Rollators, Scottsdale, Az.

Vampire . The vurdalak family of Alexei K. Tolstoy



distant cousin of Leon and multidisciplinary writer, Alexei wrote these two short works in full swing in mid-nineteenth century Europe in favor of the vampire myth, or vurdalak, as it is called in the Slavic tradition. After the short introduction
symbol novelization by Polidori, the fever for the character extended its tentacles across the Atlantic, and so to this day. For Tolstoy, the two stories, separated only in its implementation for a few years corresponding with the transition from vampire story between Gothic fashion - The vampire - that is, between how classic horror story, and modern narrative - vurdalak The family - which will reach its final expression Stoker's Dracula and eventually the myth and fully inserted into the celluloid in the last century.

The first of two stories is relatively concentrated structure in the manner of Potocki and his Manuscript Found in Saragossa, and the aroma of the works of Ann Radcliffe, where horror becomes no more than incidental and where turbulent situations, mysterious and supposedly terrifying end up merely absurd misperceptions or misunderstandings. Although unlike in the novels of the great lady of the Gothic less taken, in Tolstoy's vampire is still room for ambiguity, for the event yet inexplicable. Aims to advocate the grand guignol , but still remains in the dark of flashing cartoon comedy and lightweight. Even so, remain for posterity the caustic atmosphere of Sugrobina old mansion, where they end up developing all matters of the heart and blood, with that cast of characters and occurrences between the decidedly bizarre and grotesque.



Very different is "vurdalak family." Set in rural Serbia and inhospitable, it is a wonderfully disturbing and modern adventure, in which the protagonist describes his experience as host of a farm family where the patriarch after the departure of it, triggering the most diverse events that will lead to an unstoppable corruption in the heart of progeny, the victim of an indelible stigma and the most pressing food needs.
The house, surrounded at a certain point of a hungry brood willing to cross the barrier that separates him from his prey, not only refers to genre cinema at its most current version of vampire, but, thanks to its refined and refined description reminds us of the most memorable zombies frames, George A. Romero ahead. Not to mention the movie directly inspired by its pages and its meager but crucial narrative vein as The Three Faces of fear or that giallo, The Night of the Devils. Being a much shorter story than the first, but it is also much more agile and sweeping, real touchstone of successive plots and subplots of contemporary terror.

Vince Makes Trish Strip

unknown Lady (Robert Siodmak, 1944) Ana Lúcia



Along with the classic "The Spiral Staircase" and the underrated "Through the Looking Glass, this is one of the most successful teacher supplies Siodmak. Based on the novel by William Irish, one of the authors robbed of literature-detective-in movies and, of course, never as appealing as the self-titled, "The unknown lady" benefits, however, a pristine plot architecture, and a perfectly crimped almost imperceptible crescendo succeed as its nearly ninety minutes of footage, to crown one of the masterpieces of the forties.

of how to prove an alibi as he has just committed the murder of the wife of the accused, and the inability to achieve (it is true that here the actor who plays the accused, although innocent, lacks credibility on its own intrinsic , both their role as their own interpretation, being by far the worst of the film), and how his selfless secretary will land, sea and air to give the key witness, a mysterious and troubled woman and thereby stop the inevitable sentence hanging over your head. Siodmak precisely affects speech at the anonymity of the unknown female showing it in the first minute with his back to the camera, emphasizing the unreachable and misty air of the character.



Among winks to the myth of "Mad Love", the murderer and the hands that can not handle, and classicism rather than sober black, this film makes for good performances retina (Ella Raines above all) and, above all, flawless scenes of pure anxiety (especially under the short-term marking witnesses, as the sequence of the subway in New Jersey, captivating atmosphere, that of the jazz band , obsessive and never derivative) and in general, a domain of the script almost insuperable, and filling seamless, compressed and accurate. The power that it presupposes only the largest.

Answers To Ap Bio Questions

With the passage of time has gone on to become one of the most obscure, vague and enigmatic of the revolution of the Bossa Nova, but in those glorious years was one of the vocalists most often requested. No doubt he lived the moment: this is shown by his three solo albums, ranging from 1959 (year of launch with the "well-disc debut of Joao Gilberto) and 1964, the year of silence took possession of his voice today. Amid all this, and to throw more wood to such a mysterious dossier was published in 1970 also recorded another album in the name of Ana Lucia, but according to all analysts agree, has nothing to do with who was part of the first and most honored artists batch of 'saudade'. It was a visionary artist, or two, until proven otherwise " which can only stick if it is not describing his vocal skills underpinned by a roster of composers órdago those who had a good fit.



"Ana Lucia" (Chantecler, 1959)

In this first lp happy are looming collision between tradition (the classic samba "Cheiro de saudade" , initially overwhelming, or "Cor de sin" ) and that this came to give him. This already takes hold of the second and more sweeping Jobim Songbook ( "Why tinh be" and "Esquecendo você" ). Jazz appropriates "Destinations" and the air of French music seems to hover in "No no meu Coração" and "Tema do adeus" where Ana Lúcia makes clear his versatile vocal abilities, beyond the useful lightness that is already beginning to assume this kind of bills. "Chicote" or "A Outra Face" take over the samba-canção, via boleros. The strings stretch and the dreamy tone of a thriving, and still only composer-Johnny Alf "O tempo eo vento" is one of the great strengths of this first contact. Choirs and vintage
cover of an album that, curiously, has not stuck in time and sounds as amazing as the first day.



"O House EA Ana Lúcia Voice" (Phillips, 1961)

After a torrid cover suggests environments and impossible (in contrast to the modesty of a photo of her first album), opens This followed with a "Quem foi" sentimental chord with the turbulence of the sheet. Since then "Drinking water" is the song most recognizable and ultimately the most claims, while "Brincadeira of love " advanced resources of Astrud Gilberto, but with more substance and temperature than this. Any part is more intimate and naked as the impressive "Maria dos olhos big" or "Canção for Ninar meu bem" society Moraes-Powell. Back to wisely choose a dazzling Johnny Alf bossa ( "Ilusão à toa" ), a figure who, thanks to this bailout, I had the opportunity to resize and re-sound in my subconscious.



"Canta Triste" (GER, 1964)

The title and cover, which hint winters indoors predispose us to an especially thoughtful and mature collection which is considered by many as his most accomplished album. But make no mistake: the tone and palette of stylistic possibilities will be very similar to the previous two deliveries. After participating in the first-and-landing legendary New York of the 'troupe bossanova' (along with other swords as Carlos Lyra, Luiz Bonfá or Agostinho dos Santos), this is the official farewell of this sober and unfortunately unnoticed singer. To look so convincing concept relevance melancholy, shall be asserted in different compositions of the diplomat-poet Vinicius de Moraes, spine of this production, whether accompanied by Jobim ( "Andam dizendo" ), Badem Powell ( "Amei both" ) or alone ( "Waltz of Eurydice" ), besides rescuing the classic with great success ( "and what is not?) " Acalanto "Dorival Caymmi teacher. Another major asset is the "Carinhoso" that popularized years ago the great Orlando Silva. Not to mention the perfume 'chanson' of "Meu Bem All" . Reclarmos And if we did not have enough, the "I went by Diz aí" and "Balanço do Mar" to degrease halfway.



"Caminhos" (Ebrau, 1970)

The other Ana Lúcia. Apparently Brazilian television presenter of the time they recorded this disc only has led to the usual misunderstandings with the first. The "Caminhos" is closer to the sound ye-ye, pop, sixties. However, it opens with the album's title track, a piece dim twilight that nothing will make the rest of the recording. Start after a subtle groove with "Anúncio" , composition the equally enigmatic and 'guadianesco' Arthur Verocai recently recovered after twenty years of silence, groove to crystallize into an old colleague Verocai, neither more nor less than Ivan Lins, in "Clarão da Lua Cheia" . In the chapter on foreign adaptations, there is bait the "L'anamour" Gainsbourg, as well as "Petite Fée" of Barrière. More will be lopsided to bossa "Ah eu pudesse is" . also attack the "Wight Is Wight" Sandie Shaw had popularized a year earlier. Lighter
apparently Ana Lúcia the period 'bossa nova', but equally valid theories reserved conspicuous that connect to the first, if only for a mutual fondness towards France and towards a strategy that includes fine part of the most famous Brazilian authors in history. Real unsolved mysteries.