
City of God is a 2002 Brazilian crime drama film directed by Fernando Meirelles and Kátia Lund released in its home country in 2002 and worldwide in 2003. It was adapted by Bráulio Mantovani from the 1997 novel of the same name written by Paulo Lins which are both based on a true story[citation needed]; the war between Knockout Ned and Li’l Zé is based on their real life counterparts[citation needed]. It stars Alexandre Rodrigues, Leandro Firmino da Hora, Jonathan Haagensen, Douglas Silva and Seu Jorge. The tagline is “Fight and you’ll never survive….. Run and you’ll never escape.”
Most of the actors were, in fact, residents of favelas such as Vidigal and the Cidade de Deus itself.[citation needed]
The film received four Academy Award nominations in 2004: Best Cinematography (César Charlone), Best Directing (Meirelles), Best Editing (Daniel Rezende) and Best Writing (Adapted Screenplay) (Mantovani). Before that, in 2003 it had been chosen to be Brazil’s runner for the Academy Award for Best Foreign Language Film, but it was not nominated to be one of the five finalists.
Plot
Taking place over the course of over two decades, City of God tells the story of Cidade de Deus (Portuguese for City of God), a lower class quarter west of Rio de Janeiro. The film is told from the viewpoint of a boy named Rocket (Busca pé in Portuguese) who grows up there as a fishmonger’s son, and demonstrates the desperation and violence inherent in the slums. Based on a real story, the movie depicts drug abuse, violent crime, and a boy’s struggle to free himself from the slums’ grasp.
The movie begins cinematically depicting chickens being prepared for a meal. A chicken escapes and as an armed gang chases after it bumps into Rocket who believes that the gang wants to kill him. The movie then flashes back ten years earlier, to tell the story of how he got himself into that position.
Three “hoodlums”, “The Tender Trio”, one being Rocket’s brother, Goose, are terrorizing local businesses with armed holdups. In Robin Hood fashion they split part of the loot with the citizens of City of God and are protected by them. Li’l Dice is a hanger-on who convinces them to hold up a motel and rob its occupants. Li’l Dice (”Dadinho” in Portuguese), serving as lookout, fires a warning shot, then proceeds to slaughter the inhabitants. The massacre brings on the attention of the police forcing the three to quit their criminal ways. Each meets an untimely end, except one who decides to join the church. Goose, Rocket’s brother, is slain by Li’l Dice after robbing the younger boy and his friend Benny who have been hiding out and committing crimes themselves.
The movie fast forwards a number of years. Li’l Dice now calls himself Li’l Zé (”Zé Pequeno” in Portuguese), and, along with his childhood friend Benny, he establishes a drug empire by eliminating all of the competition except for a drug dealer named Carrot (”Cenoura” in Portuguese). Meanwhile, Rocket has become a part of the “Groovies” a hippie-like group of youth that enjoy smoking pot. He begins his photography career shooting his friends, especially one girl that he is infatuated with, but who is dating another boy.
A relative peace has come over City of God under the reign of Li’l Zé who plans to eliminate his last rival, Carrot, against the judgment of his best friend Benny, who is keeping the peace. At one point, his best friend and partner in crime Benny has decided to become a “playboy” and becomes the “coolest guy in City of God”. Eventually, along with the girl that he has wooed away from Rocket, he decides to leave the criminal life behind to live on a farm. However, he is gunned down at his going away party by former drug dealer, Blackie, who is actually aiming for Li’l Zé. Benny was the only thing keeping Li’l Ze from taking over Carrot’s business, so now Carrot is in danger.
Li’l Zé humiliates a peace loving man Knockout Ned at the party and afterwards rapes his girlfriend and kills Ned’s uncle and younger brother. Ned turns violent and sides with Carrot. After killing one of Li’l Ze’s men, Ned starts a war between the two rival factions that creates a “Vietnam” of City of God. Jealous of Ned’s notoriety in the newspapers, Li’l Zé has Rocket take photos of himself and his gang which, unknown to Rocket, are taken by a reporter and published in the daily paper. Rocket then mistakenly fears for his life believing that Li’l Zé will want to kill him for it. In actuality, Li’l Zé is pleased with his newfound fame.
Coming full circle, Rocket is startled by Li’l Zé’s request that he take a picture of the gang which had been chasing the chicken at the beginning of the film. Before he can, however, a gunfight ensues between the two gangs, but is broken up by the police. Ned is killed by a boy who has infiltrated his gang to avenge his father, who was killed by Ned during a bank robbery. Li’l Zé and Carrot are arrested and Carrot is taken away to show to the press. Li’l Zé is shaken down for money, humiliated and finally released, all of which is secretly photographed by Rocket. After the cops leave, the Runts (a gang of young children who robbed and terrorized the local merchants) come upon Li’l Zé and shoot and kill him in retribution for him killing one of their gang earlier in the film. Rocket takes pictures of Li’l Zé’s dead body and goes to the newspaper.
Rocket is seen in the newspaper office looking at all of his photographs through a magnifying glass, and deciding whether or not to put the pictures of the crooked cops in the newspaper, or the picture of Ze’s dead body. The photos of the cops would make him famous but put him in danger, while the photos of Li’l Zé would guarantee him a job at the paper. He decides to take the safe route and gives the paper the picture of Li’l Zé’s bullet-ridden body, which runs on the front page.
The story ends with the Runts walking around the City of God, making a hit list of the dealers they plan to kill to take over their drug business.
Main characters
| Role |
Actor |
Description |
| Buscapé (Rocket) |
Alexandre Rodrigues |
The main narrator and protagonist. A quiet, honest boy who dreams of becoming a photographer, and the only character who seems to keep his innocence during the gang wars. |
| Zé Pequeno (Li’l Zé) |
Leandro da Hora |
An ultra-violent, psychopathic drug dealer who goes over dead bodies to fulfill his goals. He is deeply insecure with women. When his only friend Bené is struck by fate, it drives him over the edge. |
| Bené (Benny) |
Phellipe Haagensen |
Li’l Zé’s longtime partner in crime, he is a friendly drug dealer of the City of God, a charismatic and philanthropic criminal who wants to become honest. |
| Cenoura (Carrot) |
Matheus Nachtergaele |
A smaller scale drug dealer who is friendly with Bené but is constantly threatened by Zé. |
| Mané Galinha (Knockout Ned) |
Seu Jorge |
A good-looking ladies’ man with a beautiful wife. When his wife attracts Zé’s eye, Zé rapes her and then proceeds to massacre Mané’s family. In retaliation, Mané and Carrot join forces. |
Production background
On the City of God bonus DVD, it is revealed that the only professional actor with years of filming experience was Matheus Nachtergaele, who played the supporting role of Carrot. Most of the remaining cast were from real-life favelas, and in some cases, even the real-life City of God favela itself. From initially about 2000, about a hundred children and youths were hand-picked and placed into an “actors’ workshop” for several months. In contrast to more traditional methods (e.g. studying theatre and rehearsing), it focused on simulating authentic street war scenes, such as a hold-up, a scuffle, a shoot-out etc. A lot came from improvisation, as it was thought better to create an authentic, gritty atmosphere. This way, the inexperienced cast soon learned to move and act naturally.
Prior to City of God, the directors Lund and Meirelles filmed a short film Golden Gate as a sort of test run[citation needed]. Only after then, the final casting for City of God was finalized[citation needed]. The most remarkable choice was Leandro da Hora as Zé Pequeno, as da Hora was unanimously described as a quiet, uncomplicated soul, but now played the psychotic, ultra-violent drug dealer[citation needed]. Da Hora himself describes his character as “pretty unbalanced, greedy and acted without thinking in everything he did (…) I see him like a normal person, but someone who through the ironies of destiny took a wrong turn somewhere.”[citation needed]
Appropriately, the film ends eavesdropping on the machinations of the “Runts” as they assemble their death list. The real gang, “Caixa Baixa” (rat boys), is rumored to have comprised such a list. They later became the Comando Vermelho (Red Command) which is the gang that controls the City of God to this day.
Public acclaim
City of God became the highest-grossing foreign film of 2003 in the United States.[1] It has grossed over 7 million dollars in the U.S. and over 27 million worldwide
Top ten lists
The film appeared on several critics’ top ten lists of the best films of 2003.
* 2nd - Charlotte Observer (Lawrence Toppman)
* 2nd - Chicago Tribune (Marc Caro)
* 4th - New York Post (Jonathan Foreman)
* 4th - Time Magazine (Richard Corliss)
* 5th - Portland Oregonian (Shawn Levy)
* 7th - Chicago Tribune (Michael Wilmington)
* 10th - Hollywood Reporter (Michael Rechtshaffen)
* 10th - New York Post (Megan Lehmann)
* 10th - New York Times (Stephen Holden)
City of God won forty-eight awards and received other twenty-one nominations. Among those:
Academy Awards
* Nominated: Best Director (Fernando Meirelles)
* Nominated: Best Adapted Screenplay (Braulio Mantovani)
* Nominated: Best Cinematography (César Charlone)
* Nominated: Best Film Editing (Daniel Rezende)
Broadcast Film Critics Association Awards
* Nominated: Best Foreign Language Film
BAFTA Film Awards
* Won: Best Editing (Daniel Rezende)
* Nominated: Best Foreign Language Film
Chicago Film Critics Association Awards
* Won: Best Foreign Language Film
Golden Globe Awards
* Nominated: Best Foreign Language Film
Independent Spirit Awards
* Nominated: Best Foreign Language Film
Las Vegas Film Critics Society Awards
* Won: Best Foreign Language Film
New York Film Critics Circle Awards
* Won: Best Foreign Language Film
Satellite Awards
* Won: Best Foreign Language Film
Southeastern Film Critics Association Awards
* Won: Best Foreign Language Film
Toronto Film Critics Association Awards
* Won: Best Foreign Language Film
Toronto International Film Festival
* Won: Visions Award - Special Citation
http://en.wikipedia.org
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Familiar and unfamiliar faces mingle in “Syriana.”
BY ROGER EBERT / December 9, 2005
http://rogerebert.suntimes.com
|
Cast & Credits
Robert Barnes: George Clooney
Bryan Woodman: Matt Damon
Julie Woodman: Amanda Peet
Jimmy Pope: Chris Cooper
Dean Whiting: Christopher Plummer
Robby Baer: Max Minghella
Bennett Holiday: Jeffrey Wright
Warner Brothers Pictures presents a film directed and written by Stephen Gaghan. Based on the book by Robert Baer. Running time: 126 minutes. Rated R (for violence and language).
- - - -
A memorable moment from “Syriana“:
DANNY
Some trust fund prosecutor, got off-message at Brown, thinks he’s
gonna run this up the flag pole, make a name for himself, maybe get elected some two-bit, no-name congressman from nowhere, with the result that Russia or China can suddenly start having, at our expense, all the advantages we enjoy here. No, I tell you. No, sir. (mimics prosecutor) “But, Danny, these are sovereign nations.” Sovereign nations! What is a sovereign nation, but a collective of greed run by one individual? “But, Danny, they’re codified by the U.N. charter!” Legitimized gangsterism on a global basis that has no more validity than an agreement between the Crips and the Bloods!
(beat) …Corruption charges. Corruption? Corruption ain’t nothing more than government intrusion into market efficiencies in the form of regulation. That’s Milton Friedman. He got a goddamn Nobel prize. We have laws against it precisely so we can get away with it. Corruption is our protection. Corruption is what keeps us safe and warm. Corruption is why you and I are prancing around here instead of
fighting each other for scraps of meat out in the streets. (beat)
Corruption… is how we win. |
“Syriana” is an endlessly fascinating movie about oil and money, America and China, traders and spies, the Gulf States and Texas, reform and revenge, bribery and betrayal. Its interlocking stories come down to one thing: There is less oil than the world requires, and that will make some people rich and others dead. The movie seems to take sides, but take a step back and look again. It finds all of the players in the oil game corrupt and compromised, and even provides a brilliant speech in defense of corruption, by a Texas oilman (Tim Blake Nelson). This isn’t about Left and Right but about Have and Have Not.
The movie begins with one of the Gulf states signing a deal to supply its oil to China. This comes as a strategic defeat for Connex, a Texas-based oil company. At the same time, an obscure oil company named Killen signs a deal to drill for oil in Kazakhstan. Connex announces a merger with Killen, to get its hands on the oil, but the merger inspires a Justice Department investigation, and –
Let’s stop right there. The movie’s plot is so complex we’re not really supposed to follow it, we’re supposed to be surrounded by it. Since none of the characters understand the whole picture, why should we? If the movie shook down into good guys and bad guys, we’d be the good guys, of course. Or if it was a critique of American policy, we might be the bad guys. But what if everybody is a bad guy, because good guys don’t even suit up to play this game?What if a CIA agent brings about two assassinations and tries to prevent another one, and is never sure precisely whose policies he is really carrying out?
What if — well, here’s a possibility the movie doesn’t make explicit, but let me try it out on you. There is a moment when a veteran Washington oil analyst points out that while Kazakhstan has a lot of oil, none of it is where Killen has drilling rights. Yet Killen is undoubtedly shipping oil. Is it possible the Chinese are buying oil in the Gulf, shipping it to Kazakhstan, and selling it to the United States through Killen?
I bring up that possibility because I want to suggest the movie’s amoral complexity without spoiling its surprises. “Syriana” is a movie that suggests Congress can hold endless hearings about oil company profits and never discover the answer to anything, because the real story is so labyrinthine that no one — not oil company executives, not Arab princes, not CIA spies, not traders in Geneva, understands the whole picture.
The movie has a lot of important roles, and uses recognizable actors to help us keep everything straight. Even then, the studio e-mailed critics a helpful guide to the characters. I didn’t look at it. Didn’t want to. I liked the way I experienced the film: I couldn’t explain the story, but I never felt lost in it. I understood who, what, when, where and why, but not how they connected. That was how I wanted to relate to it. It created sympathy for individual characters in their specific situations without dictating what I was supposed to think about the big picture.
Some of the characters I cared about included Robert Barnes (George Clooney), a veteran CIA field agent; Bryan Woodman (Matt Damon), a trader based in Geneva; Jimmy Pope (Chris Cooper), who runs Killen; Dean Whiting (Christopher Plummer), a well-connected Washington lawyer whose firm is hired to handle the political implications of the merger; Bennett Holiday (Jeffrey Wright), assigned by Whiting to do “due diligence” on the deal, by which is meant that diligence which supports the merger; Prince Nasir (Alexander Siddig), who sold the rights to the Chinese; his younger brother Prince Meshal (Akbar Kurtha), who is backed by those who do not want Nasir to inherit the throne, and the mysterious Stan, played by William Hurt as someone who is keeping a secret from the rest of the movie.
Already I regret listing all of these names. You now have little tic-tac-toe designs on your eyeballs. “Syriana” is exciting, fascinating, absorbing, diabolical and really quite brilliant, but I’m afraid it inspires reviews that are not helpful. The more you describe it, the more you miss the point. It is not a linear progression from problem to solution. It is all problem. The audience enjoys the process, not the progress. We’re like athletes who get so wrapped up in the game we forget about the score.
A recent blog item coined a term like “hyperlink movie” to describe plots like this. (I would quote the exact term, but irony of ironies, I’ve lost the link.) The term describes movies in which the characters inhabit separate stories, but we gradually discover how those in one story are connected to those in another. “Syriana” was written and directed by Stephen Gaghan, who won an Oscar for best screenplay adaptation for “Traffic,” another hyperlink movie. A lot of Altman films like “Nashville” and “Short Cuts” use the technique. Also, recently, “Crash” and “Nine Lives.”
In a hyperlink movie the motives of one character may have to be reinterpreted after we meet another one. Consider the Matt Damon character. His family is invited to a party at the luxurious Spanish villa of the Gulf oil sheik whose sons are Nasir and Meshal. At the party, Damon’s son dies by accident. The sheik awards Damon’s firm a $100 million contract. “How much for my other son?” he asks. This is a brutal line of dialogue and creates a moment trembling with tension. Later, Damon’s wife (Amanda Peet) accuses him of trading on the life of his son. Well, he did take the deal. Should he have turned it down because his son died in an accident? What are Damon’s real motives, anyway?
I think “Syriana” is a great film. I am unable to make my reasons clear without resorting to meaningless generalizations. Individual scenes have fierce focus and power, but the film’s overall drift stands apart from them. It seems to imply that these sorts of scenes occur, and always have and always will. The movie explains the politics of oil by telling us to stop seeking an explanation. Just look at the behavior. In the short run, you can see who wants oil and how they’re trying to get it. In the long run, we’re out of oil.
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Acclaimed director, producer, and actor Sydney Pollack has died of cancer. He was 73. According to the AP, quoting Pollack’s agent Leslee Dart, Pollack died Monday afternoon (5/26/08) at his home in Pacific Palisades, surrounded by family and friends.
Though Sydney Pollack started out as an actor and acting coach and later ended his career doubling producer duties with cameo and supporting roles, it was as a director that Pollack will probably best be remembered. His films had the sheen of the Golden Era of Hollywood, even though most were made in the `70s and `80s. They also spanned genres and included The Way We Were (`73), Three Days of the Condor (`75), The Electric Horseman (`79), Tootsie (`82), culminating in what was arguably his greatest success, Out of Africa (`85).
Sydney Irwin Pollack was born on July 1, 1934, in Lafayette and raised in South Bend, Indiana. He developed a love of acting at South Bend High School and went straight to New York and the Neighborhood Playhouse School for Theater. There, Sanford Meisner took him under his wing, first as a student and then as his assistant. Pollack received favorable marks from his students, which included Robert Duvall and Rip Torn, and Claire Griswold, a former pupil whom Pollack married and remained married to for 50 years.
His time at the Neighborhood Playhouse was destined not to last as long and, under the encouragement of director John Frankenheimer and nudging from Burt Lancaster, Pollack began directing. He started out small, in television shows such as The Alfred Hitchcock Hour and Ben Casey.
He soon branched out into feature filmmaking. His first was The Slender Thread, starring Anne Bancroft and Sydney Poitier in a story about a desperate woman and the suicide hotline volunteer who attempts to keep her on the line while waiting for the police to find her.
The film fared poorly, both critically and financially, as, to a lesser extent, did Pollack’s second feature, 1966’s This Property Is Condemned, based upon a Tennessee Williams play (with a screenplay by Francis Ford Coppola). It featured Natalie Wood as a girl desperate to break out of her small town who sets her sights and hopes on a traveling railroad official and company hatchet man, played by Robert Redford. Property was the start of a lifelong association and friendship with Redford; Pollack would direct Redford in seven films in total, including some of his most famous.
His first success came with the depression-era The Shoot Horses, Don’t They?, which followed the characters involved in a grueling dance marathon. It starred Jane Fonda and shattered her American image as a comely ingénue or a sex kitten and established her as a serious actress once and for all. She received her first Oscar nomination for the part.
Most actors benefited from appearing in a Pollack film. Twelve actors received Oscar nominations after being in one of his movies, including Barbra Streisand, Meryl Streep, Jessica Lange, and Dustin Hoffman. He was no stranger to the Academy himself. He was nominated three times for Best Director (Horses and Tootsie, winning for Out of Africa). Oddly enough, Redford never received a nomination for any of the multiply-lauded films in which he starred for Pollack.
Industry recognition was just part of his success. His films were also profitable at the box office. Hits included Horses, The Way We Were, Three Days of the Condor, The Electric Horseman and The Firm.
Out of Africa was where everything gelled. It had an enormous canvas, an epic scope, a glorious score, luscious cinematography and two superstars (Redford and Streep) in the leads. The film was nominated for 11 awards, picking up seven including Best Picture and Director.
He had misses too. Havana, Random Hearts and Sabrina were the rare examples of critical and commercial failures.
Producing became a passion for him after this string of misfires. Along with the late Anthony Minghella, who died earlier this year during a throat operation, Pollack created Mirage Enterprises. The shop produced The Fabulous Baker Boys, Sense and Sensibility, The Talented Mr. Ripley and Cold Mountain. But Mirage represented just a smattering of Pollack’s producing duties, which also included Searching for Bobby Fischer, The Quiet American, Michael Clayton and the HBO film, Recount.
In recent years Pollack also specialized in the role of the powerful corporate or societal patriarch, one willing to lay down the law or to teach the hard truths of life to the protagonist. He played variations of it in Eyes Wide Shut, Changing Lanes and Michael Clayton and created what can only be described as avuncular malevolence, inspiring fear and awe while exuding a tinge of mercy. It was the stature of Pollack in the industry itself and his commanding presence on and off the screen that lent the roles their gravitas. They sprang from the man himself.
Pollack is survived by his wife, Claire; two daughters, Rebecca and Rachel; his brother Bernie; and six grandchildren. He was preceded in death by his son, Steven, who died in 1993 in a plane crash in Santa Monica.
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Ey Iran (Persian: ای ایران) (O! Iran) is a famous and popular anthem in Iran. The lyrics were written by Hossein Gol-e-Golab in 1946, the music was composed by Ruhollah Khaleghi, and it was first performed by Gholam Hossein Banan.
Gol-e-Golab was inspired to write the song by patriotism. He has been quoted to have said: “In 1944, the footsteps of the invading armies in the streets were enough to rattle any patriot and inspired me to write this anthem. Professor Ruhollah Khaleghi wrote the music and despite all the political opposition, it found its way into the heart and soul of the people.”
Ey Iran is often mistaken for being a present or previous Iranian national anthem. It has only briefly had the de-facto national anthem status; however, it occupies a place in Iranian popular culture similar to that of Men of Harlech in Wales. It was unofficially used in the transitional period between the time of the Shah (deposed February, 1979) until the adoption of the national anthem of the Islamic Republic. But still, critics and supporters of the Islamic republic alike adopt the song as an alternative to the current and previous anthems. With the anthem of Imperial Iran praising the Pahlavi and the anthem of the Islamic Republic praising the revolution, they tend to prefer “Ey Iran” as its about Iran with political affiliations aside. Although today’s Persian language has many Arabic loanwords there are only three words of Arabic origin in this poem, highlighting the Persian patriotism.
- Oh Iran, oh bejeweled land
- Oh, your soil is the wellspring of the arts
- Far from you may the thoughts of evil be
- May you remain lasting and eternal
- Oh enemy, if you are of stone, I am of iron
- May my life be sacrificed for my pure motherland
- Your love is my calling
- My thoughts are never far from you
- In your cause, when do our lives have value?
- May the land of our Iran be eternal
-
- The stones of your mountains are jewels and pearls
- The soil of your valleys are better than gold
- When could I rid my heart of your affection?
- Tell me, what will I do without your affection?
- As long as the turning of the earth and the cycling of the sky lasts
- The light of the Divine will always guide us
- Your love is my calling
- My thoughts are never far from you
- In your cause, when do our lives have value?
- May the land of our Iran be eternal
-
- Iran oh my green paradise
- Bright is my fate because of you
- If fire rains on my body
- Other than your love I will not cherish in my heart
- Your water, soil and love molded my clay
- If your love leaves my heart it will become barren
- Your love is my calling
- My thoughts are never far from you
- In your cause, when do our lives have value?
- May the land of our Iran be eternal
-
MP3 audio. Ruhollah Khaleghi (music), Hossein Golgolab (lyrics), Golnoosh Khaleghi (arrangement, 1990
http://en.wikipedia.org/wiki/Ey_Iran
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User Rating on IMDB : 8.8/10
Awards: Nominated for 4 Oscars. Another 49 wins & 25 nominations more
Koki Mourao
Hollywood.com Says
Based on Paulo Lins’ book by the same name, City of God portrays the violent reality of growing up and surviving during the drug wars in a Brazilian housing project called Cidade de Deus, or City of God.
Story
Built in the 1960s, the City of God has by the 1980s become a very dangerous place to live. A lack of opportunities and hope often leads the children of the City of God onto a path of drugs, crime and corruption, and it seems more palatable to many of them to have their 15 minutes of fame and die young than to live a life of misery and submission. But some manage to break the cycle of violence–and the main character and narrator of City of God, Buscapé (Alexandre Rodrigues), is one of them. A poor, black youth who leaves a life of crime behind to become a professional photographer, Buscapé must struggle against the odds to make his way through the violence that surrounds him, shooting pictures instead of people and finding redemption in his artistic vision. As his story unfolds, we meet others in his world: his friend Bene (Phelipe Haagensen), the most popular guy in the slum and a partner in crime to Zé Pequeno (Leandro Firmino), an ambitious and powerful villain who wants to be the slum’s drug leader; and Mané Galinha (Seu Jorge), who tries very hard to have a decent life but ultimately gets dragged deep into crime.

Acting
With few exceptions, real slum kids and actors from local amateur drama clubs were cast in City of God, and the result is truly believable characters and a gritty, realistic film. The richness of details, slang and backgrounds are a true portrait of a Brazilian slum, where people live on little more than hope for a better future. Firmino, Rodrigues and Douglas Silva (Dadinho) do a wonderful job of acting out a fiction that is indeed their lived reality.

Direction
Brazil’s entry for the Best Foreign Film Academy Award, director Fernando Meirelles‘ (Domesticas) City of God is seen as a very strong contender for the prize–and well it should be. The quick cuts and fast pace of the editing goes a long way toward visually portraying the violence of the streets, as does the lighting, which evolves over time from the warm colors of the naïve and happy childhood years to the dark, anguished shadows of streets that grow ever more violent. The mosaic of stories in the screenplay also works to bring the various aspects of the slum vividly to life, so that the setting actually becomes a mute character as the drama unfolds.
This movie has translated & you can down it from here
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Pejman Akbarzadeh-Artists Without Frontiers
Until a few decades ago, in the English language (which is now international) and in international circles, our country was called “Persia.” Unfortunately, however, in 1935 the then government of Persia requested all countries in the world to call Persia by its native name, “Iran,” without heeding the delicate point that as an ancient land, possessing a civilization thousands of years old, our country was known as “Persia,” not “Iran.”
Aside from political issues and the political motives of Iran’s closeness with Germany and Adolf Hitler, which was the main reason for this change of name ordered by Reza Shah, some expressed the view that “Persia” denoted only one province of “Iran.” Although it may be said that perhaps for us Persians, the name “Persia” only connotes a province of Persia, for others in the world, who for 26 centuries (and perhaps even to this day), have used the name “Persia,” this name is associated with the whole of our land, and when speaking in foreign languages, we are obliged to take advantage of this name. We must therefore observe what effect this name has in the minds of foreigners, not in the minds of Persians.
We must not be prejudiced and think that only because we ourselves use the name “Iran,” foreigners must also say, “Iran.” On an international scale, many countries are called by a name different from that of their native names. The people of Egypt, for example, call their country “Al-Misr,” but their international name is “Egypt” - two names which are in no way similar. But Egyptians have never forced other countries to say, “Al-Misr!” For they know that, with its ancient civilization, their country has become known to the world as Egypt.
There are other cases such as:
International Name: Native Name:
India Bharat
Germany Deutschland
Finland Suomi
Greece Hellas
Japan Nihon
and many others….
For us speakers of Persian, the name “Iran” is a very dear and respectable name, but in world culture, for non-Persians, Persia connotes an ancient culture. The change in the international name of our country, from Persia to Iran, has created a detrimental gap between Persia and its historical and cultural past in the minds of the people of the world. In the West today, there are very few people for whom Iran and Persia connote the same meaning. Contrary to what the government officials of Persia believed in the 1930s, in the West, not only are people not aware of an association between the name “Iran” and the “Aryan” race, but rather due to the great similarity that exists in European languages between the names “Iran” and “Iraq,” many, especially among the youth, mistake Iran with this newly-established Arab entity which borders western Iran. Like it or not, the great similarity between these two names in the West have muddled the identities of these two countries! For those who recognize a difference between “Iran” and “Iraq,” Iran is a country bordering the Persian Gulf, possessing oil, with a more or less Arab identity, which has no clear connection with the “Persia” in history.
A large portion of the budgets of various countries is spent annually on advertising and cultivating their international image. Postal stamps that are currently being distributed by Switzerland may be the best example. Despite the fact that its international name is Switzerland, on its stamps one reads the name “Helvetia,” which was the Latin name given to Switzerland centuries ago but has long been abolished.
Nearly seventy years have passed since the change of name from “Persia” to “Iran” for international usage, but on many occasions (especially when relating to Persian history, art and culture), in works written in European languages, Persian and non-Persian scholars use the name “Persia” and the adjective “Persian” for “Iran” and “Iranian,” since historically and culturally, “Iran” and “Iranian” do not convey any special meaning to non-Persians.
The name “Persia” for Iran, and phrases such as Persian Carpet, Persian Gulf, Persian Miniature, Persian Garden, Persian Cat, Persian food, etc. have all been entered in respectable world encyclopedias.
In 1935, the then Persian government requested all countries to use the words “Iran” and “Iranian” in their official correspondence in place of “Persia” and “Persian.” Thus the two words which embrace all the history and culture of Persia abroad gradually faded out of public usage in foreign languages; only the word “Persian” remained to denote the Persian language. However, in recent years and following the emigration of hundreds of thousands of Persians to Europe, Australia and America, the lack of knowledge and attention on the part of some of them paid to this issue, as well as the lack of attention by some official organizations within the country, regrettably, the term “Farsi,” instead of “Persian,” has entered Western languages (especially English) - a completely new word in Western literature which is in no way representative of Persian history and literature.
Some publications and English-language television channels, both inside and outside the country, many Persians who possess Internet sites, various news agencies, computer companies (especially those producing Persian word processors), many supposedly reputable universities and language institutes are among individuals and organizations which have had a role in aggravating this cultural complexity whose scope is ever widening. Apparently, however, no one has been as dedicated to burying alive our cultural heritage as much as we Persians ourselves! School books for teaching English, which until recently were insistent upon using “Farsi” instead of “Persian,” English-language newspapers published in Tehran, our English-language television programs, and the live program which is currently being broadcast by the international television network, Sahar, entitled, “Let’s Learn Farsi” are examples of our own doing.
The increasing usage of Farsi in place of Persian has caused this term to enter world encyclopedias. In recent years, under the adjective “Persian,” Oxford University Press has added: “Now usually called Iranian or Farsi”
It must be emphasized that “Farsi” is the native name for this language while “Persian” is its international equivalent just as, for example, the native names for the German and Greek languages are Deutsch and Hellenika, while they are never used in English.
It is essential to note that today’s Persian youth are generally alien to the terms Persia, Persian, and even the Persian Gulf. They associate the name “Persia” with Peugeot Persia!, and they associate the name “Persepolis” (Persia’s most famous historical relic) with a football team!
The discussion over the usage of Persia and Iran in European languages has long existed among Iranians, especially Iranian immigrants. As usual, some agree and others disagree. Apparently a completely wrong idea exists among some of our fellow countrymen that “Persia” is a dead historical word, representing the Zoroastrian culture, whereas, without any prejudice and considering historical research, one must easily accept the fact that Persia is the English equivalent of Iran.
According to undeniable existing documents, this name was officially applied to Iran from 600 B.C. until 1935 A.D., and unofficially since then in European languages; in no way does it exclusively apply to the Persia of the Achaemenid and Sassanid periods. Today’s Iran is the same Persia. Political and cultural changes that exist in the history of most nations are no reason for a change in the nation’s historical name. Just as there is no comparison between today’s Egypt and the Egypt of 7000 years ago, or as there is no comparison between the vastness and political situation of today’s Greece and the Greece of 3000 years ago.
Apparently, as of the mid-1980s a few Persian (Iranian) scholars residing abroad, by touching upon this topic, by publishing articles in Persian publications inside and outside the country, have attempted to inform the public and especially responsible organizations; however, for various reasons it has not had tangible results. Dr. Ehsan Yarshater, professor at Columbia University in New York and editor of the Encyclopedia Iranica; Dr. Kazem Abhary, professor at South Australian University in Adelaide; Dr. Hormoz Farhat, professor at Dublin University; and Amir-Rostam Beigi in Houston, are among the most industrious individuals on the promotion of this topic, whose works have also contributed to the writing of this article.
In 1992 following the efforts of a few Persian cultural figures in Australia (especially Dr. Kazem Abhary), a strong announcement was made in European languages by the Persian Language Academy (”Frhangestaan” in Tehran) in strong opposition to the usage of Farsi instead of Persian in the correspondences of the Ministry of Foreign Affairs. The Academy admitted that a change from the word Persian to Farsi has created the misconception in the West that Farsi is a new language, different from Persian. The Academy likewise warned that “bad intention” was suspected on behalf of specific circles and that it is expected of the Iranian government to be on guard with respect to such activities so that any possible conspiracy would be forcefully neutralized.
But unfortunately, except for its publication in the Academy’s quarterly and its dispatch to a few embassies, this announcement did not have much repercussion and was quickly forgotten. In March 2001 a document, with the intention of calling for more serious efforts on this topic, was written by Dr. Hormoz Farhat. This time apparently the geographical dispersion of interested Persians has delayed the work. The goals include: the encouragement of writers, translators, researchers, artists, journalists, editors for using “Persia” for Iran in their writings in Western languages, the correction of any usage of the word “Farsi” instead of “Persian” (for the language), and “The Gulf” instead of “The Persian Gulf.” Finally a group of Persians in the US created “Persian Gulf Task Force”.
The most important conclusion we have arrived at in the course of years of effort on this topic is that although such activities have had positive effects, without the attention and total support of the Iranian government we cannot achieve any significant results in changing the usage in language. Efforts in this regard require the support of all Persians who are sympathetic to this cause.
In my opinion, in order to protect national interests and the country’s history, we must remain faithful in using the word “Persia” on an international level, and use the adjective “Persian” for anything that is related to Persia - its history, civilization, culture, art, language, and people.
www.IranDokht.com
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Name :Youth Without Youth
Rate : R
Robert Sims
hollywood.com
Director : Francis Ford Coppola
Francis Ford Coppola first film in 10 years is his most personal since 1982’s One From the Heart, but unfortunately this fever dream about regained youth is no more satisfying than the cash jobs he took in the 1980s and the 1990s.
Story
For years Coppola tried to get Megalopolis off the ground. When he failed to nail the sci-fi epic’s script, he turned his attention to Romanian author Mircea Eliade’s novella Youth Without Youth. After years of doing Hollywood’s bidding to pay off the debts stemming from One From the Heart, Coppola clearly felt an emotional connection to a story about a writer trying to complete his life’s work. When we first meet Dominic Matei (Tim Roth) in pre-World War Two Bucharest, the 70-year-old professor has resigned himself to never finishing his book about the origin of language. He’s even contemplating suicide. Then he’s struck by lightning. Burned beyond recognition, and initially unable to talk or move, Matei stuns his doctor (Bruno Ganz) by making a full recovery. He’s also now looks and feels like a man 30 years his junior. But Matei is forced into hiding when the Nazis take an interest in his renewed youthfulness. He spends the war years in Switzerland, where he works on his book with renewed vigor and uses his newfound powers to make money. But he’s not alone. Matei’s philosophical quandary–will he employs his powers for good or evil?–results in the manifestation of a double with whom he debates everything. He does find himself flesh-and-blood company when the war ends. Matei and Veronica (Alexandra Maria Lara) meet cute–he finds her in a cave hours after she, too, has been struck by lightning. Only his newfound soul mate now possesses the transmigrated soul of a 7th century Indian woman–and “Rupini” holds the key to Matei finishing his masterwork.

Acting
Thank goodness Tim Roth dispenses with the aging makeup quickly. He wears it worse than Javier Bardem does in Love in the Time of Cholera. Once Roth’s out of his hospital bed, he makes a masterful physical transformation from old man to young buck. Slowly, but surely, he loses his shuffle, straightens his shoulders, and begins to walk with all the energy and purpose of a man half his age. While finding much delight in Matei’s miraculous recovery, Roth also delves into the frustrated writer’s subconscious to convey the fears, suspicions and contradictions that come with being placed in such a unique situation. More important, Roth never resorts to unnecessary theatrics to portray a “strange superman of the future” occasionally at odds with himself. There’s a playfulness and confidence to the double that’s missing from Matei, but Roth communicates this in a subtle but powerful manner. Lara, though, is awfully blank as Veronica and Rupini. Yes, Veronica and Rupini exist only to push Matei to his limits morally and professionally, but Lara fails to at least make either woman vaguely interesting than their defined roles. As Matei’s doctor, Ganz stumbles through Youth Without Youth with a look of astonishment plastered on his face. Andre Hennicke is all business as a Nazi scientist determined to get his hands on Matei. Alexandra Pirici is suitably seductive as a German spy who does get to put her hands on Matei—and inevitably pays the price for preventing Matei from becoming “a valuable human specimen.”

Direction
Unlike Tucker: The Man and His Dream, Youth Without Youth never draws you into its long-suffering protagonist’s plight or pursuit of excellence. It’s not because things get too outlandish. Francis Ford Coppola quickly establishes this is a Twilight Zone-ish portrait of how much a man is willing to sacrifice to complete his life’s work. Matei’s condition offers many avenues to explore. What would you do if you had 30 years shaved off your life? Unfortunately, Matei is so wrapped up in his work that it’s impossible to concern yourself too much for him or his goals. Coppola never shows through Matei’s eyes how the world changes and fails to create a sense that his resurrection has any great meaning. Coppola doesn’t even examine the full extent of Matei’s powers. Matei’s initial transformation from suicidal failure to “living dead man” is compelling, but that’s mostly because of the wartime intrigue to be found early in the film. Once hostilities end, and Matei meets the verbose Veronica, Youth Without Youth immediately becomes pretentious and protracted. And, as it plods toward its inevitable conclusion, you’ll not care what decision Matei will make when he must choose between Veronica and his book. And that’s the worst thing to say about a film that marks the emancipation of a true original. While this misspent Youth is not a disaster like One From the Heart, Coppola needs to make better use of his newfound artistic and financial freedom. The last thing anyone wants is for him to have to whore himself out to Hollywood again .
Notice : this Movie has been translated . for download it , click here
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Subtitles : are textual versions of the dialog in films and television programs, usually displayed at the bottom of the screen. They can either be a form of written translation of a dialog in a foreign language, or a written rendering of the dialog in the same language—with or without added information intended to help viewers who are deaf and hard-of-hearing to follow the dialog. Sometimes, mainly at film festivals, subtitles may be shown on a separate display below the screen, thus saving the film-maker from creating a subtitled copy for perhaps just one showing .
While distributing content, subtitles can appear in one of 3 types:
* Hard (also known as hardsubs or open subtitles). The subtitle text is irreversibly merged in original video frames, thus this format of subtitles doesn’t require any special equipment or software at all. Thus, very complex transition effects and animation can be implemented, such as karaoke song lyrics using various colors, fonts, sizes, animation (like a bouncing ball) etc. to follow the lyrics. However, these subtitles can’t be turned off unless the original video is also included in the distribution, because they are just a part of the original frame, and it’s impossible to do several variants of subtitling, such as in multiple languages.
* Prerendered subtitles are separate video frames that are overlaid on the original video stream while playing. Prerendered subtitles are used on DVD (though they are contained in the same file as the video stream). It is possible to turn them off or have multiple language subtitles and switch among them. Obviously, the player is required to support such subtitles to display them. On the other hand, subtitles are usually encoded as images with minimal bitrate and number of colors, thus they usually lack anti-aliased font rasterization. Also, it is hard to change such subtitles, but special OCR software, such as SubRip exists to convert such subtitles to “soft” ones.
* Soft (also known as softsubs or closed subtitles) are separate instructions, usually a specially marked up text with time stamps to be displayed during playback. It requires player support and, moreover, there are multiple incompatible (but usually reciprocally convertible) subtitle file formats. It’s relatively easy to create and change such subtitles, and thus it’s frequently used for fansubs. Text rendering quality can vary depending on the player, but generally, it’s higher than prerendered subtitles. Also, some formats introduce text encoding troubles for end-user, especially if very different languages are used simultaneously (for example, Latin and Asian scripts).
In other categorization, digital video subtitles are sometimes called internal, if they’re embedded in a single video file container along with video and audio streams, and external if they are distributed as separate file (that is less convenient, but it is easier to edit/change such file).
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welcome to english section of farsisubtitle.com
this section is under construction but we’ll come soon , be sure
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