While Ruth is asleep, Morgan transfuses his own blood into her. She is immediately cured, and Morgan sees hope that, together, they can cure the rest of her people. Moments later, however, Ruth's people attack. Morgan takes the gun and flees his home while the attackers kill the vampires gathered around Morgan's home. Ruth's people spot Morgan and chase him. He exchanges gunfire with them and picks up tear gas grenades from a police station armory along the way. While the tear gas delays his pursuers somewhat, Morgan is wounded by gunfire and retreats into a church. As he stands at the altar, one of his pursuers finally impales him with a thrown spear. In his final moments, Morgan denounces his pursuers as "freaks" and, as Ruth cradles him, declares that he is the last true man on Earth. As Ruth walks away from Morgan's body, she notices a baby crying and tries to assure the child that everyone is safe now.
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Lippert had wanted to make a "last man on Earth"-type film for a while. In the late 1950s, Charles Marquis Warren and Robert Stabler optioned a novel by science fiction writer George R. Stewart called Earth Abides. Harry Spalding, who worked for Lippert, said the release of The World, the Flesh and the Devil (1959) killed off plans for that project. Spalding then read Matheson's novel and suggested Lippert film that book instead.[4] The project was announced in August 1962.
78. "The tragedy of this Sudeten woman, unable to conceal her misery as she dutifully salutes the triumphant Hitler, is the tragedy of the silent millions who have been `won over' to Hitlerism by the 'everlasting use' of ruthless force." Ca. 1938. 208-PP-10A-2. National Archives Identifier: 535891
The battles behind Francis Ford Coppola's surreal war movie are well-documented: the nightmarish, multiyear shoot; star Martin Sheen's heart attack and recovery; a cackling press corps that sharpened its knives for a turkey of epic proportions. Coppola would have the last laugh. So much of the vocabulary of the modern-day war picture comes from this movie, an operatic Vietnam-set tragedy shaped out of whirring helicopter blades, Wagnerian explosions, purple haze and Joseph Conrad's colonialist fantasia Heart of Darkness. Fans of the Godfather director, so pivotal to the 1970s, know this to be his last fully realized work; connoisseurs of the war movie see it (correctly) as his second all-out masterpiece.
Stop snickering: There's a real reason why this sci-fi actioner is so high on our list. Never before (and probably never again) had the monied apparatus of Hollywood been so co-opted to make a subversive comment about its own fascist impulses. Director Paul Verhoeven cackled all the way to the box office as giant bugs were exterminated by gorgeous, empty-headed bimbos; when Neil Patrick Harris showed up near the end of the movie in a full-length Nazi trench coat, the in-joke was practically outed. Source novelist Robert Heinlein meant his militaristic tale sincerely; meanwhile, the blithe destruction of humankind on display here could only be intended as a sharp critique, both of soldiering and of popular tastes. Return to it with fresh eyes.
Pervy Dutch director Paul Verhoeven is better known for Basic Instinct and Showgirls, but war movies are his true métier. In this deliciously plotted WWII survival tale (a comeback of sorts for the Hollywood exile), a hotcha Jewish singer becomes a spy, a freedom fighter and a bed partner of Nazis. Talented Carice van Houten commits fully.
When legendary hitman John Wick sought to leave his life as a killer, he was told in return to complete one last job for his boss Viggo Tarasov. In order to accomplish the task, John visited Santino and asked for help - in return, he made a blood oath with Santino - the Marker. Although Santino was actually ready to accept John's retirement after that, he finds that he has taken himself back to the world of assassins and has now repaid his debt after he took revenge on Viggo and his son Iosef.
When John arrives, Santino reveals to him that the works of art around her come from his father's private collection and are therefore of special value to him. He also reveals that he would have left John alone had he really stayed in retirement. Amused, he realizes that Wick is thinking about how he can kill Santino and asks him how he would do it. John replies hatefully that he would do Santino with his bare hands, and now wants to know what he is asking of him. Santino reveals to John that he should kill his sister Gianna so that he can get her seat in the High Table. Although John thinks this mission is impossible and has scruples about killing Gianna, he finally has to submit to the order and learns from Santino that his sister is currently in Rome and that he can use a secret path in the catacombs to reach her.
In justice to the nations and the men associated in this prosecution, I must remind you of certain difficulties which may leave their mark on this case. Never before in legal history has an effort been made to bring within the scope of a single litigation the developments of a decade, covering a whole continent, and involving a score of nations, countless individuals, and innumerable events. Despite the magnitude of the task, the world has demanded immediate action. This demand has had to be met, though perhaps at the cost of finished craftsmanship. To my country, established courts, following familiar procedures, applying well-thumbed precedents, and dealing with the legal consequences of local and limited events seldom commence a trial within a year of the event in litigation. Yet less than 8 months ago today the courtroom in which you sit was an enemy fortress in the hands of German SS troops. Less than 8 months ago nearly all our witnesses and documents were in enemy hands. The law had not been codified, no procedures had been established, no tribunal was in existence, no usable courthouse stood here, none of the hundreds of tons of official German documents had been examined, no prosecuting staff had been assembled, nearly all of the present defendants were at large, and the four prosecuting powers had not yet joined in common cause to try them. I should be the last to deny that the case may well suffer from incomplete researches and quite likely will not be the example of professional work which any of the prosecuting nations would normally wish to sponsor. It is, however, a completely adequate case to the judgment we shall ask you to render, and its full development we shall be obliged to leave to historians.
As the German frontiers were expanded by war, so the campaign against the Jews expanded. The Nazi plan never was limited to extermination in Germany; always it contemplated extinguishing the Jew in Europe and often in the world. In the West, the Jews were killed and their property taken over. But the campaign achieved its zenith of savagery in the East. The eastern Jew has suffered as no people ever suffered. Their sufferings were carefully reported to the Nazi authorities to show faithful adherence to the Nazi design. I shall refer only to enough of the evidence of these to show the extent of the Nazi design for killing Jews.
Any resort to war-to any kind of a war-is a resort to means that are inherently criminal. War inevitably is a course of killings, assaults, deprivations of liberty, and destruction of property. An honestly defensive war is, of course, legal and saves those lawfully conducting it from criminality. But inherently criminal acts cannot be defended by showing that those who committed them were engaged in a war, when war itself is illegal. The very minimum legal consequence of the treaties making aggressive wars illegal is to strip those who incite or wage them of every defense the law ever gave, and to leave war-makers subject to judgment by the usually accepted principles of the law of crimes.
One of the most successful films of Neapolitan comedian Totò, it was the top grossing movie in 1956. It contains some of the most famous scenes from the duo Totò and Peppino (actor Peppino De Filippo), such as the dictation of a letter full of grammatical errors below. 2ff7e9595c
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