Question: Given the below context: In an undercover mission, Major Sloane kills Professor Ragheeb, an ancient hieroglyphics expert at Oxford University and steals a hieroglyph-encrypted message. Sloane then asks Professor David Pollock, who has taken over Ragheeb's class on Hieroglyphics, to meet with shipping magnate Nejim Beshraavi on a business matter. David declines but changes his mind after being forced to enter a Rolls-Royce Phantom IV, where he meets Middle Eastern Prime Minister Hassan Jena and his Ambassador to Great Britain, Mohammed Lufti. Jena asks David to accept Beshraavi's offer of employment. David meets Beshraavi, who asks him to decode the inscription on the piece of paper Sloane stole. David is attracted to Beshraavi's girlfriend Yasmin Azir, who tells him that Beshraavi had Ragheeb killed and will do the same to him once he decodes the message. Their conversation is interrupted by Beshraavi. David keeps hidden until Sloane brings it to Beshraavi's attention that David and the cipher are missing. Overhearing the conversation, David wraps the cipher in a candy in his pocket, among others, a red one with the number "9". As Beshraavi's men search for David, Beshraavi demonstrates to one of Yasmin's employees, Hemsley, that he can buy people for their loyalty or else exact extreme revenge. Forced to show himself, David seemingly abducts Yasmin. They flee from one of Beshraavi's henchmen, Mustapha. In the course of the chase, Mustapha and David struggle at the zoological gardens, when another man intervenes and kills Mustapha. He identifies himself as Inspector Webster with CID. When a guard approaches, Webster kills him before revealing that he is working with Yasmin. Webster knocks David unconscious. Guess a valid title for it!
Answer: Arabesque (1966 film)

Question: Given the below context: During the 1913 Ballets Russes season in Paris, Monteux conducted two more premieres. The first was Jeux, with music by Debussy and choreography by Nijinsky. The choreography was not liked; Monteux thought it "asinine", while Debussy felt that "Nijinsky's cruel and barbarous choreography ... trampled over my poor rhythms like so many weeds". The second new work was Stravinsky's The Rite of Spring given under the French title, Le sacre du printemps. Monteux had been appalled when Stravinsky first played the score at the piano: I decided then and there that the symphonies of Beethoven and Brahms were the only music for me, not the music of this crazy Russian. ... My one desire was to flee that room and find a quiet corner in which to rest my aching head. Then [Diaghilev] turned to me and with a smile said, "This is a masterpiece, Monteux, which will completely revolutionize music and make you famous, because you are going to conduct it." And, of course, I did. Despite his initial reaction, Monteux worked with Stravinsky, giving practical advice to help the composer to achieve the orchestral balance and effects he sought. Together they worked on the score from March to May 1913, and to get the orchestra of the Theatre des Champs-Elysees to cope with the unfamiliar and difficult music Monteux held seventeen rehearsals, an unusually large number. Monteux's real attitude to the score is unclear. In his old age he told a biographer, "I did not like Le Sacre then. I have conducted it fifty times since. I do not like it now." However, he told his wife in 1963 that the Rite was "now fifty years old, and I do not think it has aged at all. I had pleasure in conducting the fiftieth anniversary of Le Sacre this spring". Guess a valid title for it!
Answer: Pierre Monteux

Question: Given the below context: After leaving the army in January 1919, Grainger refused an offer to become conductor of the Saint Louis Symphony Orchestra and resumed his career as a concert pianist. He was soon performing around 120 concerts a year, generally to great critical acclaim, and in April 1921 reached a wider audience by performing in a cinema, New York's Capitol Theatre. Grainger commented that the huge audiences at these cinema concerts often showed greater appreciation for his playing than those at established concert venues such as Carnegie Hall and the Aeolian. In the summer of 1919 he led a course in piano technique at Chicago Musical College, the first of many such educational duties he would undertake in later years.Amid his concert and teaching duties, Grainger found time to re-score many of his works (a habit he continued throughout his life) and also to compose new pieces: his Children's March: Over the Hills and Far Away, and the orchestral version of The Power of Rome and the Christian Heart both originated in this period. He also began to develop the technique of elastic scoring, a form of flexible orchestration which enabled works to be performed by different numbers of players and instrument types, from small chamber groups up to full orchestral strength.In April 1921 Grainger moved with his mother to a large house in White Plains, New York. This was his home for the remainder of his life. From the beginning of 1922 Rose's health deteriorated sharply; she was suffering from delusions and nightmares, and became fearful that her illness would harm her son's career. Because of the closeness of the bond between the two, there had long been rumours that their relationship was incestuous; in April 1922 Rose was directly challenged over this issue by her friend Lotta Hough. From her last letter to Grainger, dated 29 April, it seems that this confrontation unbalanced Rose; on 30 April, while Grainger was touring on the West Coast, she jumped to her death from an office window on the 18th floor of the... Guess a valid title for it!
Answer:
Percy Grainger