Corfman
Joined Jul 1999
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Corfman's rating
What a terrible film! After seeing this so called 'film', I cannot help but sadly reflect about Giordano Bruno. Bruno lived from 1548 to 1600 AD. A Italian Dominican friar. philosopher, mathematician, and astronomer. His cosmological theories went far beyond the Copernican model: he proposed the Sun was essentially a star, and that the universe contained an infinite number of inhabited worlds populated by other intelligent beings.
The Roman Inquisition found him guilty of heresy, and he was executed horribly by being burned at the stake. After his death he gained considerable fame, particularly among 19th- and early 20th-century commentators who, focusing on his astronomical beliefs, regarded him as a martyr for free thought and modern scientific ideas.
How can such arrogance and stupidity and fear....this film demonstrates still exist after all this time of scientific discovery? The incredibly narrow suffocating views the makers of this film continues to deny the possibility that there just could be, dare I write, the chance of life beyond off our own planet? Anything not understood by them then must be the work of a devil? These 'Christian dinosaurs' who made this 'film' seem to be still around. Their views besides being so arrogantly religious, are also so completely 'Earth Centered' too.
Not only do these film makers frighteningly display a new twisted form of xenophobia about free thought, the film even illustrates in scenes (by characters in the film playing reporters – a free press? ) critical about what sort of books one should be reading in the film's script! And what if God is also the same God on other worlds too? The utter arrogance that we are the only planet with life, created just for the pleasure (and abuse) by mankind?
What a twisted pitiful film. These ultra right Christian film makers and their flocks show after all this time and knowledge gained long since - the blood of Giordanos Brunos is still on their hands. I am renouncing my 'Christianity' (the Jesus Machine ultra right version a Jesus would scarcely recognize) after seeing this film, but never my faith in God.
The equally frightening 'Triumph of the Will' by Leni Riefenstahl in comparison at least showed some artistic competence.
Corfman
The Roman Inquisition found him guilty of heresy, and he was executed horribly by being burned at the stake. After his death he gained considerable fame, particularly among 19th- and early 20th-century commentators who, focusing on his astronomical beliefs, regarded him as a martyr for free thought and modern scientific ideas.
How can such arrogance and stupidity and fear....this film demonstrates still exist after all this time of scientific discovery? The incredibly narrow suffocating views the makers of this film continues to deny the possibility that there just could be, dare I write, the chance of life beyond off our own planet? Anything not understood by them then must be the work of a devil? These 'Christian dinosaurs' who made this 'film' seem to be still around. Their views besides being so arrogantly religious, are also so completely 'Earth Centered' too.
Not only do these film makers frighteningly display a new twisted form of xenophobia about free thought, the film even illustrates in scenes (by characters in the film playing reporters – a free press? ) critical about what sort of books one should be reading in the film's script! And what if God is also the same God on other worlds too? The utter arrogance that we are the only planet with life, created just for the pleasure (and abuse) by mankind?
What a twisted pitiful film. These ultra right Christian film makers and their flocks show after all this time and knowledge gained long since - the blood of Giordanos Brunos is still on their hands. I am renouncing my 'Christianity' (the Jesus Machine ultra right version a Jesus would scarcely recognize) after seeing this film, but never my faith in God.
The equally frightening 'Triumph of the Will' by Leni Riefenstahl in comparison at least showed some artistic competence.
Corfman
As a savvy producer, I am grateful to Lucile Ball (Desilu) for two television production's she risked on, notably the original 'Star Trek', and 'Whirlybirds' among others.
'Whirlybirds' as a concept resulted originally from an 'I Love Lucy' (episode-140 "Bon Voyage") aired on CBS January 16, 1956, in which Lucy misses the sailing of her transatlantic ocean liner and commandeers a friendly Bell 47 helicopter to fly her out to the ship. Desilu Studios, duly intrigued by the Model 47 and its makers, began discussions with Bell Helicopters about how the entertainment potential of the Bell Model 47 might be further developed for a television audience.
'Whirlybirds' propelled the Bell 47's look and sound to popular attention in the late 1950s. Kenneth Tobey and Craig Hill starred as 47 pilots Chuck Martin and P.T. Moore, who flew off into diverse adventures from their base at Whirlybirds Inc., in mythical Longwood Field, California.
Tight scripting, pioneering location camera work at the old San Bernardino Airport and Republic Studio's Iverson Ranch supported the flying skills of National Helicopter pilots Bob Gilbreath, Harry Hauss, and Ed Fuderich. Together these airmen showcased the ability and utility of the 47G & 47 J models over 111 half-hour episodes. Some 39 episodes of the series were re-syndicated by CBS during 1958 under the name Copter Patrol. The Museum of Television and Radio in New York City houses a selection of Whirlybirds reference material, and a comprehensive set of episodes is on hand at the Library of Congress in Washington (16mm film). Excellent location and action visuals from the Whirlybirds set are now available for viewing at the National Helicopter WEB Site. I purchased from National Helicopter several of the actual television shows on VHS video tape. They brought back fond memories and are very exciting still to watch today. Entertaining Kenneth Tobey as no nonsense character Chuck Martin in those cool aviator shades!
I selected episodes that highlighted the flying skills of the National Helicopter pilots. The helicopter flying skills shown are simply the very best stunt flying by helicopter ever done before or since! In 'Cycle of Terror' - Episode 29) flying in tight ravines more remembered for the countless western chases on horseback filmed there (Iverson Ranch) - the rotors between rock outcrops and trees while chasing the villain on motorcycle is still outstanding & truly incredible. The landing skids of the copter used to knock the cyclist off his bike! Stunts likely prohibited by any studio insurance today.
Overlooked perhaps then by both dazzled kids and adults when seen today are the little charming slight of hands in production - as in 'Infrared' Episode 53, a Bell 47 J lands in a field before the camera, the National helicopter pilot climbs out of his front seat and slips down to the cockpit floor behind, and then it is actor Craig Hill seen exiting. A hint of the charming production values of those times.
Among many of the best episodes were some directed by an up & coming Robert Altman, who would later use the Bell 47's again in his film he is most remembered for among many others - M.A.S.H.. Not surprising perhaps, in 1984, a Bell 47 was put on display (as an art form) at none other than New York's Museum of Modern Art.
God I love this show. Sleeping Viacom could make a lot of money re-releasing these entertaining programs. I would purchase video disks of the entire series in a heartbeat! A baby boomer's fondest memories of his childhood in front of the television screen.
Release 'Whirlybirds' on DVD damnit!
Corfman
'Whirlybirds' as a concept resulted originally from an 'I Love Lucy' (episode-140 "Bon Voyage") aired on CBS January 16, 1956, in which Lucy misses the sailing of her transatlantic ocean liner and commandeers a friendly Bell 47 helicopter to fly her out to the ship. Desilu Studios, duly intrigued by the Model 47 and its makers, began discussions with Bell Helicopters about how the entertainment potential of the Bell Model 47 might be further developed for a television audience.
'Whirlybirds' propelled the Bell 47's look and sound to popular attention in the late 1950s. Kenneth Tobey and Craig Hill starred as 47 pilots Chuck Martin and P.T. Moore, who flew off into diverse adventures from their base at Whirlybirds Inc., in mythical Longwood Field, California.
Tight scripting, pioneering location camera work at the old San Bernardino Airport and Republic Studio's Iverson Ranch supported the flying skills of National Helicopter pilots Bob Gilbreath, Harry Hauss, and Ed Fuderich. Together these airmen showcased the ability and utility of the 47G & 47 J models over 111 half-hour episodes. Some 39 episodes of the series were re-syndicated by CBS during 1958 under the name Copter Patrol. The Museum of Television and Radio in New York City houses a selection of Whirlybirds reference material, and a comprehensive set of episodes is on hand at the Library of Congress in Washington (16mm film). Excellent location and action visuals from the Whirlybirds set are now available for viewing at the National Helicopter WEB Site. I purchased from National Helicopter several of the actual television shows on VHS video tape. They brought back fond memories and are very exciting still to watch today. Entertaining Kenneth Tobey as no nonsense character Chuck Martin in those cool aviator shades!
I selected episodes that highlighted the flying skills of the National Helicopter pilots. The helicopter flying skills shown are simply the very best stunt flying by helicopter ever done before or since! In 'Cycle of Terror' - Episode 29) flying in tight ravines more remembered for the countless western chases on horseback filmed there (Iverson Ranch) - the rotors between rock outcrops and trees while chasing the villain on motorcycle is still outstanding & truly incredible. The landing skids of the copter used to knock the cyclist off his bike! Stunts likely prohibited by any studio insurance today.
Overlooked perhaps then by both dazzled kids and adults when seen today are the little charming slight of hands in production - as in 'Infrared' Episode 53, a Bell 47 J lands in a field before the camera, the National helicopter pilot climbs out of his front seat and slips down to the cockpit floor behind, and then it is actor Craig Hill seen exiting. A hint of the charming production values of those times.
Among many of the best episodes were some directed by an up & coming Robert Altman, who would later use the Bell 47's again in his film he is most remembered for among many others - M.A.S.H.. Not surprising perhaps, in 1984, a Bell 47 was put on display (as an art form) at none other than New York's Museum of Modern Art.
God I love this show. Sleeping Viacom could make a lot of money re-releasing these entertaining programs. I would purchase video disks of the entire series in a heartbeat! A baby boomer's fondest memories of his childhood in front of the television screen.
Release 'Whirlybirds' on DVD damnit!
Corfman
'Zulu' is an under-rated superb film on so many levels. I have studied and enjoyed this film closely many times (DVD wide screen version) and am impressed with the whole work, as well as the respect given both 'sides', what an extraordinary well done story about a clash of two great cultures. In a way very much in a true sense, an 'un-racist' film. Is it perhaps unspoken ....like the film 'The Sand Pebbles' but of a different time and situation saying...are we beginning to get in over our heads?
Michael Caine's introductory performance balances so well Actor/Producer Stanley Baker's with their contrasting characters as 'officers and gentlemen'. Baker the Royal Engineer working middle class (officer commanding by a seniority of only several months) and Michael Caine's 'Bromhead', the product of an upper crust distinguished military family. The film tells convincingly about fear, discipline, and courage....and how they seem to find it within themselves. How discipline and training can replace fear, paying off at the critical moment. It is often brutally plain and simple.
Without cliché, this film asks all the good questions. "Why us?" asks the thoughtful private to his 'Color Sergeant', "Because we're here...and no one else." he replies. The Welsh ex-dairy farmer who if hard fighting, would perhaps sensibly 'escape' emotionally to tending to a sick calf. This is played as counter point humorously in Zulu, yet it also shows too perhaps it is not well to think too hard about what is happening to survive the battle. Actor Jack Hawkins almost dominates the early scenes...and reminds us what is faith vs. 'religion'...and perhaps whom is better 'spiritually equipped', the preacher or the 'Color Sargeant'?
Actor Michael Caine is introduced here to the film public as 'Bromhead'. In one of his best played scenes of this actor's budding illustrious career...... remarks to pacing Stanley Baker "Did you know my grandfather was at Waterloo?", and follows reflecting his vulnerability..."I wish now...right now, I was a damned 'ranker' like Hook....", realizing his social trap, the terribly high expectations beyond his physical predicament - duty to his military family as well as to his country. Sadly battle and expectation of death can be a great social equalizer too.
So very pleased to read here that genuine Zulu and the Zulu Chief are featured in the production. Chief Buthelezi as Zulu King Cetshwayo kaMpande.
Actor James Booth's 'Hook' character we soon find is a complex one, well acted. One moment malingering humor, next a test of will , then the Victoria Cross. In the end, Hook quite unchanged - but unquestionably broadened.
Actor Gert Van der Berg as Boar Lt. Adendorff is a key character in the first half and the end of the films story. Adendorff as Lt. Chard's Boar military adviser, we gain insight into the Zulu's disciplined ways.....and values. "He's counting your guns! Referring to the Zulu chief of the far ridge, explaining to Baker (and the audience), "the ole boy is counting your guns....testing your firepower with the lives of his warriors!" I so regret with astonishment that we have not seen more of Actor Gert Van der Berg, appearing in only two very fine films, 'Zulu' and 'The Naked Prey'.
The sweep of the wide screen cinema photography is breathtaking. The hills, sky, and clouds incorporated in many scenes with low upward camera angles, much like in 'Patton'.
The only small criticism of Zulu might be technically, were in a few of the early scenes, some not so smooth sound editing as they jump to a new scene. The sound mixing quite extraordinary later in the film overall.
The final scenes a remarkable salute to both sides. The exhausted Europeans for their hard fought defense, the Zulu's whom withdraw after the battle salute - both sides knowing very well the Europeans could have been wiped out if the Zulu King merely wished it.
When they charge in those great numbers at those out numbered English (Welsh garrison), it is the war chant "Usuto! Usuto!" (Kill! Kill!) the fierce Zulu are yelling.
As for political correctness or not, it is only for the high price of college tuition we ever at all believed in those tiresome narrow political professors. "My God.....your from the sixtys!", but again....that is a line from another good movie. LOL.
Caine has another extraordinary line near the films end...."does everyone feel like this afterward..... Sick?" Feeling something else too..."ashamed?" Stanley Baker reflects..."you have to be alive to be sick". "You asked me and I told you" Caine softly retorts.
Corfman
Michael Caine's introductory performance balances so well Actor/Producer Stanley Baker's with their contrasting characters as 'officers and gentlemen'. Baker the Royal Engineer working middle class (officer commanding by a seniority of only several months) and Michael Caine's 'Bromhead', the product of an upper crust distinguished military family. The film tells convincingly about fear, discipline, and courage....and how they seem to find it within themselves. How discipline and training can replace fear, paying off at the critical moment. It is often brutally plain and simple.
Without cliché, this film asks all the good questions. "Why us?" asks the thoughtful private to his 'Color Sergeant', "Because we're here...and no one else." he replies. The Welsh ex-dairy farmer who if hard fighting, would perhaps sensibly 'escape' emotionally to tending to a sick calf. This is played as counter point humorously in Zulu, yet it also shows too perhaps it is not well to think too hard about what is happening to survive the battle. Actor Jack Hawkins almost dominates the early scenes...and reminds us what is faith vs. 'religion'...and perhaps whom is better 'spiritually equipped', the preacher or the 'Color Sargeant'?
Actor Michael Caine is introduced here to the film public as 'Bromhead'. In one of his best played scenes of this actor's budding illustrious career...... remarks to pacing Stanley Baker "Did you know my grandfather was at Waterloo?", and follows reflecting his vulnerability..."I wish now...right now, I was a damned 'ranker' like Hook....", realizing his social trap, the terribly high expectations beyond his physical predicament - duty to his military family as well as to his country. Sadly battle and expectation of death can be a great social equalizer too.
So very pleased to read here that genuine Zulu and the Zulu Chief are featured in the production. Chief Buthelezi as Zulu King Cetshwayo kaMpande.
Actor James Booth's 'Hook' character we soon find is a complex one, well acted. One moment malingering humor, next a test of will , then the Victoria Cross. In the end, Hook quite unchanged - but unquestionably broadened.
Actor Gert Van der Berg as Boar Lt. Adendorff is a key character in the first half and the end of the films story. Adendorff as Lt. Chard's Boar military adviser, we gain insight into the Zulu's disciplined ways.....and values. "He's counting your guns! Referring to the Zulu chief of the far ridge, explaining to Baker (and the audience), "the ole boy is counting your guns....testing your firepower with the lives of his warriors!" I so regret with astonishment that we have not seen more of Actor Gert Van der Berg, appearing in only two very fine films, 'Zulu' and 'The Naked Prey'.
The sweep of the wide screen cinema photography is breathtaking. The hills, sky, and clouds incorporated in many scenes with low upward camera angles, much like in 'Patton'.
The only small criticism of Zulu might be technically, were in a few of the early scenes, some not so smooth sound editing as they jump to a new scene. The sound mixing quite extraordinary later in the film overall.
The final scenes a remarkable salute to both sides. The exhausted Europeans for their hard fought defense, the Zulu's whom withdraw after the battle salute - both sides knowing very well the Europeans could have been wiped out if the Zulu King merely wished it.
When they charge in those great numbers at those out numbered English (Welsh garrison), it is the war chant "Usuto! Usuto!" (Kill! Kill!) the fierce Zulu are yelling.
As for political correctness or not, it is only for the high price of college tuition we ever at all believed in those tiresome narrow political professors. "My God.....your from the sixtys!", but again....that is a line from another good movie. LOL.
Caine has another extraordinary line near the films end...."does everyone feel like this afterward..... Sick?" Feeling something else too..."ashamed?" Stanley Baker reflects..."you have to be alive to be sick". "You asked me and I told you" Caine softly retorts.
Corfman