Dark Passage (Keepcase)

• Bogey's on the lam and Bacall's at his side in Dark Passage, Delmer Daves' stylish film-noir thriller that's the third of four films Humphrey Bogart and Lauren Bacall made together. Bogart is Vincent Parry, a prison escapee framed for murder who emerges from plastic surgery with a new face. Bacall is Irene Jansen, Vincent's lone ally. In a supporting role, Agnes Moorehead portrays Madge, a venomou

Agnes and his brothers have little in common except an eccentric father, relationship problems that are totally screwing up their lives, and a distinct possibility those two things are connected. Sex addict /meek librarian Hans-Jörg can't stop peeping on comely women. Werner, a successful politician, watches powerlessly as his bored wife and smartass son destroy their family. And Agnes, a transsexual, can't quite fit into the mold of happy homemaker expected by her bossy boyfriend. An outrageous ! story of how everyday desires for sex, love and understanding can end up pushing people closer and closer to the edge.Hephaestus Books represents a new publishing paradigm, allowing disparate content sources to be curated into cohesive, relevant, and informative books. To date, this content has been curated from Wikipedia articles and images under Creative Commons licensing, although as Hephaestus Books continues to increase in scope and dimension, more licensed and public domain content is being added. We believe books such as this represent a new and exciting lexicon in the sharing of human knowledge. This particular book is a collaboration focused on German drama films.Bogey's on the lam and Bacall's at his side in Dark Passage, Delmer Daves' stylish film-noir thriller that's the third of four films Humphrey Bogart and Lauren Bacall made together. Bogart is Vincent Parry, a prison escapee framed for murder who emerges from plastic surgery with a new face. Bacall is Ire! ne Jansen, Vincent's lone ally. In a supporting role, Agnes Mo! orehead portrays Madge, a venomous harpy who finds pleasure in the unhappiness of others. The chemistry of the leads is undeniable, and they augment it here with exceptional tenderness. Exceptional, too, are the atmospheric San Francisco locations and the imaginative camera work that shows Vincent's point of view - but not his face - until the bandages are removed. Lest Irene get ideas, the post-surgery Vincent tells her: "Don't change yours. I like it just as it is." So do we. - 1947This gimmicky film noir stars Humphrey Bogart as an escaped criminal who undergoes plastic surgery and holes up at the home of Lauren Bacall's character while healing and preparing to prove his innocence. If you can last through the first half-hour of this thing--which is shot entirely from the subjective view of Bogart's bandaged face, which we don't see until later--you might find ample reason in the stars' performances to stick around for the conclusion. But director Delmer Daves (A Summer Place) tests a viewer's endurance with such an obvious, attention-getting ploy. The least of the Bogart-Bacall vehicles (The Big Sleep,To Have and Have Not, Key Largo). --Tom Keogh

San Francisco-Gate Bridge in Black and White, Photography Poster Print, 24 by 36-Inch

• Measurements: 36 inches by 24 inches
• Easy to frame
• Makes a great gift
• High quality poster print
• Great wall decor

Black and white décor is at once dramatic and understated, modern and classic, apparent in the work of iconic designers such as Dorothy Draper and Madeleine Castaing but just as present in design today. And the inspiration is all around usâ€"from nature (a zebra’s stripes, tree trunks rising from drifts of snow) to old Hollywood movies and fashion to black-and-white photography and patterns we encounter in our everyday lives (crossword puzzles and the pages of our favorite novels). 

In Black and White (and a Bit in Between), acclaimed interior designer Celerie Kemble trades in her signature vivid palette for this iconic aesthetic, highlighting the black and white work of design stars and peers, including Bunny Williams, Thomas O’B! rien, Mary McDonald, Victoria Hagan, Mark Hampton, Delphine Krakoff, Brad Ford, Philip Gorrivan, Carrier and Co., and Miles Redd, and welcoming you into more than 100 spaces in every imaginable aesthetic. Woven throughout are her witty observations and expert advice on choosing the best paints and finishes, adding patterns and accessories, building an entire room scheme based on inspiration found in nature, collecting black and white objects, and even choosing the perfect accent colors. 

With more than 350 gorgeous color photographs, this is a vividly photographed celebration of a timeless scheme, infused with inspirational tips, glimpses into showstopping homes, and proof that a limited palette is anything but.San Francisco - Gate Bridge in Black & White, Photography Poster Print, 24 by 36

Hunger: A Gone Novel

• ISBN13: 9780061449086
• Condition: New
• Notes: BRAND NEW FROM PUBLISHER! 100% Satisfaction Guarantee. Tracking provided on most orders. Buy with Confidence! Millions of books sold!

In the ruins of a place once known as North America lies the nation of Panem, a shining Capitol surrounded by twelve outlying districts. Long ago the districts waged war on the Capitol and were defeated. As part of the surrender terms, each district agreed to send one boy and one girl to appear in an annual televised event called, "The Hunger Games," a fight to the death on live TV. Sixteen-year-old Katniss Everdeen, who lives alone with her mother and younger sister, regards it as a death sentence when she is forced to represent her district in the Games. The terrain, rules, and level of audience participation may change but one thing is constant: kill or be killed.

In the ruins of a p! lace once known as North America lies the nation of Panem, a shining Capitol surrounded by twelve outlying districts. The Capitol is harsh and cruel and keeps the districts in line by forcing them all to send one boy and one girl between the ages of twelve and eighteen to participate in the annual Hunger Games, a fight to the death on live TV. Sixteen-year-old Katniss Everdeen, who lives alone with her mother and younger sister, regards it as a death sentence when she is forced to represent her district in the Games. But Katniss has been close to dead before-and survival, for her, is second nature. Without really meaning to, she becomes a contender. But if she is to win, she will have to start making choices that weigh survival against humanity and life against love.

Acclaimed writer Suzanne Collins, author of the New York Times bestselling The Underland Chronicles, delivers equal parts suspense and philosophy, adventure and romance, in this searing novel set in! a future with unsettling parallels to our present.In the ruin! s of a p lace once known as North America lies the nation of Panem, a shining Capitol surrounded by twelve outlying districts. The Capitol is harsh and cruel and keeps the districts in line by forcing them all to send one boy and one girl between the ages of twelve and eighteen to participate in the annual Hunger Games, a fight to the death on live TV. Sixteen-year-old Katniss Everdeen, who lives alone with her mother and younger sister, regards it as a death sentence when she is forced to represent her district in the Games. But Katniss has been close to dead before-and survival, for her, is second nature. Without really meaning to, she becomes a contender. But if she is to win, she will have to start making choices that weigh survival against humanity and life against love.

Acclaimed writer Suzanne Collins, author of the New York Times bestselling The Underland Chronicles, delivers equal parts suspense and philosophy, adventure and romance, in this searing novel set in ! a future with unsettling parallels to our present.Against all odds, Katniss Everdeen has won the annual Hunger Games with fellow district tribute Peeta Mellark. But it was a victory won by defiance of the Capitol and their harsh rules. Katniss and Peeta should be happy. After all, they have just won for themselves and their families a life of safety and plenty. But there are rumors of rebellion among the subjects, and Katniss and Peeta, to their horror, are the faces of that rebellion. The Capitol is angry. The Capitol wants revenge.Against all odds, Katniss Everdeen has survived the Hunger Games twice. But now that she's made it out of the bloody arena alive, she's still not safe. The Capitol is angry. The Capitol wants revenge. Who do they think should pay for the unrest? Katniss. And what's worse, President Snow has made it clear that no one else is safe either. Not Katniss's family, not her friends, not the people of District 12. Powerful and haunting, this thrilling fi! nal installment of Suzanne Collins's groundbreaking The H! unger Ga mes trilogy promises to be one of the most talked about books of the year.Product Description
Against all odds, Katniss Everdeen has survived the Hunger Games twice. But now that she's made it out of the bloody arena alive, she's still not safe. The Capitol is angry. The Capitol wants revenge. Who do they think should pay for the unrest? Katniss. And what's worse, President Snow has made it clear that no one else is safe either. Not Katniss's family, not her friends, not the people of District 12. Powerful and haunting, this thrilling final installment of Suzanne Collins's groundbreaking The Hunger Games trilogy promises to be one of the most talked about books of the year.

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A Q&A with Suzanne Collins, Author of Mockingjay (The Final Book of The Hunger Games)

Q: You have said from the start that The Hunger Games story was intended as a trilogy. Did it actually end the way you planned it from the beginning?

A: Very much so. While I didn't know every detail, of course, the arc of the story from gladiator game, to revolution, to war, to the eventual outcome remained constant throughout the writing process.

Q: We understand you worked on the initial screenplay for a film to be based on The Hunger Games. What is the biggest difference between writing a novel and writing a screenplay?

A: There were several significant differences. Time, for starters. When you're adapting a novel into a two-hour movie you can't take everything with you. The story has to be condensed to fit the new form. Then there's the question of how best to take a book told in the first person and present tense and transform it into a satisfying dramatic experienc! e. In the novel, you never leave Katniss for a second and are ! privy to all of her thoughts so you need a way to dramatize her inner world and to make it possible for other characters to exist outside of her company. Finally, there's the challenge of how to present the violence while still maintaining a PG-13 rating so that your core audience can view it. A lot of things are acceptable on a page that wouldn't be on a screen. But how certain moments are depicted will ultimately be in the director's hands.

Q: Are you able to consider future projects while working on The Hunger Games, or are you immersed in the world you are currently creating so fully that it is too difficult to think about new ideas?

A: I have a few seeds of ideas floating around in my head but--given that much of my focus is still on The Hunger Games--it will probably be awhile before one fully emerges and I can begin to develop it.

Q: The Hunger Games is an annual televised event in which one boy and one girl from eac! h of the twelve districts is forced to participate in a fight-to-the-death on live TV. What do you think the appeal of reality television is--to both kids and adults?

A: Well, they're often set up as games and, like sporting events, there's an interest in seeing who wins. The contestants are usually unknown, which makes them relatable. Sometimes they have very talented people performing. Then there's the voyeuristic thrillâ€"watching people being humiliated, or brought to tears, or suffering physically--which I find very disturbing. There's also the potential for desensitizing the audience, so that when they see real tragedy playing out on, say, the news, it doesn't have the impact it should.

Q: If you were forced to compete in the Hunger Games, what do you think your special skill would be?

A: Hiding. I'd be scaling those trees like Katniss and Rue. Since I was trained in sword-fighting, I guess my best hope would be to get hol! d of a rapier if there was one available. But the truth is I'd! probabl y get about a four in Training.

Q: What do you hope readers will come away with when they read The Hunger Games trilogy?

A: Questions about how elements of the books might be relevant in their own lives. And, if they're disturbing, what they might do about them.

Q: What were some of your favorite novels when you were a teen?

A: A Tree Grows in Brooklyn by Betty Smith
The Heart Is a Lonely Hunter by Carson McCullers
Nineteen Eighty Four by George Orwell
Anna Karenina by Leo Tolstoy
Slaughterhouse-Five by Kurt Vonnegut
A Wrinkle in Time by Madeleine L’Engle
Lord of the Flies by William Golding
Boris by Jaapter Haar
Germinal by Emile Zola
Dandelion Wine by Ray Bradbury

(Photo © Cap Pryor)

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With Hunger, British! filmmaker and artist Steve McQueen has turned one of history’s most controversial acts of political defiance into a jarring, unforgettable cinematic experience. In Northern Ireland’s Maze prison in 1981, twenty-seven-year-old Irish Republican Army member Bobby Sands went on a hunger strike to protest the British government’s refusal to recognize him and his fellow IRA inmates as political prisoners, rather than as ordinary criminals. McQueen dramatizes prison existence and Sands’ final days in a way that is purely experiential, even abstract, a succession of images full of both beauty and horror. Featuring an intense performance by Michael Fassbender, Hunger is an unflinching, transcendent depiction of what a human being is willing to endure to be heard.

Stills from Hunger

With the exception of Julian Schnabel, visual artists have had a tough time at the cinema, but like the American painter before him, Britain's Steve McQueen beat the odds with the award-winning Hunger. In his visceral depiction of a political hunger strike, McQueen emphasizes specific moments over plot mechanics. Guard Raymond Lohan (Stuart Graham) serves as a guide into the hell of Belfast's Maze Prison, circa 1981, where Bobby Sands (Michael Fassbender in a remarkable performance) and his IRA brethren hunker down in blankets, since they refuse to don uniforms and can't wear their own clothes. They dump food on the floo! r, smear waste on the walls, and sleep with maggots in protest against their conditions. Even after moving the prisoners, the mistreatment continues, so they step up their campaign. It's no way to live, and it isn't easy to watch, but McQueen provides a reprieve through Sands's riveting conversation with Father Dominic Moran (Liam Cunningham), a scene his backers pressured him to cut, but the filmmaker wisely stood firm In his director's statement, McQueen says he wanted to "show what it was like to see, hear, smell, and touch in the H-Block." Because he avoids editorializing, it's as easy to condemn his subjects for their naïve idealism as it is to admire their singularity of purpose. Art background aside, McQueen clearly knows his U.K. film history, and appears to have spent time with the works of Alan Clarke (specifically Elephant) and Stanley Kubrick (see A Clockwork Orange), who share his fascination with the abuse of power, the horror of sudden violence! , and the splendor of the static shot. --Kathleen C. Fennes! sySu zanne Collins continues the amazing story of Katniss Everdeen in the phenomenal Hunger Games trilogy.

Against all odds, Katniss Everdeen has won the annual Hunger Games with fellow district tribute Peeta Mellark. But it was a victory won by defiance of the Capitol and their harsh rules. Katniss and Peeta should be happy. After all, they have just won for themselves and their families a life of safety and plenty. But there are rumors of rebellion among the subjects, and Katniss and Peeta, to their horror, are the faces of that rebellion. The Capitol is angry. The Capitol wants revenge.Suzanne Collins continues the amazing story of Katniss Everdeen in the phenomenal Hunger Games trilogy.

Against all odds, Katniss Everdeen has won the annual Hunger Games with fellow district tribute Peeta Mellark. But it was a victory won by defiance of the Capitol and their harsh rules. Katniss and Peeta should be happy. After all, they have just won for themselves and th! eir families a life of safety and plenty. But there are rumors of rebellion among the subjects, and Katniss and Peeta, to their horror, are the faces of that rebellion. The Capitol is angry. The Capitol wants revenge.

The extraordinary, ground breaking New York Times bestsellers The Hunger Games and Catching Fire, along with the third book in The Hunger Games trilogy by Suzanne Collins, Mockingjay, are available for the first time ever in a beautiful boxset edition. Stunning, gripping, and powerful. The trilogy is now complete!

It's been three months since all the adults disappeared. Gone.

food ran out weeks ago and starvation is imminent. Meanwhile, the normal teens have grown resentful of the kids with powers. And when an unthinkable tragedy occurs, chaos descends upon the town. There is no longer right and wrong. Each kid is out for himself and even the good ones turn murderous.

But a larger problem lo! oms. The Darkness, a sinister creature that has lived buried d! eep in t he hills, begins calling to some of the teens in the FAYZ. Calling to them, guiding them, manipulating them.

The Darkness has awakened. And it is hungry.

The Disappearance of Alice Creed

• DISAPPEARANCE OF ALICE CREED, THE (DVD MOVIE)

On a suburban street, two masked men seize a young woman. They bind and gag her and take her to an abandoned, soundproofed apartment. She is Alice Creed (Gemma Arterton), daughter of a millionaire. Her kidnappers, the coldly efficient Vic (Eddie Marsan) and his younger accomplice Danny (Martin Compston), have worked out a meticulous plan. But Alice is not going to play the perfect victim â€" she’s not giving in without a fight. In a tense power-play of greed, duplicity and survival we discover that sometimes disappearances can be deceptive…The British thriller The Disappearance of Alice Creed is a taut exercise in psychological manipulation, driven by three forceful performances, most notably actress Gemma Arteton (Clash of the Titans) as the titular abductee. On the surface, Disappearance seems to be cut from familiar ! cloth: ex-cons Eddie Marsan (Sherlock Holmes) and Martin Compston plot out and then execute the kidnapping of Arteton, the daughter of a wealthy businessman, for a sizable ransom. But as the minutes tick by in their dreary holding cell of a flat, relationships develop in unexpected ways, as do shifts in allegiances and motivations. To reveal these seismic changes would be to unleash spoilers of epic proportions, but suffice it to say that few will have expected the film's frenzied conclusion. Directed by first-timer J Blakeson with an eye towards pacing and atmosphere, The Disappearance of Alice Creed should please fans of adult suspense pictures with its smart scripting (by Blakeson) and fearless turns by its cast, especially Arteton in a role that requires her to play, by turns, victim and perpetrator; the DVD includes commentary by Blakeson, who discusses his influences (among them, Alien, interestingly enough), as well as two extended scenes with co! mmentary and a collection of comic outtakes. A five-minute sto! ryboard comparison, which shows preproduction sketches of the opening alongside the finished product, and the stateside trailer round out the extras. --Paul Gaita

Encino Man

• Starring outrageously hip Pauly Shore, Encino Man unearths the biggest laughs in 2 million years! The fun kicks off when two high school buddies dig up a frozen caveman in their backyard! Once the living fossil thaws out, the friends figure he s their ticket to being cool. But the plan backfires when the newcomer turns everyday life upside down, generating pre-hysterical craziness wherever he roam

They're weird, they're wild and they're going totally environmental! Two deadbeat dudes are about to trade beer and pizza for soymilk and tofu in this outrageously funny comedy from the producers of Dumb and Dumber. Before Earth Day 1996, the closest Bud (Pauly Shore) and Doyle (Stephen Baldwin) had ever come to a garbage dump was the floor of their apartment! So when their ecology-conscious girlfriends ask them to stop wasting time and start cleaning waste, the dimwitted duo makes it clear that th! ey'd rather talk trash than pick it up. But their world suddenly changes when they're accidentally trapped inside Bio-Dome a year long scientific ecological experiment with no fast food or cable television! Will Bud and Doyle adapt to their new found habitat or will their very presence spell extinction for themselves, the project and perhaps the entire planet?!Disc 1: Bio Dome Disc 2: P.C.U. Disc 3: Back to SchoolThey're weird, they're wild and they're going totally environmental! Two deadbeat dudes are about to trade beer and pizza for soymilk and tofu in this outrageously funny comedy from the producers of Dumb and Dumber. Before Earth Day 1996, the closest Bud (Pauly Shore) and Doyle (Stephen Baldwin) had ever come to a garbage dump was the floor of their apartment! So when their ecology-conscious girlfriends ask them to stop wasting time and start cleaning waste, the dimwitted duo makes it clear that they'd rather talk trash than pick it up. But their world suddenly ch! anges when they're accidentally trapped inside Bio-Dome a year! long sc ientific ecological experiment with no fast food or cable television! Will Bud and Doyle adapt to their new found habitat or will their very presence spell extinction for themselves, the project and perhaps the entire planet?! Starring Pauly Shore, Encino Man unearths the biggest laughs in 2 million years! The fun kicks off when two high school buddies dig up a frozen caveman in their backyard! Once the living fossil thaws out, the friends figure he's their ticket to being cool. But the plan backfires when the newcomer turns everyday life upside down, generating pre-hysterical craziness wherever he roams! Co-starring Sean Astin (Bulworth) and Brendan Fraser (The Mummy), you'll definitely dig Encino Man-- the totally irreverent, totally awesome comedy that shows just how hilariously out-of-control things evolve once the stone age meets the rock age head-on!Brendan Fraser made his film debut in this 1992 comedy that never quite discovers its audienc! e constituency. On the one hand, it features Pauly Shore, which would seem to define the picture's tone and identity accordingly. On the other hand, the film's other leading man is Sean Astin, the earnest star of Rudy, suggesting that Encino Man will have a lot of heart despite its silly premise. But none of that turns out to be true. Fraser plays an unfrozen caveman discovered by a pair of California high school outcasts (Shore and Astin). As the grunting newcomer becomes popular with the other kids, Shore and Astin try to bask in his reflected glow. Fraser, beginning a long movie career playing cartoonish goofballs, works entirely on instinct and earns his laughs. Shore, however, relies on his familiar verbal shtick, and Astin makes a great overgrown puppy pining after a lost girlfriend. Directed by Les Mayfield, who came to this project from his acclaimed documentary, Hearts of Darkness: A Filmmaker's Apocalypse. --Tom Keogh

Flight of the Red Balloon

• Inspired by Albert Lamorisse'sic 1956 Academy Award®-Winning short*, Flight of the Red Balloon is the latest masterwork from director Hou Hsiao Hsien (Three Times, Millennium Mambo). Expanding on the key elements of Lamorisse's short - a young boy, a red balloon and Paris - Hou weaves the tale of a boy, Simon (Simon Iteanu) dealing with the increased fragility of his loving yet preocc

One of the most famous short films ever made, The Red Balloon is a childhood fantasy with appeal for viewers of every age. It is the story of Pascal, a lonely French boy who befriends a wondrous red balloon which follows him everywhere--to school and church--and even hovers outside his window when he is in his room. Filmed entirely in the picturesque back streets and narrow alleys of Old Montmartre, the film has been acclaimed through the world as an immortal masterpiece of lyrical poetry. The Red ! Balloon is both a beguiling fantasy and a touching allegory on the magic powers of love and friendship. The late French filmmaker Albert Lamorisse made this classic, 1956 short work about a lonely little Parisian boy (Pascal Lamorisse) befriended by a large red balloon, which seems to have a will of its own. As with his preceding short, 1952's White Mane, Lamorisse took home a grand prize from the Cannes Film Festival for The Red Balloon, and the latter film also won an Academy Award. There have been some stimulating pieces of film criticism (some pro, some con) written about the aesthetics of this little movie over the years, but there's no question it makes for a touching, allegorical piece always certain to prompt conversations among viewers of any age. --Tom Keogh Inspired by Albert Lamorisse's classic 1956 Academy Award®-Winning short*, Flight of the Red Balloon is the latest masterwork from director Hou Hsiao Hsien (Three Times, Millennium Ma! mbo). Expanding on the key elements of Lamorisse's short - a y! oung boy , a red balloon and Paris - Hou weaves the tale of a boy, Simon (Simon Iteanu) dealing with the increased fragility of his loving yet preoccupied mother, Suzanne (Academy Award® - Winner Juliette Binoche** of The English Patient, Caché). When a Taiwanese film student, Song (Fang Song), is hired to help care for Simon, a unique extended family is formed - utterly dependent on each other yet lost in separate dreams mirrored by a delicate, shiny red balloon.