Mr. Holland’s Opus was a very touching movie released in 1995, based on the story of a would be composer (trying to create his magnum opus, the piece of music that would become so popular that it would make him famous). Instead, as a result of circumstances, he is forced to take a job teaching music to a generation of students; it is this teaching the properties of music, the love of music, about confidence, respect. This development of his students is his actual legacy, his major achievement in life. Mr. Holland’s Opus is a movie that celebrates the noble profession of teaching, where a good teacher can mould his students to become good human beings. The movie went to be a decent commercial success, not of the same level as the action oriented movies, but made a respectable $100 million worldwide.

The role surely is a role that Richard Dreyfuss will treasure as one of his best performances, and he was nominated for an Oscar for this role (he did not win, the Best Actor role going to Nicholas Cage for ‘Leaving Las Vegas’). The movie reviews get 2 different types of reviews: Some see it as a great movie that spans 3 decades of a man’s life, his most productive years and sees what he has made of those years (and that accomplishment does not necessarily mean being rich or having a great name); the second type of reviews see the movie as a tear-jerker that plays on one’s emotions with a finale scene that is written to bring out the tears of the audience. I agree with both, but see the tear jerker as a natural part of the storyline.
The movie is set in Oregon in 1964 where Glen Holland is an aspiring composer and musician wanting to create his great work of music that will be his glory and lead to success; however, his responsibilities (his wife is pregnant) leads to him having to take up the job of a music teacher at a local high school. Like any other school, he faces a wide group of students, some are willing, some are rebellious, some are very talented and others not so. He strives to inculcate a love of music in them, using this as a method to better their character. At the same time his ambition to teach his son to become a great musician reaches a high level of frustration when he realizes that his son is deaf. He has to conquer this frustration and form bonds with his son while dealing with a wide variety of students, during a time when the US was going through major upheavals - Vietnam, civil rights, the assassination of John Lennon, etc. The movie also showcases the priorities of school life, with sports and science getting a much higher priority over music, and including the cutting of the music budget.
Probably the best way to summarize the theme of the movie is this line:
Mr. Holland might think himself a failure…” one former student laments near the end of the story… “and he would be wrong…”
The soundtrack of the film has the following songs:
1. Visions Of A Sunset - Shawn Stockman (of Boyz II Men)
2. One, Two, Three - Len Barry
3. A Lover’s Concerto - The Toys
4. Keep On Running - Spencer Davis Group
5. Uptight - Stevie Wonder
6. Imagine - John Lennon
7. The Pretenders - Jackson Brown
8. Someone To Watch Over Me - Julia Fordham
9. I Got A Woman - Ray Charles
10. Beautiful Boy (Darling Boy) - John Lennon
11. Cole’s Song - Julian Lennon
12. An American Symphony (Mr. Holland’s Opus) - Michael Kamen

The Goodbye girl was a movie released in 1977, a urban comedy about an odd-beat romance set in Manhattan (centered about an apartment over there). The twist in the making of the movie was that it was supposed to be starring Robert DeNiro and Marsha Mason (the wife of the screenplay writer Neil Simon (they later divorced in 1981)). The screenplay for the movie was called ‘Bogart Slept Here’; but guess what, the movie never got made based on that screenplay. A bit later, Robert DeNiro got written our, and Richard Dreyfuss was brought in, and then the screenplay was dumped; however, Dreyfuss and Mason were kept on as the leading couple and the screenplay was re-written. The movie proved to be very lucky for Dreyfuss, since it led to a Best Actor Oscar for him (in fact, at the time he was the youngest actor to win the Best Actor award).

The movie got 4 other Oscar nominations:
- Best Picture nomination - Ray Stark
- Best Actress nomination - Mason
- Supporting Actress nomination - Cummings
- Best Screenplay Written Directly for the Screen nomination - Simon

The movie is rated both as a great comedy and as a bitter-sweet romance where the couple initially hate each other’s guts, get into many scenes with each other, but slowly over a period of time, learn to appreciate each other (or a single incident can also do that in some cases); and finally realize that they do love each other.
The movie is about these 3 characters - Paula McFadden (Marsha Mason), her 10 year old daughter Lucy (Quinn Cummings), and a young actor Eliot Garfield (Richard Dreyfuss). Paula and Lucy are staying with Paula’s boyfriend Tony, an actor, and he has promised that the next week they will all move to Los Angeles. After a long day shopping, Paula and Lucy come home and realize that this was not to be, like previous cases where Paula has been dropped by other men (many of them actors), Tony has left them high and dry and gone off to Italy.
Paula realizes that they don’t have money and she needs to resume dancing, but soon realizes that things are not so easy. She needs to get back into dancing form, and while returning from the class, she is told by the building manager (Mrs. Crosby) that Tony (to add insult to injury) had sublet the apartment and Paula can’t do anything about it since Tony owned the apartment. She is by now not terribly fond to actors; so imagine the shock when she finds out that the apartment has been leased to Eliot (another aspiring actor). However, she has to keep her anger and scorn under control, and agrees when Eliot proposes that they share the apartment. Eliot is here to play the title role in the stage production of Richard III (but in the nature of a stereotype homosexual), not something that seems likely to succeed.
They have many clashes, but slowly start adjusting to each other, and Eliot also starts getting closer to Lucy, likely to warm any mother’s heart. And they start to fall in love, and then the inevitable, he gets a call for a great opportunity in another city, a very important chance. This has happened to Paula many times, and so it seems like destiny repeating itself; what happens to their relation now ?

The movie also had a song with the same name, and that was super hit (performed by David Gates).

Amadeus is the middle name of one of the greatest composer of all time, the Austrian composer, Wolfgang Amadeus Mozart who lived in Vienna during the 18th century. And thus it is pretty natural that a movie on the life of this great composer (and another composer of the same age, Antonio Salieri) should have the name Amadeus in it. The movie, released in 1984 was a drama film about these 2 men, and caught the attention of critics to such a great extent that it cleaned up on the awards, winning 8 Oscars, and a clutch of BAFTA and Golden Globe awards. The movie was also a commercial hit (although on a smaller scale) since it made around $51 million on a budget of $18 million. Inspite of some creative licenses with the truth (the movie assumes that the murder of Mozart is due to a devious plan by Salieri, when this was not a proven fact).

The movie also served to make a lot more people aware of the life history of Mozart, and his amazing musical skills. The depiction of his talent was pretty good, wrapped in a story that touches all the human emotions of skill, envy, jealousy and anger, distress, depression, hatred and downfall. All of these were exhibited in the inter-twined life history of Salieri and Mozart, down to the downfall of both of them.
The story is all set in flashback, when a priest visiting Salieri in a mental health institution visits him, trying to get a confession from Salieri about having committed the murder of Mozart. Salieri is initially uninterested, but then opens up and discloses the full story, including his role in the downfall of Mozart. Salieri had a troubled start to his musical career, since his father was not interested in letting his son study music, but then his death opened the door to a musical career. Salieri was not an exceptional musician, and was happy being the court composer to the Austrian Emperor Joseph II, believing his talent to be God’s gift. And then Mozart burst onto the screen.
Mozart was funny, he was brash, he was lewd, and he was a genius. He started out with taking a work that Salieri had spent time making, and modified that into a new musical work (conversion of “March of Welcome” to “Non più andrai” march from Mozart’s opera ‘The Marriage of Figaro’). Salieri is sinking into depression, believing that actually god is laughing at him for his mediocre music. In the meantime, Mozart goes through a whole gamut of emotions; feeling happy at his success and with his wife Constanze and his son Wolfgang, and then getting shaken by court rivalry, depression over his father Leopold’s death. He starts to fall down as his family expenses increase and the income starts to fall.
And then the ultimate plan. Salieri decides to deceive Mozart, so he disguises himself to be like Leopold (Mozart’s dead father), and gives Mozart a down payment to write a requiem mass (also known as a funeral mass). Mozart starts down to write his best piece of work, not aware that the plan was for Mozart to be killed in the end, and Salieri would then appropriate the Mass and deliver it (in a delicious irony), at Mozart’s funeral. Mozart drives himself to madness while writing this work, and his wife leaves him along with their son. His condition continues to decline, and he collapses during a performance. Salieri takes him home, and continues to make Mozart work during his illness.
Mozart’s fie returns the next morning, and is shocked to see his condition. Salieri has by now abandoned his plan, and he credits Mozart with work on the composition, and Constanze locks the manuscript away. However, all this is in vain, since Mozart dies, and the composition is left incomplete. Mozart is taken away and buried in a pauper’s grave (although his body is recovered later and buried more appropriately). The work remains incomplete, and Salieri is driven to the mental asylum with the thought that God would kill Mozart rather than let Salieri share the glory of the beautiful composition.

The music from the movie:

(all composed by Mozart except as noted)

* Disc One

1. Symphony No. 25 in G minor, K 183, 1st movement
2. Stabat Mater: Quando Corpus Morietur and Amen (Pergolesi - performed by the Choristers of Westminster Abbey, directed by Simon Preston)
3. Early 18th Century Gypsy Music: Bubak and Hungaricus
4. Serenade for Winds, K. 361, 3rd movement
5. The Abduction from the Seraglio, Turkish Finale
6. Symphony No. 29 in A, K 201, 1st movement
7. Concerto for Two Pianos, K. 365, 3rd movement
8. Mass in C minor, K. 427, Kyrie (Mozart)
9. Symphonie Concertante, K. 364, 1st movement

* Disc Two

1. Piano Concerto in E flat, K. 482, 3rd movement
2. The Marriage of Figaro, Act III, Ecco la Marcia
3. The Marriage of Figaro, Act IV, Ah Tutti Contenti
4. Don Giovanni, Act II, Commendatore scene
5. Zaide aria, Ruhe Sanft
6. Requiem, K. 626, Introitus (orchestra introduction)
7. Requiem: Dies Irae
8. Requiem: Rex Tremendae Majestatis
9. Requiem:Confutatis
10. Requiem: Lacrimosa
11. Piano Concerto in D minor, K. 466, 2nd movement

Movie awards at the Oscars: Best Picture, Best Actor (F. Murray Abraham as Antonio Salieri), Best Director (Forman), Costume Design (Theodor Pistek), Adapted Screenplay (Shaffer), Art Direction, Best Makeup, and Best Sound

The Last Emperor was a major award winning epic movie, released in 1987, and directed by Bernardo Bertolucci, and written by Mark Peploe and Bernardo Bertolucci. The movie had some unique distinctions - the Chinese Government allowed shooting in the Forbidden City and gave him unprecedented access (to the extent that when the British Queen visited Beijing, the movie got precedence in The Forbidden City). This was also because the movie mirrored the history of China during the earlier half of the century, and in a form that did not go the vision of history as per the Communist rulers. And the movie cleaned up at the Oscars, being nominated for 9 awards and winning all 9 of them (if that is not a clean sweep :-), then what is ?)

The movie is indeed about the Last Emperor in China, who lived a sheltered life in the Forbidden City, but who also experience the tumultuous years of Chinese history, including the occupation by the Japanese and the atrocities committed in Manchuria, and then moving forward to the Cultural Revolution in the 1960’s, finally terminating at a time when western tourists are free to visit Beijing (symbolizing China’s opening to the World).
The movie starts with the time when the Emperor, Puyi, is returning to China after 5 years of captivity by the Soviet Union (held in the gulag, and as a prisoner after a trial by the Tokyo War Crimes Tribunal; the movie is totally silent about this time). He was convicted for complicity in the Japanese War Crimes in the Chinese region of Manchuria after being arrested by the Red Army. Given that there was solidarity among the Communist Governments in the beginning, Stalin decided to hand Puyi back to China after it was taken over by the Communists in 1949 (even though Puyi wrote to Stalin pleading not to be sent back).
Once he reaches back to China, Puyi attempts suicide, and in this state, the movie shows his initial history; his sheltered life in the Forbidden City including his marriage and other incidents, and moves onto his prison camp where he learns the extent of Japanese atrocities and accepts responsibility for his complicity in these war crimes. The movie then moves onto the Cultural Revolution of the 60’s where Puyi is now a normal citizen, a gardener (also showing the happenings of that time where people could be condemned as not being part of the revolution, and in which many of China’s intellectuals suffered). The movie moves on further, showing Puyi now visiting the Forbidden City as a tourist, watching the throne on which he used to sit once, until finally the movie ends with a scene where western tourists are displayed the same scene, and in that sequence, the death of the Emperor is also mentioned.

Oscars won by the movie:
- Best Picture,
- Best Art Direction-Set Decoration,
- Best Cinematography,
- Best Costume Design,
- Best Director,
- Best Film Editing,
- Best Music (Original Score),
- Best Sound and
- Best Writing, Screenplay Based on Material from Another Medium.

“Desperately Seeking Paradise” is a spiritual-cum-philosophical autobiography by British author and scholar, Ziauddin Sardar. In this book, the author is in search of the right approach for paradise (and please do not take it literally) - one notion which is termed as the prime objective for every Muslim. In his search, he joins one sect (or thought of school) and then gets dejected by its approach/thoughts/people etc… and then leaves it to join another and same thing happens there as well and then another and so on… His search takes him from Mecca to Bejing and all the other places, in between meeting with people like Zia-ul-Haq to Anwar Ibrahim, even attending a mujaheddin meeting with Osama Bin Laden in attendance, and him running into Iran’s military police in times of Ayotollah. There is an entire chapter dedicated on ‘The Satanic Verses’ controversy - talking about how the author felt bad about ‘The Satanic Verses’ and the Ayotollah’s fatwa as well. Here the author regrets that the core issue was buried under whatever political drama that took place around the controversy.

The book is filled with lots of information about various aspects of Islam, ranging from different terms associated with it to the current as well as traditional interpretation of different things associated. He also looks into different school of thoughts and poses a not-so-rosy picture of things. This book was written in pre-Iran, pre-Iraq, pre-Afghanistan era and with his descriptions one can relate to what is happening now and how its roots are related to those times only. The authors quest for a new initiative about “paradise-seeking” is not accepted in the traditionalist societies where the true meaning of Islam has been confined to having a beard sometimes. He also tries to understand what does Sharia means in actual terms and how it should be adapted in modern times - again he finds that societies just want Islam in totality but are never open to understand the totality itself.

I am not sure what to make out of this book - I am as confused about this book as the author is about his search. The main problem as seen by the author is that nobody is willing to listen to modernist Islamic views. Overall, a nice read for me at least - for understanding more about Islam and another face of it where there are modernist thoughts in plenty.

Das Boot is a movie made on a novel of the same name, written by Lothar-Günther Buchheim. The movie, released in 1981, is supposed to be an authentically correct reproduction of the novel, but even then the author found faults in the portrayal of the characters, finding a great deal of over-acting; he in fact found the treatment by the director (Wolfgang Petersen) to have been over-done resulting in the movie being reduced to a cliche. However, this was not an opinion shared by others, and the movie is widely acclaimed to be one of the best German movies ever made (it was certainly one of the most expensive ones made, costing around 32 million DM). In addition, the song ‘Das Boot’ became an international hit.
Just as an aside, this blog is about English language films, and yet this movie takes a German movie. Well, this movie is an incredibly well recognized movie, and has won tremendous acclaim. The movie was released in the United States in 1982, and was nominated for 6 Academy awards (Cinematography, Directing, Film Editing, Sound, Sound Effects Editing, and Writing), however, this was also the year of Gandhi and ET, and they swept most of the awards. Das Boot did not win any of the awards; no matter, most people who see the movie can’t fail to be impressed by this anti-war movie.

This is an anti-war movie, a bit less strongly than the novel, but anti-war none the less. And it does this by depicting the reality of war from the eyes of the soldiers taking part in the war, by de-glamorising the romance of war, and showing the reality (something similar to how ‘All Quiet on the Western Front’ was another great anti-war movie from another war). The movie features a single submarine U-96 (also called a U-boat). The movie is based on a real life story, that of the crew of a U-boat during the second world war commanded by Heinrich Lehmann-Willenbrock (one of the aces of the German side).
The movie is shown from the perspective of the Lt. Werner (Herbert Grönemeyer), the assigned war correspondent on the U-96. The mission of most of the German U-boats in the second World War was to attack the supply convoys landing supplies to the Allied lines, and this was also hazardous since they were hunted and attacked by both naval aircraft and destroyers. Now a submarine is a cramped quarter, with little facilities for recreation, fresh air, and even simple things such as taking a bath. In such an environment, especially when contact with the enemy may not happen for long or when severe storm can cause the submarine to be tossed around, morale can suffer greatly. In this case, these are dedicated and enthusiastic naval personnel, but not Nazi supporters except for the first weapons officer.
These men go through a series of adventures, but the most common feeling is that of the relentless feeling of being crammed together in a small tube with 40 men (and the director makes the audience share the same feeling, with most of the movie being shot to appear as if inside a submarine). Eventually they are directed to a convoy, but don’t get a clear shot, instead they are attacked by depth charges. And then they land into a massive 23 day long storm that saps their energy and enthusiasm. Then they are spotted again, and have to deep dive, causing a mental breakdown in one of the men, and the submarine almost implodes. Then they attack a tanker, but when the surviving British merchant sailors swim towards them, they are forced to back away due to orders and not take any prisoners.
And they are diverted to the Straits of Gibraltar, a very dangerous passage for a submarine since there is a very good chance of detection and attack. Before going there, they get supplies from a German ship in Spain, whose officers have not seen war and are gung-ho about the war. Inspite of their best efforts when passing through the Straits, they are detected and attacked; and soon the boat starts sinking beyond the maximum safe level of 200 meters, and bolts start going off under the pressure; the crew can hear the hull groaning, a really bad sign for the crew. Somehow, with some luck and maximum conservation of oxygen, they are able to make it up again.
They return to their home base of La Rochelle on Christmas Eve, a group of tattered and weary men, less gung-ho about the war than when they had left. And soon British aircraft start bombing the place, killing some members of the crew and finally sinking the U-96.

Isaac Asimov was one of the pioneers of the field of writing about robotics, and was most famous for his creation of the Three Laws of Robotics:
1. A robot may not injure a human being or, through inaction, allow a human being to come to harm.
2. A robot must obey orders given to it by human beings, except where such orders would conflict with the First Law.
3. A robot must protect its own existence as long as such protection does not conflict with the First or Second Law.
These seem simple enough, but as with laws for humans, there can be many interpretations and conflicts that can arise out of using these laws. ‘The Rest of the Robots’ is a set of 8 short stories that all deal with robots, and many of them also have references to these laws as well as situations arising out of problems with the use of these laws. I found the collection to be very readable and interesting, and considering that most of these stories are more than 50 years old, not dated in any way. We have not had the development of humanoid robotics to the extent that Asimov had written about, so many of these are stories that we will still need to worry about.

The collection was released in 1964, and hence you can consider the book to be a very old book indeed, and yet when I was browsing through some Asimov books on an online bookshop, I found it easily available, which means there is a regular demand for it. The book starts out with a foreword by Asimov in which he explains about how books used to be about robots, they were seen as being part of the Frankenstein complex, where man created robots, and robots would destroy man, and this happened again and again. Asimov chose to move away from this concept, and wrote stories with far more complexity and depth.
The book has 8 short stories:
1. Robot AL-76 goes astray: A story in which a robot bound for the moon somehow manages to get loose on earth, and has to try and figure out its surroundings, especially when it has been fed only information about the moon. It creates a great new machine, but then destroys it when ordered to in mistake. A comedy.
2. Victory international: About projecting the power of robots, especially those constructed with a great deal of care to make extra-strong so that they can impress the ferocious inhabitants of Jupiter.
3. First law: About an exception when the power of the First Law cannot suppress the maternal instincts of a robot, and the robot is willing to let a human die.
4. Let’s get together: A political story about robots being used as terrorists. Showcases one of the biggest fears of humanoid terrorists.
5. Satisfaction guaranteed: One of the most complex stories of this volume. Deals with human emotions such as jealousy, envy and a feeling of low confidence, and how this interfaces with the First law.
6. Risk: About how the human mind can still be a much better instrument to deal with uncertainty and complexity rather than even the most complex positronic brain.
7. Lenny: About the maternal instinct in even the most seemingly hard-boiled scientist can come about when dealing with an under-developed robot.
8. Galley slave: A story which deals with the fear in a human about the advent of robotics and how this could totally destroy human creativity in a slow and gradual way.
The last 4 stories also had the character of Dr. Susan Calvin, whom Asimov used as a representative of the robopshycologist, the head in that area for US Robotics, and a pioneer in the development of robots.

If there are 2 things that Arthur C Clarke will be most famous for, my guess would be for his visionary work, including the concept of a geo-stationary satellite (most famously used to position communications satellites) and for his creation of the best seller 2001: A space Odyssey and its sequels (2010, 2061, and 3001). These were created for and along with an incredible movie of the same name by Stanley Kubrick. Together, this book, and the novel both captured the fascination with space (and its dangers), along with a fear of what an advanced computer (H.A.L) can do (somewhat similar to the fear of sharks that got positively entrenched with the movie Jaws).
Both the book and the screenplay for the movie went hand in hand, and were based on the short story ‘The Sentinel’ written by Arthur C Clarke in 1950. The novel was an important milestone in the history of science fiction, combining elements of man’s historical development, delves into development of space travel and the problems of differential gravity, aliens and the thought that there is a master race that kick-started human development, and then how mankind may not have worked out all the issues related to intelligent computers.

The book starts from an age long long ago (3 million years ago) when there were humanoid races in Africa. They managed to survive, only just, getting fruits and the like, and not knowing how to hunt. They had short life spans, and did not have either the feelings of attachment to each other, and would not have been able to do much either. They were at the mercy of wild beasts, with no instruments with which to defend themselves. And then arrives a rectangular black monolith that starts to delve into their minds, developing their minds. They learn how to develop tools from the natural materials at hand such as rocks and the sharp teeth of wild animals. And then they develop the thought of being able to even fight back against the wild animals that threaten them; and most important, get meat from the wild beasts roaming around them. Humanity gets kick-started, getting into a period of development that leads to us.
Cut to the present age. Humanity has started exploration on the moon, and there they discover something that astounds them. A sheer black monolith has been discovered underground in the moon, in a sector that the US controls, and the eminent Dr. Heywood Floyd is sent to the moon to do further investigations and help the scientists over there. He is told that they have discovered a magnetic disturbance in a site now called Tycho Magnetic Anomaly-One (TMA-1), and they discovered the monolith underground. It is clear that this is not a natural creation, and was actually created 3 million years ago, so this has to be aliens.
Soon, the lunar sunlight hits them, and the monolith, exposed to sunlight for the first time in 3 million years, sends a strong radio signal out that reaches the far extent of the solar system. Switch to the next episode in the book. A ship Discovery One carrying 5 astronauts and an advanced computer HAL 9000 is on its way to Saturn on an exploration mission. 3 of those astronauts are in a state of hibernation, and the remaining 2, Frank Poole and David Bowman, are the ones who are the ones who are supposed to be in charge of the ship (or more likely, be secondary advisors to HAL who can run the ship totally on its own).
The HAL 9000 is an advanced computer, but its designers had never thought about wondering about the impact of the orders it had been given to the intelligent brain. HAL had been given orders to conceal the real knowledge about its mission to both Poole and Bowman (to explore Japetus, the 3rd largest moon of Saturn, the destination of the radio signal from the monolith on the moon), and this was conflicting with its other orders to report all the information fully. This was causing a conflict, and in these strained times, when it felt threatened with termination, it actually decides to kill the astronauts.
So, first it kills Poole by reporting one of the critical AE35 units as malfunctioning twice, and then when Poole goes to investigate, killing him with his own space pod. Then when Bowman threatens it with shut-down, it opens the airlock of the spacecraft to the pressure of the vacuum. Eventually, Bowman gets to an emergency shelter, and then retakes control of the spacecraft by shutting down the circuits of the HAl 9000 computer. He also buries the 3 hibernating astronauts in space, and decides to complete the mission on his own control.
He reaches Japetus with a lot of help from mission control, and discovers a black monolith on the surface. While reporting all this to mission control, he decides to approach Japetus using his space pod, and when almost there, before the pod reaches the monolith, he sends out a final signal ‘The thing’s hollow — it goes on forever — and — oh my God! — it’s full of stars!’
Bowman goes through an extra-ordinary journey, realizing that the monolith is a giant switching system, similar to a ‘Grand Central Station’ of the universe. He sees things that he never thought that he would see, while in a protective shield that saves him from the surrounding regions (including a very close red sun). As he finally sleeps, his mind and memories are drained from his body, becoming a new immortal entity that can travel through space, a Star Child. Bowman now returns to the Solar System and Earth, and is now a very powerful entity, but unsure of what to do - something that he will eventually figure out.

Agatha Christie (Wikipedia) was one of the most prolific writers in the detective genre and created two most unlikely characters in the form of detectives. Till then, the character of Sir Arthur Conan Doyle’s Sherlock Holmes defined the character of the detective - a man who is exceedingly smart and knows it, but is not very vain, and who can be urged to great action when he needs to, also a man of great physical strength (even if his frame does not suggest it). Both the characters created by Agatha Christie were very different, with Miss Marple being a frail old lady, but with a terrific mind and ability to think through things (most of which occur in her village) even when she is engrossed in daily routine manners, and then the other character who is the central character of this novel, the egg shaped Belgian detective Hercule Poirot.
A vain man, who knows that he is very smart, and is not above telling other people about this. He is obsessed with things being proper, making sure that his mustache is well maintained and becomes uncomfortable when he finds out that people do not know about him. At the same time, he is very capable, like Sherlock Holmes, of putting facts together, and of being able to find the discrepancies that help him crack the crime. Hercule Poirot was introduced by Agatha Christie in 1920 in ‘The Mysterious Affair at Styles’ and appeared in 33 of Christie’s novels and 54 short stories.

The story has a twist in the end, when Hercule Poirot actually presents 2 different options as to who did the murder, and presents it in such a way that the decision will eventually go only one way. The novel is set on the Orient Express, near Belgrade. Poirot is returning from a case in Syria, and gets a berth on the Orient Express with difficult, due to the help of his friend Monsieur Bouc, a director of the company which operates the Express. He meets a number of people on the train (and is very surprised at the fact that it is full, something very unlikely at this time of the year). He also meets a man who exudes violence, Mr. Ratchett, who asks him to act as his defender from people out to get him and Poirot refuses.
On the second night, he hears a noise in the night from the neighboring compartment, occupied by Mr. Ratchett. After some time, the conductor is called by Mrs. Hubbard who is terrified that somebody is in her coach. There is some further commotion, but then he sleeps. When he gets back, he is notified that the train will not move further since it is stuck in a snowdrift, and also learns that Mr. Ratchett has been murdered during the night, struck multiple times with a knife; and Poirot is the one called on for help.
After some investigation, Poirot discovers that Mr. Ratchett was actually a leader of a criminal gang and his real name was Cassetti. He was the chief leader of the plot to abduct the rich heiress Daisy Armstrong, and she was then murdered inspite of the ransom having been paid by her parents. Both her parents died subsequently, her mother in grief which induced an early childbirth and she died, her father shooting himself. It also caused suspicion in other house members such as the maid who was suspected and who killed herself because of this suspicion.
Poirot finds that the clues and events of the night are set in such a manner that every person has an alibi, sometimes from unexpected resources; and eventually starts to think in a holistic sense, trying out a theory that the other members of the investigating party (the official and the doctor) are unable to think through. Finally, through some conjecture (and this was the weak link in the book - everything seemed to settle through easily), he is able to deduce the actual facts and the names of the murderer(s). He then presents this theory, as well as an alternative theory to the other members of the team, and asks them to pick the one that they prefer. What choice do they make of the theory to present to the Yugoslav police when they will reach there ?

The American President is a sweet romance story set in the midst of the American Presidency and an impending election. The movie was directed by Rob Reiner and written by Aaron Sorkin. The American President (Michael Douglas) has just had some high poll ratings and this gives his team some confidence that they are in a good spot to win re-election. His principal advisor and Chief of Staff (Martin Sheen) and he go back a long way and have an easy comfort. He also does not seem to have any character blemish, being a widower with a young daughter, and no female companions to worry about. The only issue is the contender from the rival party, but they are not really worrying about this.
Things start to change when a new lady Sydney Ellen Wade (Annette Bening) comes into town, as one of the main lobbyists for a Green coalition. Her aim is to get a law passed that would reduce carbon dioxide emissions (a target for most environmentalists since that leads to a reduction in fossil fuel consumption and an overall reduction of oil used). She has a pretty good reputation as a lobbyist, being able to get members of Congress to her position. The President also has an objective, to get gun laws modified by a small extent, so that he can claim overall credit for reducing guns in general hands and maybe cause a reduction in violence levels (one of his advisors Michael J Fox wants him to try and do something like that, but the President is unwilling to go beyond a certain point). However, he is not willing to try and stake a lot of political capital in trying to get a comprehensive arms control bill passed.

And then the President meets her in a accidental meeting at the White House, where she is criticizing the President for his administration’s policies in the environmental sphere, not knowing that the President has just walked in. When she finds out, there is a sense of embarrassment, but it passes and he makes a deal with her that if she can get a majority in Congress, the environmental bill will get the support of the administration. The President is taken with her, and invites her to be his date for an official function since he needs a companion; she is a bit taken back, but accepts. The date passes by fine, and she gets closer to the President, but a bit apprehensive since she is after all a political lobbyist and he is the President, imagine the complications. Soon, however, things start to heat up when she spends a night at the White House with the President, and the press corps is outside in the morning to greet her :-). She is the talk of the night shows and the President is slowly becoming the target of the moral groups, and as well the target for his election contender. This heightens when it is discovered that Benning had once taken part in a demonstration in which the American Flag is burnt, and this calls into question the patriotism of the President, and he is severely attacked by his opponent Bob Rumson (Richard Dreyfuss).
Against the advice of his advisors, the President refuses to reply to these attacks, assuming that this will demean his office if he has to respond to such attacks. However, in the end, the President betrays her by trading the votes of some die-hard anti-environmental bill politicians (from Michigan, where Detroit is the center of the car manufacturing corporations and die-hard opponents of the bill). When this happens, and Benning finds out, she is fired from her job since the bill is now dead, and she gives a piece of her mind to the President and walks out. After some introspection, the President finally decides to respond to all the attacks, and gives a rousing press speech where he defends her right as a free American to burn the flag in a demonstration (a freedom enshrined in the bill of rights), commits his administration to fight for the environment and withdraw his arms control bill and float a new one that will actually do something to control arms. This is a rousing speech that convinces her that this is a new President, as well as promise a rousing fight from his side in the election campaign that will take the fight to his opponent.
This is a very liberal movie from a very liberal movie maker, and is worthy of a watch.