Wednesday, December 13, 2017

"ALL THIS AND HEAVEN TOO" (1940) Review

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"ALL THIS AND HEAVEN TOO" (1940) Review

Whenever one conjured the image of Warner Brothers Studio during the 1930s and 40s, hard-hitting crime dramas or social commentaries come to mind. I would certainly not view melodramas - costumed or otherwise - as part of the studio's usual repertoire. Then in 1933, Hal Wallis became the studio's new production chief and eventually allowed the studio to release more films with a wider variety. And when Bette Davis became "Queen of the Lot" in the mid-to-late 1930s, the release of melodramas by Warner Brothers became more common. 

One of the melodramas associated with Davis was "ALL THIS AND HEAVEN TOO", the 1940 movie adaptation of Rachel Fields' 1938 novel. Set in France and northeastern United States during the mid-to-late 1840s, the movie told the story of a newly hired French schoolteacher at an American school, who finds herself reliving her past experiences with a French aristocratic family to her new students gossiping over the scandal that had followed her across the Atlantic. The movie begins in 1848 United States. Mademoiselle Henriette Deluzy-Desportes has been hired as the new French instructor at a girls' school. To her dismay, she discovers that her new students are aware of the scandal that drove her out of France. Instead of resigning from the school, she decides to tell her students about her experiences with the family of the Duc de Praslin and Duchesse de Praslin

The movie jumps back to 1846, during the last years of the Orleans monarchy, when Henriette arrives in France, following a five-year stint as a governess for an English family. After an interview with the Duc and Duchesse, Henriette is hired to act as governess for their three daughters and son. Although Henriette endears herself to the Duc and his four children, the Duchesse seemed to resent her presence. Due to an erratic temperament and an all compassing love for her husband, the Duchesse begins to suspect that Henriette is not only stealing the love of her children, but more importantly her husband. Despite her happy relationship with the de Praslin children, Henriette is forced to deal with the Duchesse' increasingly hostile behavior, a growing awareness of the Duc's feelings for her . . . and her own feelings for him. The tensions within the family culminates in the Duchesse's brutal death, which leads to a great deal of legal problems for Henriette.

"ALL THIS AND HEAVEN TOO" proved to be a successful film, but not quite a major box office hit. I read somewhere that some at the Warner Brothers Studios blamed the movie's elaborate production designs for overwhelming the other aspects of the movie. I do not know if I could agree with this assessment. Granted, I found some of Carl Jules Weyl's art designs of 1840s France a bit grandiose - especially in scenes featuring the de Praslin household. But considering the high level of melodrama and characterization, I find this opinion a bit hard to accept. I also find it difficult to agree with this slightly negative opinion of the movie's visual style. Personally, I rather enjoyed it. I thought Weyl and his staff did an excellent job in re-creating the movie's period - 1846 to 1848 via production designs, set designs, Warren Low's editing and especially Ernest Haller's Oscar nominated cinematography. I also have to compliment Orry-Kelly's costume designs. The Australian-born designer had also created the costumes for some of Bette Davis' movie, including 1938's "JEZEBEL" and 1939's "JUAREZ". The designer could have easily been sloppy and re-used the costumes from those particular movies. Instead, Orry-Kelly created costumes that more or less accurately reflected the fashions of the mid-to-late 1840s.

While reading another review of "ALL THIS AND HEAVEN TOO", the writer complained that he/she found it difficult to believe that a forbidden romance between a French aristocrat and his governess led to the outbreak of the Revolution of 1848 and the fall of the July Monarchy in France. Apparently, the reviewer had failed to do any research or read Rachel Field's novel. AFter all, the novel was based upon history, including Field's family background. Henriette Deluzy-Desportes (or what was her real name) was one of Field's ancestors. And from what I have read, the real scandal that surrounded the governess and the duke had a major impact on the 1848 revolution that broke out in France. But was the movie's historical background completely accurate? I honestly do not know. I would have to read more on the 1848 Revolution in France and the life of the Duc de Praslin. If I have one complaint about the movie's handling of this historical background, I do wish that Casey Robinson's screenplay could have provided more hints about the upcoming political upheaval.

Overall, I really enjoyed "ALL THIS AND HEAVEN TOO". It is rare to come across a first-rate costume melodrama that can keep me enthralled during its entire running time. And this movie managed to achieve this, thanks to not only Robinson's screenplay, but also Anatole Litvak's steady direction. This was especially apparent in the first two-thirds of the movie that chronicled Henriette's troubles with her American students, her arrival in France and her working and personal relationships with the de Praslin family. The movie's best segment centered around the months she spent in the de Praslin family's employment. Once, Henriette is dismissed by the Duchesse de Praslin for imagined slights, the movie struggled to maintain its momentum. This last third of the film centered on Henriette's attempts to retrieve a reference from the Duchesse, the latter's violent death, the legal wranglings that surrounded the murder and the finale in the United States. And yet . . . this last third of the film dragged so much - especially the period in which Henriette was in prison - that it threatened to overshadow my enjoyment of the film. 

Aside from one particular performance, I have no problems with the movie's cast. Bette Davis gave an engrossing and subtle performance as the movie's lead character, Henriette Deluzy-Desportes. I will admit there were times I found the character a bit ideal for my liking - especially in the scenes featuring the governess and her charges. But the scenes featuring the growing love between Henriette and the Duc de Praslin and her conflicts with the Duchesse allowed Davis to superbly portray the governess more as a human being and less as a figure of feminine ideal. Charles Boyer was superb as the Duc de Praslin, a practical and loving man who found himself trapped in a marriage with a woman he no longer love. I feel it is to his credit that he could make the audience feel sympathetic toward a man who not only harbored adulterous feelings for another woman, but also murdered his wife. 

The movie also featured fine performances from a supporting cast that included Jeffrey Lynn as Henriette's future husband, the Reverend Henry Field; Harry Davenport as the de Praslin groundskeeper Pierre; Montagu Love as the Duc de Praslin's father-in-law, Marshal Horace François Bastien Sébastiani de la Porta; and Henry Daniell as Monsieur Broussais, the man charged with investigating the Duchesse's murder. "ALL THIS AND HEAVEN TOO" also benefited from excellent performances from the child actors who portrayed Henriette's charges. I was especially impressed by June Lockhart and Virginia Weidler, who portrayed the Duc and Duchesse's two older offsprings. The only performance I had trouble with Barbara O'Neil's portrayal of Frances, the Duchesse du Praslin. I realize the latter was supposed to be an emotional and possessive woman, whose selfishness left her family out in the cold. O'Neil was fine in those scenes in which she conveyed the Duchesse's coldness and attempts at indifference toward Henriette. Otherwise, her shrill rants and emotional outbursts struck me as hammy. I am surprised that O'Neil was the only cast member to earn an Academy Award nomination for acting.

I cannot say that I agree with the old criticism of the production designs for "ALL THIS AND HEAVEN TOO". I believe the movie does suffer from some flaws that include occasional hammy acting from Barbara O'Neil and the slow pacing that nearly bogged down the third act. But Anatole Litvak's direction, along with a first-rate screenplay by Casey Robinson, excellent production designs, and superb performances from a cast led by Bette Davis and Charles Boyer have led me to regard "ALL THIS AND HEAVEN TOO" as an excellent example of a Hollywood costume melodrama at its best.

Monday, December 11, 2017

"THE HITMAN'S BODYGUARD" (2017) Photo Gallery

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Below are images from the 2017 comedy-thriller, "THE HITMAN'S BODYGUARD". Directed by Patrick Hughes, the movie stars Ryan Reynolds and Samuel L. Jackson: 


"THE HITMAN'S BODYGUARD" (2017) Photo Gallery

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Sunday, December 10, 2017

"POLDARK" Food Styles



Below are images of culinary dishes created by food stylist/chef, Genevieve Taylor, for the current BBC series, "POLDARK"


POLDARK" FOOD STYLES




























Thursday, December 7, 2017

"PUSH" (2009) Review

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"PUSH" (2009) Review

When I first saw the 2009 science-fiction thriller, "PUSH", I had assumed that it was based upon some novel, comic book series or graphic novel. Several years passed before I discovered that the movie's plot was actually the brainchild of the screenwriter, David Bourla. 

Directed by Paul McGuigan, the movie is about a group of people with psychic abilities, who band together to stop a government agency from using a dangerous drug to enhance the abilities of others like them. The story began with a boy named Nick Gant and his father Jonah, two "Movers" (or telekinetics), who are on the run from Division, the government agency established in 1945 to hunt down and experiment on psychics. Before one of the Division's operatives, Agent Henry Carver, can catch up with them, Jonah tells Nick that he had received a vision from a "Watcher" (seer) about a young girl that Nick must help in the future in order to take down Division. Jonah helps his son finally escape as Carver arrives and kills him.

Ten years later, Nick is hiding in Hong Kong, as an expatriate. A young girl named Cassie Holmes arrives at his apartment, claiming to be a Watcher. She needs his help in finding a mysterious case that she believes will bring down the Division and lead to the release of her mother (another and more powerful Watcher) from prison. The case that Cassie seeks contains a power boosting drug developed by the Division. Agent Carver has used this drug on several test subjects who have ended up dead. The only subject to survive the drug is a Pusher (telepathic manipulator) named Kira, who was an old love of Nick's. Kira manages to steal a sample of the drug and place in a case that she had hidden upon her arrival in Hong Kong. Not only are Cassie and Nick looking for the case, but so are members of the Pop family, who have formed a psychic Triad and of course . . . the Division. 

I could go into more detail about the movie’s plot, but right now, that is all I am willing to disclose. Overall, I liked the plot. It struck me as a very interesting twist on the whole topic of those with psychic abilities at war with each other. And the movie even featured a surprising twist in the end. I also enjoyed how the movie handled the visual effects. Mark Meddings did an excellent job in supervising those effects that featured the characters' abilities. And these visual effects were enhanced by Peter Sova's colorful cinematography. Sova's photography also enchanced the movie's views of Hong Kong and other parts of China. 

But there were moments when I found the plot a bit convoluted and confusing, despite Dakota Fanning’s voice over. Judging from what I had revealed in the previous episode, one would find my comment confusing. But honestly, there were moments when it seemed that the movie was so caught up in revealing new characters and new psychic abilities that I almost lost track of the plot. If I must be brutally honest, Paul McGuigan's uneven direction did not help. I had no problems with McGuigan's handling of some of the action sequences - especially the prologue sequence featuring Nick and his father, Kira's escape from two Division agents, and Nick's encounters with Carver and the latter's henchman, Victor Budarin. But his non-action sequences - especially in the movie's second half - tend to drag. Sometimes, the cast manages to rise above his lethargic direction and sometimes, they cannot.

I had no problems with the cast. Chris Evans made a first-rate leading man. He also did a great job in developing his character from the embittered and self-involved young man hiding from authorities, to a more strong-will character willing to toe the line for others. Evans had two leading ladies - Dakota Fanning and Camilla Belle. I have already expressed my dissatisfaction with Belle. Fanning, on the other hand, gave a very spirited and skillful performance as the strong-willed and sardonic Cassie, who seemed more than determined to bring down the Division and help her mother. More importantly, both she and Evans had a very strong screen presence . . . which did not bode well for Belle. There are times when I find myself wondering if Djimon Hounsou is underrated as an actor. His performance as villain, Agent Henry Carver, is one of the best aspects of this movie. Hounsou can do ambiguity like nobody's business and more importantly, his Carver is not some mustache twirling villain or one-note block of ice. The movie also featured excellent performances from a supporting cast that featured Joel Gretsch, Ming-Na Wen, Nate Mooney, Corey Stoll, Scott Michael Campbell, Maggie Sif, Kwan Fung Chi and Jacky Heung. I have to give special kudos to Cliff Curtis' charming and colorful portrayal of a former Division agent named Hook Waters and Xiao Lu Li as the sly and malevolent Pop Girl, a Watcher for the Pop Triad.

Overall, I have mixed feelings for "PUSH". It featured a pretty interesting premise, thanks to David Bourla's screenplay. The movie also featured some first-class visual effects supervised by Mark Meddings. Unfortunately, Paul McGuigan's direction struck me as slightly uneven. If it were not for the screenplay, the visual effects and excellent performances from the likes of Chris Evans, Dakota Fanning and Kjimon Hounsou; this movie would have sank to the ground . . . at least for me.

Monday, December 4, 2017

"Double Enmity" (R) - Chapter 6



"DOUBLE EMNITY"

Chapter 6

Olivia materialized outside of Cirhan's apartment and heaved a sigh. Her teleportation spell had worked. The red-haired witch had considered entering via the front door. But the Marina District apartment building happened to be secured. Which meant acquiring the permission of the building's manager or landlord to enter the building. And Olivia did not want to alert anyone of Cirhan's death. At least for the sake of the Gimle Order. 

After unlocking the door, Olivia opened it and found herself inside a neatly furnished apartment that seemed to be slightly devoid of any taste or personality. Judging by the sparse furniture and lack of décor, Cirhan had obviously viewed his stay in San Francisco as temporary.

Olivia stood in the middle of the living room and glanced around. She spotted a desk against the left wall and walked toward it. Ignoring the computer laptop situated on the desktop, Olivia began to search the drawers. She found nothing except a stack of computer CD disks, some pens and pencils in the side drawers and nothing in the middle one. Whatever material that Cirhan had been planning to hand over to Marbus must be hidden. Only where?

It took Olivia nearly fifteen minutes to search both the living room and the kitchen. Unfortunately, she came up empty-handed. Then she decided to try Cirhan's bedroom. The sight of the scorch mark on the bed briefly startled Olivia. It also confused her. Had her dream got the facts wrong? It looked as if the Gimle daemon had been incinerated, instead of having his heart crushed. Then again, Cirhan's killer could have incinerated his body . . . after crushing his heart. The real answer seemed destined to remain a mystery.

Again, Olivia came up empty after searching the room. She began to wonder if Cirhan had left the material inside his desk at work. If so, Marbus and his cronies from the Gimle Order will have to conduct the search. As she turned toward the door, it occurred to Olivia that she had not search underneath the bed. She fell to her knees for a quick search. She only found two pairs of shoes and nothing else. As she prepared to stand up, Olivia spotted something unusual about the bed frame's side rail. Someone – possibly Cirhan – had included what looked like a latch . . . to a drawer. She removed the latch and pulled back the drawer. Inside, she found a large yellow envelope.

Olivia removed the envelope and slid the drawer back into place. Then she sat on the bed to examine her prize. She found a collection of photographs and what looked like several documents inside the envelope. One of the documents looked like a demonic contract. Curious. Olivia returned the contents inside the envelope. She would have to wait until she returned home for a more thorough examination. Then she grabbed her prize and using a spell, teleported out of the apartment.

----------

Entering the Turners' apartment building proved to be very easy for the red-haired warlock. She merely nodded at the doorman and made her way to the building's elevator bank. Once she entered one of the elevators with other tenants, the ride going up seemed to last forever. The elevator stopped at least two times before it finally arrived on the top floor.

The door opened and Olivia found herself in a small foyer, facing a pair of double doors. Doors that obviously belonged to the Turners' penthouse. Olivia removed a small, hooked lock pick from her tote bag. She inserted the tool into the door's lock. To her great frustration, the door remained locked. Again, she tried to unlock the penthouse door. And once more, nothing happened.

"Son-of-a-bitch!" the warlock cried angrily. Olivia threw the lock pick at the door. "Now, what in the hell am I supposed to do?"

A man's voice said, "Didn't work, huh?"

Olivia whirled around. A pair of yellow eyes appeared in front of the elevator. The eyes then turned black, as a human man materialized before her. "What the . . .?" She sighed. "You must be Klymus, Artemus' little peeping tom." Her eyes took in his human form. He stood at least 5'10" tall and possessed a slim, yet muscular body; along with very handsome Asian features. His cheekbones could easily slice through paper.

"I'm not little," the daemon shot back. "I'm at least two inches taller than you." His eyes swept over Olivia in a slightly lustful manner. "You know, you're prettier than the form you had used last night. Better curves."

A sigh left Olivia's mouth. "Oh, I see. You're just a Peeping Tom. What do you want?"

"I'm here to help. Artemus figured you would have difficulty getting into Belthazor's penthouse."

Now Olivia understood. "The Cole in this dimension has the lock warded against normal break-ins, as well as magical teleportation."

Klymus grinned. "You know, Belthazor. Paranoid is thy name. A warlock hired by Prax once tried to break in. Didn't work. Looks like you'll have to find another way to get inside."

Again, Olivia sighed. "Right. C'mon. Let's go." She turned away from the penthouse doors and walked toward the elevator. "I need to get a key either from Cole or the other Olivia. And something tells me that I'll need your help."

"Why take the elevator?" Klymus asked. "I can easily teleport us out of here." The daemon held out his hand with a smirk.

Olivia grabbed his hand . . . and squeezed it tightly. Klymus grimaced. "How nice," she said with a sweet smile. "My car is just downstairs, in front of the building. A dark blue Toyota Corolla.  Rental.  Shall we?"

The warlock and the daemon teleported out of the small foyer.

-------------

Eleanor's voice crackled over the intercom on Cole's desk. "You have a visitor, Mr. Turner." The half-daemon leaned back against his chair and sighed. Phoebe. It must be. After yesterday's encounter at Quake, she was bound to pop up sooner or later. His assistant continued, "It's your uncle, Mr. Farrell."

Marbus? This was a surprise. Cole sat up and replied, "Send him in, Eleanor." Less than a minute later, the chestnut-haired daemon entered Cole's office. "Was there something you had forgotten to tell me, earlier this morning?"

The daemon sat down in one of the chairs on the other side of Cole's desk. "Just wondering if you've heard from Olivia about Cirhan's flat." He paused and regarded his nephew with hopeful eyes. "Have you?"

"Sorry Marbus," Cole replied. "I did call Riggerio to see if he had any information about Cirhan's death. So far . . . nothing."

The older daemon sighed. "This matter is getting out of hand. Something has to be done about the Magan Corporation. Or should I say, the Khorne Order? That bloody order has been a thorn in our side ever since it tried to get Frances and her sisters to kill me."

Rolling his eyes, Cole retorted, "Tell me Marbus, will you ever learn Phoebe's real name? Or are you going to call her Frances, forever?"

Marbus protested, "I cannot help getting her name wrong. She reminds me of a Frances I once knew. As for the Magan Corporation . . ."

"Sooner or later, they will have to make a move that will expose the Khorne Order's new leader," Cole commented. "Or . . . I'll just have to use a plan that will do the trick."

Again, the intercom buzzed. Eleanor's voice announced, "You have another visitor, Mr. Turner. It's your ex-wife."

"Great," Cole murmured sardonically. "Send her in,Eleanor."

Seconds passed before a determined looking Phoebe strode into the office. "Cole, I want to . . ." She paused at the sight of the Gimle Order daemon. "Oh. Marbus. Uh . . . hi."

"And how are you . . ." Marbus began.

Cole quickly murmured, "Phoebe."

"How are you . . . Phoebe, darling?" his uncle finished.

The Charmed One responded with a shy smile. "I'm fine. I heard about Cirhan. Sorry."

Marbus' countenance darkened slightly. "Yes, well it was unfortunate. I only wish I knew who had killed him."

"It was a her," Phoebe quickly added. Her face turned pink as the two daemons stared at her. "Piper and I saw him at P3, last night. He was with some woman."

Cole frowned. "Was she a redhead, by any chance? Only a shade darker than Olivia's hair?"

"Yeah," Phoebe slowly replied. "Only it was long and straight. Cirhan was completely into her." She paused to stare at Cole. "How did you know?"

"I . . . uh, I had a dream. About Cirhan's death."

Disbelief shone in Phoebe's dark eyes. "I don't believe this! You had a vision about Cirhan and I didn't? God, I must be feeling tense." She paused to glare at Cole. "Wait a minute! I know why. Holly McMillan."

"Time for me to go," Marbus announced.

Cole glared at his uncle. "Coward," he muttered under his breath.

Marbus strode toward the door. "Take care of yourself, lad," he cried. "He reached the door and turned to face the couple. "And it was nice seeing you again, Frances." He flashed a quick smile at Phoebe before making his escape.

Now alone, Cole and Phoebe faced each other with obvious discomfort. The half-daemon heaved a big sigh, as he reached for a file. "So . . . Phoebe, what can I do for you?"

"For a start, you can drop Holly McMillan as your client," Phoebe immediately replied.

Cole rolled his eyes in annoyance. "Sorry Phoebe, I cannot oblige you. Not unless I want to be disbarred."

"What?"

Focusing his gaze upon his ex-wife, Cole patiently explained that no judge would allow him to be dismissed from the case, unless he had a very good reason. "And I don't think you want me to lie to the Courts," he added sarcastically.

Phoebe demanded, "Why did you accept the case in the first place?"

"Because I was ordered to . . . by the senior partners," Cole answered. "Understand? And as Holly's attorney, it's my duty to fight tooth and nail to get her exonerated."

"But she's guilty of murder!"

Cole opened his mouth to retort . . . until a thought came to him. "Did you have some kind of premonition about the McMillans?"

Phoebe shook her head. "No. But c'mon Cole! It's so obvious! Everyone knows she's guilty!"

Another heavy sigh left Cole's mouth. He should have known. Typical Halliwell behavior. Passing judgment before knowing all of the facts. The half-daemon felt a strong inclination to teleport his former wife out of his office. But he would have to explain Phoebe's disappearance to Eleanor. "I'm sorry Phoebe, but the justice system believes otherwise. Innocent until proven guilty. Or else Holly McMillan's ass would have been tossed into prison without a trial. Now unless you have some evidence that can help my client . . ." He stood up and strode toward the door. ". . . I think it's time for you to leave."

"Cole, you can't . . ."

In a hard voice, Cole added, "Phoebe, I'm trying to be nice. I do not want to be unpleasant."

Again, Phoebe's face turned pink. She let out a gust of breath and marched toward the door. "That's going to be a little difficult to avoid, don't you think?" she retorted, as she paused to glare at Cole. "Considering that you're about to help a killer go free."

"That's it." Cole grabbed Phoebe's arm. She gasped out loud, as he dragged her toward the door. "I think you've just outstayed your welcome." He opened the door.

Phoebe protested, "Cole! Wait! I just . . ."

Cole opened the door and barked to his assistant, "Eleanor, please make sure that Miss Halliwell leaves. And that I don't be disturbed, any further. Good day, Phoebe." He shoved his ex-wife out of his office.

"No! Cole! Something . . ."

Before Phoebe could finish, Cole slammed the door in her face. Peace. At last.

----------

"That's going to be a little difficult to avoid, don't you think? Considering that you're about to help a killer go free."

The moment she uttered those words, Phoebe knew she had went too far. The cold anger in Cole's blue eyes made it that obvious.

"That's it," Cole growled. He grabbed Phoebe's arm and . . . the visions hit her. She saw Cole stretched out on a carpeted floor, while a female's hand shovedg a stiletto into his heart. She also saw a very astonished half-demon gasp before he died. The vision immediately shifted toward an image of headstone in a cemetery that read the following: "COLERIDGE BENJAMIN TURNER, January 19, 1969 – March 3, 2004. Beloved Husband and Son".

Cole added angrily, "I think you've just outstayed your welcome." He dragged her toward the door.

Realizing what she had done, Phoebe protested, "Cole! Wait! I just . . ."

Cole opened the door. "Eleanor!" he barked to his assistant. "Please make sure that Miss Halliwell leaves. And that I don't be disturbed, any further. Good day, Phoebe." He shoved the Charmed One out of his office.

Phoebe cried, "No! Cole! Something . . ." Before she could finish, her ex-husband slammed the door in her face. Phoebe reached for the doorknob and twisted it. Unfortunately, Cole had locked the door. "Cole! Open up! You're in . . ." Aware of Ms. Read's presence, she corrected herself. "I mean, I have to tell you something. Cole?"

"Miss Halliwell, the elevator is behind you," the paralegal coolly reminded Phoebe.

The younger woman rounded on the older one. "Look! I have something important to tell Cole. Please, let me in. Or at least tell him."

"Tell him what, Miss Halliwell?"

At that moment, Phoebe realized it would be useless to argue any further. "Never mind," she grumbled. "I'll . . . I'll talk to Cole, later." She turned on her heels and marched toward the elevator.

She had to find some way to warn Cole about his impending death. There was Olivia, but Phoebe dreaded the idea of a private conservation with her successor. Then again, if she could not warn Cole or Olivia, perhaps she could warn Paige. Hell, she had to warn somebody.


END OF CHAPTER 6


Thursday, November 30, 2017

"THE DIVORCEE" (1930) Photo Gallery



Below are photos from the 1930 adaptation of Ursula Parrott's novel, "Ex-Wife" called "THE DIVORCEE". Directed by Robert Z. Leonard, the movie starred Oscar winner Norma Shearer, Chester Morris, Conrad Nagel and Robert Montgomery: 


"THE DIVORCEE" (1930) Photo Gallery












Five Favorite Episodes of "TURN: WASHINGTON'S SPIES" Season Two (2015)

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Below is a list of my five favorite episodes from Season Two of AMC's "TURN: WASHINGTON'S SPIES". Created by Craig Silverstein, the series stars Jamie Bell: 


FIVE FAVORITE EPISODES OF "TURN: WASHINGTON'S SPIES" SEASON TWO (2015)

1 - 2.05 Sealed Fate

1. (2.05) "Sealed Fate" - Abe Woodhull and his father, Judge Richard Woodhull clash over the former's espionage activities. Fellow spy Ben Tallmadge discover some important information and Abe has supper with potential spy Robert Townsend and the latter's father.



2 - 2.06 Houses Divided 1 

2. (2.06) "Houses Divided" - Abe's fellow spy, Anna Strong, takes action when he is captured by the British. Meanwhile, Lieutenant John Simcoe pushes himself back into Anna's life, and Major John Andre discovers vital information for the British cause.



3 - 2.08 Providence

3. (2.08) "Providence" - Ben and fellow spy Caleb Brewster plot to free Abe from a British prison in New York City. British Army officer Major Edmund Hewlett struggle in the wilderness during his escape from an American prison. And General George Washington learns about the Continental Congress' new alliance with France, while 



4 - 2.02 Hard Boiled

4. (2.02) "Hard Boiled" - While Abe continues his mission to recruit spies for the Culpeper Ring in New York City, Lieutenant Simcoe adjusts to reassignment as the new commander of the Queen's Rangers. Meanwhile, Major Andre seduces Peggy Shippen, the daughter of a Philadelphia Tory businessman.



5 - 2.10 Gunpowder Treason and Plot

5. "Gunpowder, Treason and Plot" - In this season finale, Abe plots the assassination of Major Hewlett, much to Anna's distress. And Ben participates in the Battle of Monmouth.