Costello) and Slicker Smith (Bud Abbott) return to the United States aboard a troop ship. Also on board is their old nemesis, Sgt. Collins (Nat Pendleton). As the ship nears New York, Collins and his superiors search the men's belongings for contraband. A six-year-old French orphan, Evey (Beverly Simmons), whom Herbie and Slicker befriended, is found in Herbie's duffle bag. She is handed over to Lt. Sylvia Hunter (Joan Fulton), who delivers her to immigration officials in New York. However, during a shift change at the office, Evey is mistaken for a neighborhood kid and set free. Meanwhile, Herbie and Slicker are back to their pre-war occupation of peddling ties in Times Square. Collins is also back at his old job--a police officer assigned to the same beat. He is about to arrest the boys when Evey shows up and helps them escape.Herbie and Slicker attempt to adopt Evey, but are told that one of them must be married and have a steady income. Evey suggests that Herbie marry Sylvia. They show up at her apartment, but learn that Sylvia already has a boyfriend, Bill Gregory (Tom Brown).At one point Herbie and Slicker purchase what seems to be an ideal home for $750, but the seller doesn't want to let them see the interior prior to purchase. Before Herbie can get the front door open, the seller gives a signal and a truck hauls off the faÃ§ade, revealing that the boys had just purchased a broken-down old bus. The two have to fix it up to use as a home.Bill is a midget car racer. He is sure he will win the $20,000 prize at the Gold Cup Stakes, but his car is being held at a local garage until past-due bills are paid. Herbie and Slicker use their separation pay and loans from their old service pals to get the car out of hock. Collins, however, has other plans. He had been demoted repeatedly to ever less desirable beats thanks to the boys' escaping from him. He stakes out the garage in hopes of catching them and returning Evey to the immigration authorities to get himself back in good favor with his boss. He eventually chases them to the track, where Herbie gets in Bill's race car and leads everyone on a wild chase through the streets of New York.Herbie is eventually caught, but not before the head of an automobile company is impressed enough to order 20 of Bill's cars and 200 engines. With his financial future secure, Bill can now marry Sylvia and adopt Evey. Slicker and Herbie will be allowed to visit Evey if they get jobs. Collins' captain suggests that they join the police force, which they do--with Collins as their instructor!
Output: Question: who plays Slicker Smith?, Answer: Bud Abbott
After serving in Europe during World War II, Herbie Brown (Lou Costello) and Slicker Smith (Bud Abbott) return to the United States aboard a troop ship. Also on board is their old nemesis, Sgt. Collins (Nat Pendleton). As the ship nears New York, Collins and his superiors search the men's belongings for contraband. A six-year-old French orphan, Evey (Beverly Simmons), whom Herbie and Slicker befriended, is found in Herbie's duffle bag. She is handed over to Lt. Sylvia Hunter (Joan Fulton), who delivers her to immigration officials in New York. However, during a shift change at the office, Evey is mistaken for a neighborhood kid and set free. Meanwhile, Herbie and Slicker are back to their pre-war occupation of peddling ties in Times Square. Collins is also back at his old job--a police officer assigned to the same beat. He is about to arrest the boys when Evey shows up and helps them escape.Herbie and Slicker attempt to adopt Evey, but are told that one of them must be married and have a steady income. Evey suggests that Herbie marry Sylvia. They show up at her apartment, but learn that Sylvia already has a boyfriend, Bill Gregory (Tom Brown).At one point Herbie and Slicker purchase what seems to be an ideal home for $750, but the seller doesn't want to let them see the interior prior to purchase. Before Herbie can get the front door open, the seller gives a signal and a truck hauls off the faÃ§ade, revealing that the boys had just purchased a broken-down old bus. The two have to fix it up to use as a home.Bill is a midget car racer. He is sure he will win the $20,000 prize at the Gold Cup Stakes, but his car is being held at a local garage until past-due bills are paid. Herbie and Slicker use their separation pay and loans from their old service pals to get the car out of hock. Collins, however, has other plans. He had been demoted repeatedly to ever less desirable beats thanks to the boys' escaping from him. He stakes out the garage in hopes of catching them and returning Evey to the immigration authorities to get himself back in good favor with his boss. He eventually chases them to the track, where Herbie gets in Bill's race car and leads everyone on a wild chase through the streets of New York.Herbie is eventually caught, but not before the head of an automobile company is impressed enough to order 20 of Bill's cars and 200 engines. With his financial future secure, Bill can now marry Sylvia and adopt Evey. Slicker and Herbie will be allowed to visit Evey if they get jobs. Collins' captain suggests that they join the police force, which they do--with Collins as their instructor!
Output: Question: How many of Bill's cars did the auto company order from Bill?, Answer: 20
After serving in Europe during World War II, Herbie Brown (Lou Costello) and Slicker Smith (Bud Abbott) return to the United States aboard a troop ship. Also on board is their old nemesis, Sgt. Collins (Nat Pendleton). As the ship nears New York, Collins and his superiors search the men's belongings for contraband. A six-year-old French orphan, Evey (Beverly Simmons), whom Herbie and Slicker befriended, is found in Herbie's duffle bag. She is handed over to Lt. Sylvia Hunter (Joan Fulton), who delivers her to immigration officials in New York. However, during a shift change at the office, Evey is mistaken for a neighborhood kid and set free. Meanwhile, Herbie and Slicker are back to their pre-war occupation of peddling ties in Times Square. Collins is also back at his old job--a police officer assigned to the same beat. He is about to arrest the boys when Evey shows up and helps them escape.Herbie and Slicker attempt to adopt Evey, but are told that one of them must be married and have a steady income. Evey suggests that Herbie marry Sylvia. They show up at her apartment, but learn that Sylvia already has a boyfriend, Bill Gregory (Tom Brown).At one point Herbie and Slicker purchase what seems to be an ideal home for $750, but the seller doesn't want to let them see the interior prior to purchase. Before Herbie can get the front door open, the seller gives a signal and a truck hauls off the faÃ§ade, revealing that the boys had just purchased a broken-down old bus. The two have to fix it up to use as a home.Bill is a midget car racer. He is sure he will win the $20,000 prize at the Gold Cup Stakes, but his car is being held at a local garage until past-due bills are paid. Herbie and Slicker use their separation pay and loans from their old service pals to get the car out of hock. Collins, however, has other plans. He had been demoted repeatedly to ever less desirable beats thanks to the boys' escaping from him. He stakes out the garage in hopes of catching them and returning Evey to the immigration authorities to get himself back in good favor with his boss. He eventually chases them to the track, where Herbie gets in Bill's race car and leads everyone on a wild chase through the streets of New York.Herbie is eventually caught, but not before the head of an automobile company is impressed enough to order 20 of Bill's cars and 200 engines. With his financial future secure, Bill can now marry Sylvia and adopt Evey. Slicker and Herbie will be allowed to visit Evey if they get jobs. Collins' captain suggests that they join the police force, which they do--with Collins as their instructor!
Output: Question: Who gets Bill's car out of hock?, Answer: Herbie and Slicker