list http://www.spout.com/ Recent community activity around The Grapes of Wrath on Spout Copyright 2005-9 Spout, LLC Spout RSS http://www.spout.com/images/SpoutLogoRSS.jpg http://www.spout.com/ 136 30 http://www.spout.com/films/The_Grapes_of_Wrath/13967/default.aspx Title: The Grapes of Wrath
Year: 1940
Director: John Ford
Plot: The adaptation of Nobel Prize-winner John Steinbeck's Pulitzer Prize-winning novel of dirt-poor Dust Bowl migrants by 4-time Oscar-winning director John Ford starred Henry Fonda as Tom Joad, who opens the movie returning to his Oklahoma home after serving jail time for manslaughter. En route, Tom meets family friend Casey (John Carradine), a former preacher who warns Tom that dust storms, crop failures, and new agricultural methods have financially decimated the once prosperous Oklahoma farmland. Upon returning to his family farm, Tom is greeted by his mother (Oscar-winner Jane Darwell), who tells him that the family is packing up for the "promised land" of California. Warned that they shouldn't expect a warm welcome in California--they've already seen the caravan of dispirited farmers, heading back home after striking out at finding work--the Joads push on all the same. Their first stop is a wretched migrant camp, full of starving children and surrounded by armed guards. Further down the road, the Joads drive into an idyllic government camp, with clean lodging, indoor plumbing, and a self-governing clientele. When Tom ultimately bids goodbye to his mother, who asks him where he'll go, he delivers the film's most famous speech: "I'll be all around...Wherever there's a fight so hungry people can eat...Whenever there's a cop beating a guy, I'll be there...And when the people are eatin' the stuff they raise and livin' in the houses they build. I'll be there too." ~ Hal Erickson, All Movie Guide
Times Tagged: 20
Number of Lists: 24
Number of blog posts: 4
SpoutRating: 3
]]>Wed, 19 Nov 2008 18:01:04 GMTThe Grapes of Wrath1940John FordThe adaptation of Nobel Prize-winner <a href="/players/P____67904/default.aspx" style='text-decoration:underline'>John Steinbeck</a>'s Pulitzer Prize-winning novel of dirt-poor Dust Bowl migrants by 4-time Oscar-winning director <a href="/players/P____90133/default.aspx" style='text-decoration:underline'>John Ford</a> starred <a href="/players/P____24097/default.aspx" style='text-decoration:underline'>Henry Fonda</a> as Tom Joad, who opens the movie returning to his Oklahoma home after serving jail time for manslaughter. En route, Tom meets family friend Casey (<a href="/players/P____11228/default.aspx" style='text-decoration:underline'>John Carradine</a>), a former preacher who warns Tom that dust storms, crop failures, and new agricultural methods have financially decimated the once prosperous Oklahoma farmland. Upon returning to his family farm, Tom is greeted by his mother (Oscar-winner <a href="/players/P____17083/default.aspx" style='text-decoration:underline'>Jane Darwell</a>), who tells him that the family is packing up for the "promised land" of California. Warned that they shouldn't expect a warm welcome in California--they've already seen the caravan of dispirited farmers, heading back home after striking out at finding work--the Joads push on all the same. Their first stop is a wretched migrant camp, full of starving children and surrounded by armed guards. Further down the road, the Joads drive into an idyllic government camp, with clean lodging, indoor plumbing, and a self-governing clientele. When Tom ultimately bids goodbye to his mother, who asks him where he'll go, he delivers the film's most famous speech: "I'll be all around...Wherever there's a fight so hungry people can eat...Whenever there's a cop beating a guy, I'll be there...And when the people are eatin' the stuff they raise and livin' in the houses they build. I'll be there too." ~ Hal Erickson, All Movie Guide20Tag Target (>10)2443http://www.spout.com/ProductImages/u47793atxbk.jpghttp://www.spout.com/films/The_Grapes_of_Wrath/13967/default.aspxFilm http://www.spout.com/blogs/spoutblog/archive/2008/11/19/37441.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 11/19/2008 1:01:04 PM
Body: Unemployment is about to get even worse now that Citigroup has announced it will cut 52,000 jobs early next year. And falsely reported news of a killing in Santa Clara, California (the shooter was fired, not laid off) only adds to the bleak atmosphere surrounding the already upsetting job market. But while desperate times may lead to desperate measures, it’s vital for us to remember what we learned from the films of the 1930s, when the Great Depression caused a nearly 25% rate of unemployment (we’re currently at 6.5%). Hopeful stories of upward mobility and implausible solutions were popular at the time, though many of them had downsides or inspired the desire for unlikely prospects. Still, there was some guidance to be found buried within the fantasies of Hollywood, and SpoutBlog has compiled this handy list to help you make the right choices during your current or imminent joblessness. Film: Little Caesar (1931) Tip: Dancing is ultimately more lucrative than crime. We learned over and over from films in the 1930s that crime doesn’t pay, and with Little Caesar we learned the additional tip that if you’re going to be a cocky, power-hungry little jerk with leadership goals, you better have the balls to back up your bite. However, the best advice acquired from Francis Edward Faragoh and Robert N. Lee’s Oscar-nominated screenplay is that life as a dancer is a much better career path than that of a gangster. Sure, there may be a few dangers if your gig is at a mob-run club or if your former best friend is your boss’ rival, a la the conflict between Joe (Douglas Fairbanks Jr.) and Rico (Edward G. Robinson) in Mervyn LeRoy’s film. But unlike your old buddy, who will literally die in a gutter, you might find wealth, stardom and love. Worst-case scenario, you don’t become rich and famous but you get a job teaching little kids at a dance studio in suburbia. Whereas there’s no such thing as a crime studio. Film: Trouble in Paradise (1932) Tip: Falling for your mark, and/or your boss, is fine as long as you get a bonus out of it and then return to your true love It’s clear from the start that fellow pickpockets Gaston (Herbert Marshall) and Lily (Miriam Hopkins) are made for each other. Yet when the duo acquire jobs working for the wealthy perfumer Madame Colet (Kay Francis) in a scheme to con her out of her money, Gaston goes and complicates things by developing feelings for his new employer/mark. Fortunately, after dipping his hands into both her purses (oh the innuendo!), he comes away with the jackpot and is able to fall back into place with his equal. Getting a job where you’re partially a gigolo can be rewarding in terms of special perks, both sexual and financial, but ultimately a relationship between employee and employer is difficult, especially if there’s a real class clash involved. So get in quick, get out on top and find a nice girl with whom you’ve got more in common. Film: King Kong (1933) Tip: If you’re cast in a film, make sure it’s a local production. Tons of unemployed people turn to showbiz as a solution to their situation, and a quick glance on Craigslist reveals plenty of calls for film and TV extras. But be wary, because if it sounds too good to be true, it probably is. And be suspicious of “directors” who approach you on the street offering you the role of a lifetime. It’s possible the guy’s a real Hollywood player like Carl Denham (Robert Armstrong), but it’s also possible that the gig will bring you to a remote island where you’ll attract the largest stalker ever imagined. In the end, you might actually become a big star, just like Ann Darrow (Fay Wray), but by then many will have paid for your social status with their lives, and you’ll have to live with the guilt. So when answering ads looking for actors, don’t get on any boats headed to far off places. Stick to locally shot films, on which you’re likely to experience fewer dangers and meet fewer giant apes. Film: Lady for a Day (1933) Tip: Don’t lie to your family about being underemployed, because you’ll just wind up more depressed. Apple Annie (May Robson) ends up getting away with her masquerade, in which she convinces her daughter that she’s a well-to-do socialite rather than a poor fruit peddler, but at what cost? Now she’s lied to her child and, worse, given herself a taste of the good life, a high from which she must come down. And with that perspective in mind she’s surely going to hate her true social place even more. So if you’re underemployed, don’t lie about it, not even to your parents. Best circumstance, they help you out a little with your finances. Worst circumstance, you feel even more depressed about your situation and you take your own life — whether literally or, like Annie, figuratively. Plus, if your parents do end up finding out the truth, they’ll be more disappointed with you than they would have been if told the truth all along. Film: Triumph of the Will (1935) Tip: Don’t work for a mad, genocidal dictator unless you want the association to follow you to your grave. Leni Riefenstahl may have denied having full allegiance to Hitler and the Nazis, but she’ll forever be known as the director who helped propagandize the party right up until the beginning of World War II. And to many that makes her one of the bad guys. Whether she’s truly guilty by association, her kind of situation is constantly a topic of ethical debate. Maybe working for later-exposed criminals will keep you from getting elected one day. Maybe working for evil emperors will get you blown up while doing contract work on a giant space station. Either way, it’s best to do as much of a background check on your potential bosses as they’re doing on you. Film: Modern Times (1936) Tip: Don’t be a slave to the machines, or one day they’ll enslave you. That sounds like advice to be gotten from The Matrix, but that film’s dystopia is precisely the kind of future Chaplin was warning about. So much of the imagery in this film consists of workers depending on machines, either to help do the job or feed them, and workers being trapped in machines, figuratively enslaved by them. If you end up getting a job on the internet, and that’s more and more likely to be your best shot at employment these days, you’ll understand Chaplin’s fears better than he could ever have imagined. Film: Mr. Deeds Goes to Town (1936) Tip: Breaking into a rich man’s home will likely get you a job. It’s thanks to a desperate little farmer that the newly rich Deeds (Gary Cooper) decides to divvy up his millions and donate plots of land to the poor. And the gun-wielding intruder doesn’t get thrown in jail; he becomes one of the many who are eligible for some of that free acreage. Hollywood pipe dream, sure, but the concept also seemed to work outside of American cinema. In Renoir’s The Rules of the Game, a man (Julien Carette) is caught trespassing on a wealthy estate and he’s offered a job. However, it may not be necessary to actually commit the crime of breaking and entering to get the attention of potential beneficiaries and employers. In Renoir’s Boudu Saved From Drowning the titular bum is merely witnessed attempting suicide in the Seine (though in Paul Mazursky’s ‘80s remake, Down and Out in Beverly Hills, the bum is also an intruder). And in My Man Godfrey the titular bum is plucked out of the trash and eventually brought home and employed as a butler. Which brings up the next tip. Film: My Man Godfrey (1936) Tip: If forced to become a servant, don’t steal the boss’ daughter’s necklace, pawn it and then gamble with the money made in order to further improve your situation, because only William Powell is good enough to get away with it. You are not as smooth as William Powell; it’s just not possible. So, while he (and his character, Godfrey) is able to come out of this film on top, in the same situation you would more than likely end up back on the garbage heap (without a nightclub built on the spot, that is). Firstly, he’s able to charm the socialite Irene (Carole Lombard) enough to escape homelessness, acquire a position as her family’s butler and eventually win her heart. Secondly, when Irene’s bitter sister, Cornelia (Gail Patrick), attempts to frame him as a necklace nabber, he beats her at her game and follows through to win out even more. What he does with the jewelry, though, would still get most people arrested, even if the ends do justify the means. Never do as Powell does, because nobody can pull off anything as well as he can. Film: You Can’t Take it With You (1938) Tip: Taking up seemingly utopian residence in a commune full of oddballs will likely get you thrown in jail. Grandpa Vanderhof (Lionel Barrymore) wasn’t claiming to be prophet nor did he (as far as we know) have a harem of young wives stored away somewhere in his house, but these days a freewheeling place like his might attract the attention of the Bureau of Alcohol, Tobacco and Firearms or some other government agency assigned to shutting down cults and terrorist organizations. Even then his home was suspected of being a den for treasonous plots, leading to an FBI raid and mass arrest. So, while it may seem like a dream come true to be wooed in by a jolly old man promising free living and the chance to be a toymaker, there’s actually no such thing as Santa Claus, and that man is probably doing something illegal to accommodate such a lifestyle. Film: The Grapes of Wrath (1939) Tip: Don’t settle for wages lower than is standard for the work. If you’re really hungry and desperate for work, you might think about taking only 25 cents an hour for a job you used to do for 30 cents. This happens often with competitive fields, whether it is migrant farming or blogging, but it only lowers your worth and it encourages your employers to keep decreasing the wages as long as someone is willing to settle. Eventually, either your fellow workers or the previous, underbid employees are going to be provoked by the situation and then there’s the chance of violence and further oppression. Plus, then you might be out of the job anyway. Potentially on the run, like Tom Joad (Henry Fonda), too. Originally posted on:SpoutBlog
]]>Wed, 19 Nov 2008 18:01:04 GMTSpoutBlogSpoutBlog on spout.com11/19/2008 1:01:04 PMUnemployment is about to get even worse now that Citigroup has announced it will cut 52,000 jobs early next year. And falsely reported news of a killing in Santa Clara, California (the shooter was fired, not laid off) only adds to the bleak atmosphere surrounding the already upsetting job market. But while desperate times may lead to desperate measures, it’s vital for us to remember what we learned from the films of the 1930s, when the Great Depression caused a nearly 25% rate of unemployment (we’re currently at 6.5%). Hopeful stories of upward mobility and implausible solutions were popular at the time, though many of them had downsides or inspired the desire for unlikely prospects. Still, there was some guidance to be found buried within the fantasies of Hollywood, and SpoutBlog has compiled this handy list to help you make the right choices during your current or imminent joblessness. Film: Little Caesar (1931) Tip: Dancing is ultimately more lucrative than crime. We learned over and over from films in the 1930s that crime doesn’t pay, and with Little Caesar we learned the additional tip that if you’re going to be a cocky, power-hungry little jerk with leadership goals, you better have the balls to back up your bite. However, the best advice acquired from Francis Edward Faragoh and Robert N. Lee’s Oscar-nominated screenplay is that life as a dancer is a much better career path than that of a gangster. Sure, there may be a few dangers if your gig is at a mob-run club or if your former best friend is your boss’ rival, a la the conflict between Joe (Douglas Fairbanks Jr.) and Rico (Edward G. Robinson) in Mervyn LeRoy’s film. But unlike your old buddy, who will literally die in a gutter, you might find wealth, stardom and love. Worst-case scenario, you don’t become rich and famous but you get a job teaching little kids at a dance studio in suburbia. Whereas there’s no such thing as a crime studio. Film: Trouble in Paradise (1932) Tip: Falling for your mark, and/or your boss, is fine as long as you get a bonus out of it and then return to your true love It’s clear from the start that fellow pickpockets Gaston (Herbert Marshall) and Lily (Miriam Hopkins) are made for each other. Yet when the duo acquire jobs working for the wealthy perfumer Madame Colet (Kay Francis) in a scheme to con her out of her money, Gaston goes and complicates things by developing feelings for his new employer/mark. Fortunately, after dipping his hands into both her purses (oh the innuendo!), he comes away with the jackpot and is able to fall back into place with his equal. Getting a job where you’re partially a gigolo can be rewarding in terms of special perks, both sexual and financial, but ultimately a relationship between employee and employer is difficult, especially if there’s a real class clash involved. So get in quick, get out on top and find a nice girl with whom you’ve got more in common. Film: King Kong (1933) Tip: If you’re cast in a film, make sure it’s a local production. Tons of unemployed people turn to showbiz as a solution to their situation, and a quick glance on Craigslist reveals plenty of calls for film and TV extras. But be wary, because if it sounds too good to be true, it probably is. And be suspicious of “directors” who approach you on the street offering you the role of a lifetime. It’s possible the guy’s a real Hollywood player like Carl Denham (Robert Armstrong), but it’s also possible that the gig will bring you to a remote island where you’ll attract the largest stalker ever imagined. In the end, you might actually become a big star, just like Ann Darrow (Fay Wray), but by then many will have paid for your social status with their lives, and you’ll have to live with the guilt. So when answering ads looking for actors, don’t get on any boats headed to far off places. Stick to locally shot films, on which you’re likely to experience fewer dangers and meet fewer giant apes. Film: Lady for a Day (1933) Tip: Don’t lie to your family about being underemployed, because you’ll just wind up more depressed. Apple Annie (May Robson) ends up getting away with her masquerade, in which she convinces her daughter that she’s a well-to-do socialite rather than a poor fruit peddler, but at what cost? Now she’s lied to her child and, worse, given herself a taste of the good life, a high from which she must come down. And with that perspective in mind she’s surely going to hate her true social place even more. So if you’re underemployed, don’t lie about it, not even to your parents. Best circumstance, they help you out a little with your finances. Worst circumstance, you feel even more depressed about your situation and you take your own life — whether literally or, like Annie, figuratively. Plus, if your parents do end up finding out the truth, they’ll be more disappointed with you than they would have been if told the truth all along. Film: Triumph of the Will (1935) Tip: Don’t work for a mad, genocidal dictator unless you want the association to follow you to your grave. Leni Riefenstahl may have denied having full allegiance to Hitler and the Nazis, but she’ll forever be known as the director who helped propagandize the party right up until the beginning of World War II. And to many that makes her one of the bad guys. Whether she’s truly guilty by association, her kind of situation is constantly a topic of ethical debate. Maybe working for later-exposed criminals will keep you from getting elected one day. Maybe working for evil emperors will get you blown up while doing contract work on a giant space station. Either way, it’s best to do as much of a background check on your potential bosses as they’re doing on you. Film: Modern Times (1936) Tip: Don’t be a slave to the machines, or one day they’ll enslave you. That sounds like advice to be gotten from The Matrix, but that film’s dystopia is precisely the kind of future Chaplin was warning about. So much of the imagery in this film consists of workers depending on machines, either to help do the job or feed them, and workers being trapped in machines, figuratively enslaved by them. If you end up getting a job on the internet, and that’s more and more likely to be your best shot at employment these days, you’ll understand Chaplin’s fears better than he could ever have imagined. Film: Mr. Deeds Goes to Town (1936) Tip: Breaking into a rich man’s home will likely get you a job. It’s thanks to a desperate little farmer that the newly rich Deeds (Gary Cooper) decides to divvy up his millions and donate plots of land to the poor. And the gun-wielding intruder doesn’t get thrown in jail; he becomes one of the many who are eligible for some of that free acreage. Hollywood pipe dream, sure, but the concept also seemed to work outside of American cinema. In Renoir’s The Rules of the Game, a man (Julien Carette) is caught trespassing on a wealthy estate and he’s offered a job. However, it may not be necessary to actually commit the crime of breaking and entering to get the attention of potential beneficiaries and employers. In Renoir’s Boudu Saved From Drowning the titular bum is merely witnessed attempting suicide in the Seine (though in Paul Mazursky’s ‘80s remake, Down and Out in Beverly Hills, the bum is also an intruder). And in My Man Godfrey the titular bum is plucked out of the trash and eventually brought home and employed as a butler. Which brings up the next tip. Film: My Man Godfrey (1936) Tip: If forced to become a servant, don’t steal the boss’ daughter’s necklace, pawn it and then gamble with the money made in order to further improve your situation, because only William Powell is good enough to get away with it. You are not as smooth as William Powell; it’s just not possible. So, while he (and his character, Godfrey) is able to come out of this film on top, in the same situation you would more than likely end up back on the garbage heap (without a nightclub built on the spot, that is). Firstly, he’s able to charm the socialite Irene (Carole Lombard) enough to escape homelessness, acquire a position as her family’s butler and eventually win her heart. Secondly, when Irene’s bitter sister, Cornelia (Gail Patrick), attempts to frame him as a necklace nabber, he beats her at her game and follows through to win out even more. What he does with the jewelry, though, would still get most people arrested, even if the ends do justify the means. Never do as Powell does, because nobody can pull off anything as well as he can. Film: You Can’t Take it With You (1938) Tip: Taking up seemingly utopian residence in a commune full of oddballs will likely get you thrown in jail. Grandpa Vanderhof (Lionel Barrymore) wasn’t claiming to be prophet nor did he (as far as we know) have a harem of young wives stored away somewhere in his house, but these days a freewheeling place like his might attract the attention of the Bureau of Alcohol, Tobacco and Firearms or some other government agency assigned to shutting down cults and terrorist organizations. Even then his home was suspected of being a den for treasonous plots, leading to an FBI raid and mass arrest. So, while it may seem like a dream come true to be wooed in by a jolly old man promising free living and the chance to be a toymaker, there’s actually no such thing as Santa Claus, and that man is probably doing something illegal to accommodate such a lifestyle. Film: The Grapes of Wrath (1939) Tip: Don’t settle for wages lower than is standard for the work. If you’re really hungry and desperate for work, you might think about taking only 25 cents an hour for a job you used to do for 30 cents. This happens often with competitive fields, whether it is migrant farming or blogging, but it only lowers your worth and it encourages your employers to keep decreasing the wages as long as someone is willing to settle. Eventually, either your fellow workers or the previous, underbid employees are going to be provoked by the situation and then there’s the chance of violence and further oppression. Plus, then you might be out of the job anyway. Potentially on the run, like Tom Joad (Henry Fonda), too. Originally posted on:SpoutBlog http://www.spout.com/blogs/spoutblog/archive/2008/9/16/35197.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 9/16/2008 2:01:08 PM
Body: I’m probably the least financial-minded person there is, and I’ve never owned a stock, bond or whatever else people invest in. But I am an expert on being broke, being poor, being frugal and, most importantly, putting things into perspective. What I mean is, whenever I feel like things just can’t get any worse for me money-wise, I think of the people who are or were actually worse off than I am. And by people, I mostly mean characters from the movies. So, as you may be worrying about your finances after Black Monday, consider dropping by the video store on your way home from the office (or job interview) today. Invest a few bucks into your own sanity and happiness by renting one of the following movies. Don’t worry, I’ve tried to make the selections rather common and accessible. If you’re like any of the financial guys and girls I know, you’re not likely the sort to go for obscure or difficult cinema. And if you are of the sort, then you probably don’t need this list anyway. The Grapes of Wrath (1940) Let’s begin with one of the basics, a movie that will make you glad you at least aren’t living through the Great Depression. There are tons of films from and about the era, but this is perhaps the definitive example, adapted from John Steinbeck’s definitive story of the Okie migration. At times I’ve felt like I can identify with the financial hardships of the Joads, particularly when I’ve been after a job that tons of other people are after, too. But there’s really no comparison, and you’re likely to agree. After seeing the family’s struggle, you’ll be glad you don’t have it so bad. But you’ll also hopefully be lifted up by the conclusive speeches of both Tom and Ma Joad, who inspire us all to keep on keeping on, no matter what the setback. American Madness (1932) Going back a little earlier, here’s another film dealing with the Great Depression (though not as directly), and one that’s more relative to the current situation of bank failures. Its plot deals with a bank that is robbed and then rumored to be out of money, leading to a withdrawal panic. Released one year prior to the creation of the FDIC, it may be a comforting reminder of how much more secure your deposits are today. (Even if it is a potential problem that the FDIC doesn’t exactly have as much money as it insures against.) Nine Queens (2000) A lot of films dealing with cons can be watched to ease the suffering of financial woes. But then you have to realize that while you may be better off than the victim who has lost all his savings or seen his casino vault emptied, you’ll still want to hate the con artist who gets away with the fortune. With Nine Queens, there is indeed one of those guys you’ll be upset with in the end, but the film has an extra level to it than most movies about a long con, because it’s set amidst Argentina’s economic collapse at the turn of this century. Like the desperate bank run scenes from American Madness, a similar scene involving a crisis at a Buenos Aires bank should leave you a little more optimistic about the current situation in the U.S. Surely we could never experience as critical an economic failure as they did in Argentina, right? One more thing: don’t dare rent the inferior American remake, Criminal, which just doesn’t have the same relevance. I Served the King of England (2006) You won’t find this in the video store just yet, but hopefully it’s playing in a theater near you (currently it’s on 37 screens). I’ve so far contrasted your possibly upsetting financial situation with that of sufferers of the Great Depression and of the Argentine economic crisis. Now, here’s the worse-off situation of the Czechs under Nazi occupation and then communism. Filled with irony and wit, this film should, unlike some of the rest, put a smile on your face while also making you thankful that you didn’t have the misfortune of becoming a millionaire right on the brink of your nation’s change to communism. If there’s anything worse than losing your fortune, it’s losing your fortune and being sent to prison for having such a fortune. Enron: The Smartest Guys in the Room (2005) On the other side of the coin, you may want to watch this documentary about the Enron scandal if you are more angry about your economic situation and would rather see a villain sent to prison for corruptly amassing a great fortune. Of course, while the protagonist of I Served the King of England is a lot more lovable, his riches aren’t exactly free from sin, either. And if you’re completely averse to watching either a doc or a foreign film, you could just watch Wall Street again and take out your frustration on Gordon Gekko. Bicycle Thieves (1948) Hopefully you’re not against foreign films, though, because anyone experiencing a financial crunch should take a look at this Italian neorealist classic. Any time I’ve felt helpless due to unemployment or lack of money, I remember that at least I have a certain level of education and skill to fall back on, unlike poor Antonio, who can’t get work after his bicycle is stolen. Films with similar stories inspired by DeSica’s masterpiece, including Cyclo and Man Push Cart (but probably not Pee-Wee’s Big Adventure), may also be worth a look. Grey Gardens (1975) Also, hopefully you aren’t completely against watching a documentary, especially one that’s a little more lighthearted than Enron. Of course, watching two nutty former socialites living in squalor and allowing a once-beautiful mansion to fall apart could possibly make you just as irate. Just be glad that your own riches to rags story doesn’t involve tons of feral cats and a seemingly oblivious daughter who will one day be a poster girl for drag queens. Trading Places (1983) Despite whatever happens with the current economic disaster, America will always be a place where one can get rich as quickly as one can lose it all, and no movie focuses on that truth as well as this comedy, about a bet to see how easily a bum can be made a millionaire, and a millionaire can be made a bum. Plus, it’s always nice to watch the greedy Duke brothers get their just deserts in the end. Just don’t watch Coming to America afterward, so as to pretend they never come back. The Pursuit of Happyness (2006) A lot of people are too cynical to enjoy this movie, but when you’re down in the dumps, especially financially, it’s a good pick-me-up, both for the uplifting story and the general American dream idea that one can truly rise from such poverty to such success as the real Chris Gardner did. Of course, given the current events, getting excited about a man struggling for a career in the financial world may not be so easy. I wonder if there are any good movies about working hard and making it big that don’t involve finance, sports or the entertainment industry. The Gold Rush (1925) In the Depression-set movie Sullivan’s Travels, it’s realized that audiences struggling with financial difficulties and other real-life woes would rather watch comedies than serious films focused on social problems. In that film, it’s a Disney cartoon called Playful Pluto that gives evidence of this, but it’s widely known that Preston Sturgis intended to use a Chaplin picture instead. So, as the final movie selection for the economically depressed, here’s one of the more fitting Chaplin features. While any film involving the Little Tramp could possibly serve to relatively lift you up, there’s just nothing better than watching Chaplin eat his boot and then being thankful for what you’ll be eating for dinner tonight. Now, I must address the possible outcry over the idea of making oneself feel better through the suffering of others. Yes, it’s terrible what people have had and still have to go through, both in America and around the world. Poverty is no joke, and it’s not exactly something that exists merely to balance out the brattiness of those not living in and with such poor conditions. So, I encourage you to, after watching whatever movie lifts your spirits up, find it in your heart to also be inspired to help someone less fortunate than yourself. Originally posted on:SpoutBlog
]]>Tue, 16 Sep 2008 18:01:08 GMTSpoutBlogSpoutBlog on spout.com9/16/2008 2:01:08 PM I’m probably the least financial-minded person there is, and I’ve never owned a stock, bond or whatever else people invest in. But I am an expert on being broke, being poor, being frugal and, most importantly, putting things into perspective. What I mean is, whenever I feel like things just can’t get any worse for me money-wise, I think of the people who are or were actually worse off than I am. And by people, I mostly mean characters from the movies. So, as you may be worrying about your finances after Black Monday, consider dropping by the video store on your way home from the office (or job interview) today. Invest a few bucks into your own sanity and happiness by renting one of the following movies. Don’t worry, I’ve tried to make the selections rather common and accessible. If you’re like any of the financial guys and girls I know, you’re not likely the sort to go for obscure or difficult cinema. And if you are of the sort, then you probably don’t need this list anyway. The Grapes of Wrath (1940) Let’s begin with one of the basics, a movie that will make you glad you at least aren’t living through the Great Depression. There are tons of films from and about the era, but this is perhaps the definitive example, adapted from John Steinbeck’s definitive story of the Okie migration. At times I’ve felt like I can identify with the financial hardships of the Joads, particularly when I’ve been after a job that tons of other people are after, too. But there’s really no comparison, and you’re likely to agree. After seeing the family’s struggle, you’ll be glad you don’t have it so bad. But you’ll also hopefully be lifted up by the conclusive speeches of both Tom and Ma Joad, who inspire us all to keep on keeping on, no matter what the setback. American Madness (1932) Going back a little earlier, here’s another film dealing with the Great Depression (though not as directly), and one that’s more relative to the current situation of bank failures. Its plot deals with a bank that is robbed and then rumored to be out of money, leading to a withdrawal panic. Released one year prior to the creation of the FDIC, it may be a comforting reminder of how much more secure your deposits are today. (Even if it is a potential problem that the FDIC doesn’t exactly have as much money as it insures against.) Nine Queens (2000) A lot of films dealing with cons can be watched to ease the suffering of financial woes. But then you have to realize that while you may be better off than the victim who has lost all his savings or seen his casino vault emptied, you’ll still want to hate the con artist who gets away with the fortune. With Nine Queens, there is indeed one of those guys you’ll be upset with in the end, but the film has an extra level to it than most movies about a long con, because it’s set amidst Argentina’s economic collapse at the turn of this century. Like the desperate bank run scenes from American Madness, a similar scene involving a crisis at a Buenos Aires bank should leave you a little more optimistic about the current situation in the U.S. Surely we could never experience as critical an economic failure as they did in Argentina, right? One more thing: don’t dare rent the inferior American remake, Criminal, which just doesn’t have the same relevance. I Served the King of England (2006) You won’t find this in the video store just yet, but hopefully it’s playing in a theater near you (currently it’s on 37 screens). I’ve so far contrasted your possibly upsetting financial situation with that of sufferers of the Great Depression and of the Argentine economic crisis. Now, here’s the worse-off situation of the Czechs under Nazi occupation and then communism. Filled with irony and wit, this film should, unlike some of the rest, put a smile on your face while also making you thankful that you didn’t have the misfortune of becoming a millionaire right on the brink of your nation’s change to communism. If there’s anything worse than losing your fortune, it’s losing your fortune and being sent to prison for having such a fortune. Enron: The Smartest Guys in the Room (2005) On the other side of the coin, you may want to watch this documentary about the Enron scandal if you are more angry about your economic situation and would rather see a villain sent to prison for corruptly amassing a great fortune. Of course, while the protagonist of I Served the King of England is a lot more lovable, his riches aren’t exactly free from sin, either. And if you’re completely averse to watching either a doc or a foreign film, you could just watch Wall Street again and take out your frustration on Gordon Gekko. Bicycle Thieves (1948) Hopefully you’re not against foreign films, though, because anyone experiencing a financial crunch should take a look at this Italian neorealist classic. Any time I’ve felt helpless due to unemployment or lack of money, I remember that at least I have a certain level of education and skill to fall back on, unlike poor Antonio, who can’t get work after his bicycle is stolen. Films with similar stories inspired by DeSica’s masterpiece, including Cyclo and Man Push Cart (but probably not Pee-Wee’s Big Adventure), may also be worth a look. Grey Gardens (1975) Also, hopefully you aren’t completely against watching a documentary, especially one that’s a little more lighthearted than Enron. Of course, watching two nutty former socialites living in squalor and allowing a once-beautiful mansion to fall apart could possibly make you just as irate. Just be glad that your own riches to rags story doesn’t involve tons of feral cats and a seemingly oblivious daughter who will one day be a poster girl for drag queens. Trading Places (1983) Despite whatever happens with the current economic disaster, America will always be a place where one can get rich as quickly as one can lose it all, and no movie focuses on that truth as well as this comedy, about a bet to see how easily a bum can be made a millionaire, and a millionaire can be made a bum. Plus, it’s always nice to watch the greedy Duke brothers get their just deserts in the end. Just don’t watch Coming to America afterward, so as to pretend they never come back. The Pursuit of Happyness (2006) A lot of people are too cynical to enjoy this movie, but when you’re down in the dumps, especially financially, it’s a good pick-me-up, both for the uplifting story and the general American dream idea that one can truly rise from such poverty to such success as the real Chris Gardner did. Of course, given the current events, getting excited about a man struggling for a career in the financial world may not be so easy. I wonder if there are any good movies about working hard and making it big that don’t involve finance, sports or the entertainment industry. The Gold Rush (1925) In the Depression-set movie Sullivan’s Travels, it’s realized that audiences struggling with financial difficulties and other real-life woes would rather watch comedies than serious films focused on social problems. In that film, it’s a Disney cartoon called Playful Pluto that gives evidence of this, but it’s widely known that Preston Sturgis intended to use a Chaplin picture instead. So, as the final movie selection for the economically depressed, here’s one of the more fitting Chaplin features. While any film involving the Little Tramp could possibly serve to relatively lift you up, there’s just nothing better than watching Chaplin eat his boot and then being thankful for what you’ll be eating for dinner tonight. Now, I must address the possible outcry over the idea of making oneself feel better through the suffering of others. Yes, it’s terrible what people have had and still have to go through, both in America and around the world. Poverty is no joke, and it’s not exactly something that exists merely to balance out the brattiness of those not living in and with such poor conditions. So, I encourage you to, after watching whatever movie lifts your spirits up, find it in your heart to also be inspired to help someone less fortunate than yourself. Originally posted on:SpoutBlog http://www.spout.com/blogs/pippin06/archive/2008/8/17/34093.aspx Post By: pippin06
Post To: Reel Thoughts
Post Date: 8/17/2008 8:06:57 PM
Body: What's the AFI Project, you ask? For more information, or if you just enjoy my bemused ramblings, read here: http://www.spout.com/blogs/pippin06/archive/2008/3/1/25756.aspx The Grapes of Wrath is on the following AFI lists:The Original Top 100 (#21)100 Years...100 Heroes and Villains (Tom Joad is the #12 hero)100 Most Inspiring Movies (#7)The Revised Top 100 (#23) The Grapes of Wrath was also my weekly Netflix rental. I read the book it's based on by John Steinbeck, oh, maybe ten or so years ago. I think I was in college, and I think it was during the summer of working for the Conference Management Services department at the University of Michigan, which, at the time anyway, ran the dormitories like hotels during the summer. It was a boring job, and a second job, and I had quite a bit of time to read, but it was a great summer after a lousy semester, and I had a job that wasn't too difficult and allowed me to read. I digress. I remember liking the book quite a bit, but I don't remember any details, because, well, it's been awhile. What I do remember, watching this film, leads me to believe that the film is only sort of like the book but not really. Maybe someone can comment with their agreement or disagreement with that assessment, but that's the vague impression I get. In the film, Tom Joad (a young, dashing, and star-making Henry Fonda) returns to his home, the Oklahoma farm his family once owned, after being freed from prison on parole. It seems he was jailed for killing a man, apparently in self-defense, which figures importantly into the kind of man he's become. He discovers, when he arrives, that the Great Depression has setlled in; his family, including his mother (Jane Darwell), has hunkered down at his uncle's home with intentions on relocating to California on the promise of jobs (passed around on a ubiquitous leaflet) and under duress, as banks and landowners have usurped the Oklahoman countryside and bulldozed the settlements. The journey is long and hard, meeting with family tragedies, not to mention that when work is found, it's often at lower-than-fair wages and in supplication to cops who patrol Hoovervilles and shantytowns with mob mentalities and corporal punishment on the brain. Tom can't seem to stay out of trouble, but his heart gets in the way, and he gets entangled in various altercations, fighting for justice and fairness, that jeopardize his family's quest for survival. I didn't love this film. I seem to remember, perhaps obviously, that the book had more to it, from beginning to end. I don't want to spoil the film, but it seems that there was a larger insurrection either spearheaded or helped along by Tom in the book that wasn't in the film. Maybe I'm wrong, but it seemed his moving final speech, as quoted in the synopsis, was followed by a more physical struggle in the book, something concrete or tangible to give meaning to Tom's best-intentioned ideals as he leaves his family behind in order to distract the law's watchful eyes from them. I felt that, in some ways, the film was incomplete, even despite Ma Joad's eloquent monologue about survival and continuing on in life. The adaptation was very good, but it was definitely not perfect. It indicates at the bottom of this page that the film is superior to the novel, an opinion allegedly posited by Steinbeck himself. I'm left wondering why. That's not to say that this wasn't a very good film. It was engaging and evenly paced, and John Ford accentuated aspects of the novel that made everything more film-friendly, including focusing more on the family and the effects of the times on the family. The synopsis by the All Movie Guide at the bottom of this page suggests that the Grapes of Wrath is arguably Ford's greatest film; I think that his greatest movie is more likely The Searchers, but that's just my opinion. Still, this film painted a searing and moving portrait of the conditions created by the Great Depression. And really, that portrait was made all the more convincing by the performances of this great ensemble cast. The most charismatic and engaging performance belonged to Henry Fonda, who was, without a doubt, a legend in the making after The Grapes of Wrath. He wore Tom Joad easily, like a comfortable jacket, and created a complete suspension of disbelief. Plus, the relationship between him and his mother proved to be the heart, if not the soul, of the film, and Jane Darwell's Oscar was deservedly earned. Do you know that she was Dolly Merriwether in Gone with the Wind and the Bird Woman in Mary Poppins? Ma Joad's touching need for connection with her affected son, emphasized through a combination of sweetness and toughness as portrayed by Darwell, is equally endearing and heartbreaking. As for filmmaking technique, I didn't notice anything particularly superior, groundbreaking, or noteworthy other than the use of natural scenery and light to paint contrasts between the dusty, poverty-stricken Oklahoma countryside and the sunny and lush California valleys. I think the reason why this film is considered an AFI classic is because of the vision of the director in painting an uncompromised and pointed picture of the effects of the Depression, and because Steinbeck's novel itself is considered a bona fide American classic. The themes of both film and novel cling to ideals that were immortalized on parchments that laid the foundation for our country: the pursuits of life, liberty, happiness, property...in short, striving for a piece of the American Dream, with the American family at its core. The novel is great, and the film is good, but it wasn't something I fell in love with. If recollection serves me, I think I actually liked the book better; I think it communicated the perserverance and courage and survivalist tendencies of the American people in face of all obstacles, including capitalist hypocrisy, more effectively. But who am I to argue with Steinbeck, who liked the film version better than his own written work? I think we need an annotation on that claim. I think The Grapes of Wrath deserves an 8.5 rating, between minor flaws and perfectly entertaining, mainly for the minorest of flaws that I see in the book-to-film adaptation. Also, let's face it, a book or film about the Depression is bound to be, well, depressing, even if it's also supposed to be inspiring at the same time - though #7 inspiring? Really? I'll have to think on that. As for the test, it's not a pass. I can't see myself pulling this film out again; if anything, I think the book deserves another read. That is, if I could ever find the time or gumption to read again - there are so many more films to watch!
]]>Mon, 18 Aug 2008 00:06:57 GMTpippin06Reel Thoughts8/17/2008 8:06:57 PMWhat's the AFI Project, you ask? For more information, or if you just enjoy my bemused ramblings, read here: http://www.spout.com/blogs/pippin06/archive/2008/3/1/25756.aspx The Grapes of Wrath is on the following AFI lists:The Original Top 100 (#21)100 Years...100 Heroes and Villains (Tom Joad is the #12 hero)100 Most Inspiring Movies (#7)The Revised Top 100 (#23) The Grapes of Wrath was also my weekly Netflix rental. I read the book it's based on by John Steinbeck, oh, maybe ten or so years ago. I think I was in college, and I think it was during the summer of working for the Conference Management Services department at the University of Michigan, which, at the time anyway, ran the dormitories like hotels during the summer. It was a boring job, and a second job, and I had quite a bit of time to read, but it was a great summer after a lousy semester, and I had a job that wasn't too difficult and allowed me to read. I digress. I remember liking the book quite a bit, but I don't remember any details, because, well, it's been awhile. What I do remember, watching this film, leads me to believe that the film is only sort of like the book but not really. Maybe someone can comment with their agreement or disagreement with that assessment, but that's the vague impression I get. In the film, Tom Joad (a young, dashing, and star-making Henry Fonda) returns to his home, the Oklahoma farm his family once owned, after being freed from prison on parole. It seems he was jailed for killing a man, apparently in self-defense, which figures importantly into the kind of man he's become. He discovers, when he arrives, that the Great Depression has setlled in; his family, including his mother (Jane Darwell), has hunkered down at his uncle's home with intentions on relocating to California on the promise of jobs (passed around on a ubiquitous leaflet) and under duress, as banks and landowners have usurped the Oklahoman countryside and bulldozed the settlements. The journey is long and hard, meeting with family tragedies, not to mention that when work is found, it's often at lower-than-fair wages and in supplication to cops who patrol Hoovervilles and shantytowns with mob mentalities and corporal punishment on the brain. Tom can't seem to stay out of trouble, but his heart gets in the way, and he gets entangled in various altercations, fighting for justice and fairness, that jeopardize his family's quest for survival. I didn't love this film. I seem to remember, perhaps obviously, that the book had more to it, from beginning to end. I don't want to spoil the film, but it seems that there was a larger insurrection either spearheaded or helped along by Tom in the book that wasn't in the film. Maybe I'm wrong, but it seemed his moving final speech, as quoted in the synopsis, was followed by a more physical struggle in the book, something concrete or tangible to give meaning to Tom's best-intentioned ideals as he leaves his family behind in order to distract the law's watchful eyes from them. I felt that, in some ways, the film was incomplete, even despite Ma Joad's eloquent monologue about survival and continuing on in life. The adaptation was very good, but it was definitely not perfect. It indicates at the bottom of this page that the film is superior to the novel, an opinion allegedly posited by Steinbeck himself. I'm left wondering why. That's not to say that this wasn't a very good film. It was engaging and evenly paced, and John Ford accentuated aspects of the novel that made everything more film-friendly, including focusing more on the family and the effects of the times on the family. The synopsis by the All Movie Guide at the bottom of this page suggests that the Grapes of Wrath is arguably Ford's greatest film; I think that his greatest movie is more likely The Searchers, but that's just my opinion. Still, this film painted a searing and moving portrait of the conditions created by the Great Depression. And really, that portrait was made all the more convincing by the performances of this great ensemble cast. The most charismatic and engaging performance belonged to Henry Fonda, who was, without a doubt, a legend in the making after The Grapes of Wrath. He wore Tom Joad easily, like a comfortable jacket, and created a complete suspension of disbelief. Plus, the relationship between him and his mother proved to be the heart, if not the soul, of the film, and Jane Darwell's Oscar was deservedly earned. Do you know that she was Dolly Merriwether in Gone with the Wind and the Bird Woman in Mary Poppins? Ma Joad's touching need for connection with her affected son, emphasized through a combination of sweetness and toughness as portrayed by Darwell, is equally endearing and heartbreaking. As for filmmaking technique, I didn't notice anything particularly superior, groundbreaking, or noteworthy other than the use of natural scenery and light to paint contrasts between the dusty, poverty-stricken Oklahoma countryside and the sunny and lush California valleys. I think the reason why this film is considered an AFI classic is because of the vision of the director in painting an uncompromised and pointed picture of the effects of the Depression, and because Steinbeck's novel itself is considered a bona fide American classic. The themes of both film and novel cling to ideals that were immortalized on parchments that laid the foundation for our country: the pursuits of life, liberty, happiness, property...in short, striving for a piece of the American Dream, with the American family at its core. The novel is great, and the film is good, but it wasn't something I fell in love with. If recollection serves me, I think I actually liked the book better; I think it communicated the perserverance and courage and survivalist tendencies of the American people in face of all obstacles, including capitalist hypocrisy, more effectively. But who am I to argue with Steinbeck, who liked the film version better than his own written work? I think we need an annotation on that claim. I think The Grapes of Wrath deserves an 8.5 rating, between minor flaws and perfectly entertaining, mainly for the minorest of flaws that I see in the book-to-film adaptation. Also, let's face it, a book or film about the Depression is bound to be, well, depressing, even if it's also supposed to be inspiring at the same time - though #7 inspiring? Really? I'll have to think on that. As for the test, it's not a pass. I can't see myself pulling this film out again; if anything, I think the book deserves another read. That is, if I could ever find the time or gumption to read again - there are so many more films to watch! http://www.spout.com/blogs/beetjuice/archive/2008/5/29/30145.aspx Post By: BeetJuice
Post To: BeetJuice Blog
Post Date: 5/29/2008 3:26:59 PM
Body: Grapes of Wrath, a Depression-era saga based on John Steinbeck's award-winning novel of the same name, is a powerful classic from Hollywood's golden age, one of the four films that won John Ford an academy award for Best Director, and one of the best performances of Henry Fonda. It is all the more impressive considering it was made in 1940, only a few years removed from the grueling events it depicts. The movie follows the story of the Joad family, three generations of Oklahoma farmers who are driven to bankruptcy by the Great Depression and must pack up all their bags and head to California, enticed by a leaflet promising jobs there. Tom Joad (Henry Fonda), the eldest and most responsible for the Joad's children, has just returned from prison and comes home to find his family packing up. The rest of the story follows the adventures and tributions of the Joads, held together by Tom and his mother Ma Joad (Jane Darwell) as they journey to California with almost no money and arrive to find horrifying conditions in the labor camps there picking oranges, until finally they reach a government camp and receive better treatment. The acting performances are superb all-around. It is a darkly emotional film and Steinbeck's original book was attacked by conservatives, but the film version has toned down some of Steinbeck's politics and was approved by the studios. One of the best points of the film is the cinematography, performed by Gregg Toland, who also did the cinematography for Citizen Kane and Oscar-winning films How Green Was My Valley (also with Ford) and William Wyler's Best Years of Our Lives.
]]>Thu, 29 May 2008 19:26:59 GMTBeetJuiceBeetJuice Blog5/29/2008 3:26:59 PMGrapes of Wrath, a Depression-era saga based on John Steinbeck's award-winning novel of the same name, is a powerful classic from Hollywood's golden age, one of the four films that won John Ford an academy award for Best Director, and one of the best performances of Henry Fonda. It is all the more impressive considering it was made in 1940, only a few years removed from the grueling events it depicts. The movie follows the story of the Joad family, three generations of Oklahoma farmers who are driven to bankruptcy by the Great Depression and must pack up all their bags and head to California, enticed by a leaflet promising jobs there. Tom Joad (Henry Fonda), the eldest and most responsible for the Joad's children, has just returned from prison and comes home to find his family packing up. The rest of the story follows the adventures and tributions of the Joads, held together by Tom and his mother Ma Joad (Jane Darwell) as they journey to California with almost no money and arrive to find horrifying conditions in the labor camps there picking oranges, until finally they reach a government camp and receive better treatment. The acting performances are superb all-around. It is a darkly emotional film and Steinbeck's original book was attacked by conservatives, but the film version has toned down some of Steinbeck's politics and was approved by the studios. One of the best points of the film is the cinematography, performed by Gregg Toland, who also did the cinematography for Citizen Kane and Oscar-winning films How Green Was My Valley (also with Ford) and William Wyler's Best Years of Our Lives. http://www.spout.com/members/0/tags/Classic/MemberTagFilms.aspxClassic
Number of films tagged: 816

Number of people who tagged: 313

Number of times used: 1454

]]>Sat, 19 Dec 2009 23:30:46 GMT8163131454Tag http://www.spout.com/members/0/tags/family/MemberTagFilms.aspxfamily
Number of films tagged: 6289

Number of people who tagged: 227

Number of times used: 1140

]]>Wed, 23 Dec 2009 05:51:34 GMT62892271140Tag http://www.spout.com/members/0/tags/moving/MemberTagFilms.aspxmoving
Number of films tagged: 286

Number of people who tagged: 68

Number of times used: 160

]]>Tue, 24 Nov 2009 05:15:30 GMT28668160Tag http://www.spout.com/members/0/tags/depression/MemberTagFilms.aspxdepression
Number of films tagged: 462

Number of people who tagged: 51

Number of times used: 87

]]>Mon, 21 Sep 2009 00:57:50 GMT4625187Tag http://www.spout.com/members/0/tags/poverty/MemberTagFilms.aspxpoverty
Number of films tagged: 1505

Number of people who tagged: 38

Number of times used: 70

]]>Wed, 11 Nov 2009 20:28:37 GMT15053870Tag http://www.spout.com/members/0/tags/homeless/MemberTagFilms.aspxhomeless
Number of films tagged: 330

Number of people who tagged: 17

Number of times used: 31

]]>Sat, 12 Sep 2009 00:39:36 GMT3301731Tag http://www.spout.com/members/0/tags/desperation/MemberTagFilms.aspxdesperation
Number of films tagged: 163

Number of people who tagged: 13

Number of times used: 20

]]>Tue, 15 Sep 2009 13:07:29 GMT1631320Tag http://www.spout.com/members/0/tags/Best-Director/MemberTagFilms.aspxBest-Director
Number of films tagged: 39

Number of people who tagged: 8

Number of times used: 47

]]>Sat, 27 Sep 2008 03:53:34 GMT39847Tag http://www.spout.com/members/0/tags/west/MemberTagFilms.aspxwest
Number of films tagged: 295

Number of people who tagged: 7

Number of times used: 7

]]>Fri, 30 Jan 2009 07:57:00 GMT29577Tag http://www.spout.com/members/0/tags/Tom/MemberTagFilms.aspxTom
Number of films tagged: 6

Number of people who tagged: 6

Number of times used: 6

]]>Sat, 22 Dec 2007 18:44:08 GMT666Tag http://www.spout.com/members/0/tags/Best-Supporting-Actress/MemberTagFilms.aspxBest-Supporting-Actress
Number of films tagged: 71

Number of people who tagged: 5

Number of times used: 75

]]>Mon, 07 Jan 2008 08:45:23 GMT71575Tag http://www.spout.com/members/0/tags/basedonabook/MemberTagFilms.aspxbasedonabook
Number of films tagged: 20

Number of people who tagged: 4

Number of times used: 24

]]>Fri, 15 Aug 2008 12:46:18 GMT20424Tag http://www.spout.com/members/0/tags/perserverance/MemberTagFilms.aspxperserverance
Number of films tagged: 3

Number of people who tagged: 3

Number of times used: 3

]]>Sun, 17 Aug 2008 05:23:58 GMT333Tag http://www.spout.com/members/0/tags/starving/MemberTagFilms.aspxstarving
Number of films tagged: 4

Number of people who tagged: 3

Number of times used: 4

]]>Tue, 17 Feb 2009 01:47:02 GMT434Tag http://www.spout.com/members/0/tags/dust-bowl-mirgration/MemberTagFilms.aspxdust-bowl-mirgration
Number of films tagged: 1

Number of people who tagged: 2

Number of times used: 2

]]>Thu, 28 Jun 2007 22:15:26 GMT122Tag