But money barely disguises the contempt behind the wealthy couple’s marriage, and we quickly see it fractured to the point of disintegration. As the film flashes forward a couple years, we now see that the Midwestern couple has repaired their marriage (made possible only by a painful accident), while the young idealists struggle under a mountain of college debt and the stresses of having a newborn in Manhattan. In short, the movie could well be seen as a cautionary tale against marriage — no matter which genders are involved. Critics are already calling this a ” devasting ,” ” brutal ,” ” scathing ,” ” feverish ,” ” powerful ” and ultimately ” hilarious ” depiction of marriage, and favorably comparing it to such classics of the genre as Who’s Afraid of Virginia Woolf , Carnal Knowledge , and Carnage . (Very generous comparisons indeed!) And there’s already awards-chatter for the ensemble performances of Stiles, Diggs, George and Harbour. So, before my same-sex friends start sending out save-the-date Evites, and “liking” certain china patterns on C&B’s Facebook page, I would advise them all to see Between Us (in selected theaters now; on VOD July 30th).
For the original version including any supplementary images or video, visit http://www.huffingtonpost.com/dan-mirvish/hollywood-warns-gays-care_b_3507268.html
Hollywood helped Adolf Hitler with Nazi propaganda drive, academic claims
Ben Urwand, 35 has written a book, The Collaboration: Hollywood’s Pact With Hitler, in which he cites documents that prove, he says, US studios acquiesced to Nazi censorship of their films actively cooperated with the regime’s world propaganda effort. Hollywood is not just collaborating with Nazi Germany, Urwand told the New York Times. Its also collaborating with Adolf Hitler, the person and human being. Urwand, reportedly a folk musician from Australia who has become a member of the Society of Fellows at Harvard, said his interest was first aroused as a student in California when he read an interview with the screenwriter Budd Schulberg referring to meetings between the MGM boss Louis Mayer and a representative of the Nazi regime to discuss cuts to his studio’s films. The book describes many Jewish studio bosses not only censoring films to suit the regime, but also producing material that could be inserted into German propaganda films and even financing German weapons manufacturing. The collaboration of Hollywood with the regime began in 1930, says Urwand, when Carl Laemmle Jr of Universal Studios agreed major cuts to the First World War film All Quiet On The Western Front after riots in Germany instigated by the Nazi party. I would say there were a few shocking moments, probably starting with the document I discovered in the National Archives in Washington which explained how MGM was insulating its profits, Urwand told the Times of London.
For the original version including any supplementary images or video, visit http://www.independent.ie/world-news/europe/hollywood-helped-adolf-hitler-with-nazi-propaganda-drive-academic-claims-29383805.html