The Atlantic City Lights: Love, Betrayal, Murder, Hollywood

The Atlantic City Lights - Love, Betrayal, Murder, Hollywood (Hardcover)

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The Lacuna is a poignant story of a man pulled between two nations as they invent their modern identities. Gas lamps still flicker in the city streets, but the miracle of electric light is in its infancy. A young untested lawyer named Paul Cravath takes a case that seems impossible to win. Who invented the light bulb and holds the right to power the country? Tracy Chevalier introduces Honor Bright, a modest English Quaker who moves to Ohio in , only to find herself alienated and alone in a strange land. Sick from the moment she leaves England, and fleeing personal disappointment, she is forced by family tragedy to rely on strangers in a harsh, unfamiliar landscape.

On March 2, , nineteen-year-old Lazarus Averbuch, an Eastern European Jewish immigrant, was shot to death on the doorstep of the Chicago chief of police and cast as a would-be anarchist assassin. On February 22, , Willie Lincoln was laid to rest in a marble crypt in a Georgetown cemetery. Set over the course of that one night and populated by ghosts of the recently passed and the long dead, Lincoln in the Bardo is a thrilling exploration of death, grief, the powers of good and evil, a novel — in its form and voice — completely unlike anything you have read before.

Ninety miles north of Seattle on the Washington coast lies Bellingham Bay, where a rough settlement founded in the s would become the town of Whatcom.

Here is the intimate, murderous tale of three men. Clare Fishburn believes that greatness lies in store for him. John Ireland Sharp, an educated orphan, abandons hope when he sees socialists expel the Chinese workers from the region. Journey to the dusty little Texas town of Lonesome Dove and meet an unforgettable assortment of heroes and outlaws, whores and ladies, Indians and settlers.

Richly authentic, beautifully written, always dramatic, Lonesome Dove is a book to make us laugh, weep, dream, and remember. A gripping, wondrously evocative novel drawn from real-life historical events: In , Mamah and her husband, Edwin, commissioned the renowned architect Frank Lloyd Wright to design a new home for them. During the construction of the house, a powerful attraction developed between Mamah and Frank, and in time the lovers, each married with children, embarked on a course that would shock Chicago society and forever change their lives.

Her husband is mostly absent, and, in , her scandalous, beloved younger sister is one of the 42 killed in an explosion at the local dance hall. Who is to blame?

Alma thinks she knows the answer—and that its roots lie in a dangerous love affair. Having survived World War I, Fidelis Waldvogel returns to his quiet German village and marries the pregnant widow of his best friend, killed in action. In Argus, ND, he builds a business, a home for his family—which includes Eva and four sons—and a singing club consisting of the best voices in town. In this stunning work of historical fiction, Laila Lalami brings us the imagined memoirs of the first black explorer of America—a Moroccan slave whose testimony was left out of the official record.

Tragedy strikes when a student named Elspeth is found frozen to death in Central Park. Coralie Sardie is the daughter of the sinister impresario behind a Coney Island freak show that thrills the masses where she appears as the Mermaid, alongside performers like the Wolfman and the Butterfly Girl. One night Coralie stumbles upon a striking young man taking pictures of moonlit trees in the woods off the Hudson River. And he ignites the heart of Coralie. The year is , and Resolute Talbot and her siblings are captured by pirates, taken from their family in Jamaica, and brought to the New World.

They are sold into slavery in colonial New England and taught the trade of spinning and weaving. Through bloodshed and hysteria and heartbreak, she becomes a hero, a folk legend, a madwoman and a traitor to the American cause. In the years leading up to the Civil War, one enduring friendship embodies the tensions of a nation. Together they fight in the Mexican-American War, but their closeness is tested as their regional politics diverge. The captivating book of a year-old woman with a hidden past as an orphan-train rider and the teenage girl whose own troubled adolescence leads her to seek answers to long-buried questions.

An extraordinary tapestry, Ragtime captures the spirit of America in the era between the turn of the century and the First World War, weaving imagined characters with real historical people. On September 29, , Alex Hayley stood on the dock in Annapolis where his great-great-great-great-grandfather Kunta Kinte was taken ashore on September 29, Now he has written the monumental two-century drama of Kunta Kinte and the six generations who came after him—slaves and freedmen, farmers and blacksmiths, lumber mill workers and Pullman porters, lawyers and architects—and one author.

The epic, unforgettable story of a man determined to protect the woman he loves from the town desperate to destroy her. On the last night of , twenty-five-year-old Katey Kontent is in a second-rate Greenwich Village jazz bar when Tinker Grey, a handsome banker, happens to sit down at the neighboring table. This chance encounter and its startling consequences propel Katey on a year-long journey into the upper echelons of New York society—where she will have little to rely upon other than a bracing wit and her own brand of cool nerve.

Addicts and bums roam the Bowery; homelessness is rampant. Told by a complex and compelling narrator, it is a violent, lustful odyssey through the underworld of the s frontier that beautifully captures the humor, melancholy, and grit of the Old West and two brothers bound by blood, violence, and love.

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In a local fisherman is found suspiciously drowned off San Piedro Island, north of Puget Sound, and a Japanese American named Kabuo Miyamoto is charged with his murder. San Piedro is haunted by the memory of what happened to its Japanese residents during World War II, when an entire community was sent into exile while its neighbors watched.

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Part epic of Texas, part classic coming-of-age story, part unflinching portrait of the bloody price of power, The Son is an utterly transporting novel that maps the legacy of violence in the American West through the lives of the McCulloughs, an ambitious family as resilient and dangerous as the land they claim. In its aftermath, one young man must choose between the lure of the future and the claims of the past. William Stoner is born at the end of the nineteenth century into a dirt-poor Missouri farming family. And yet as the years pass, Stoner encounters a succession of disappointments and rediscovers the stoic silence of his forebears and confronts an essential solitude.

She is sold first to a brothel, then to a slave merchant bound for America. In a new country, she is given the name Polly and eventually auctioned to a saloonkeeper. When admirer Charlie Bemis wins her in a poker game, he frees her from her enslavement and eventually proposes marriage.

Esther Gottesfeld is the last living survivor of the notorious Triangle Shirtwaist fire and has told her story countless times in the span of her lifetime. Even so, her death at the age of leaves unanswered many questions about what happened that fateful day. Gambling Twofer 12 p. The Jersey Connection Season 1 of a crime saga set in New Jersey explores events over the course of a weekend in reverse chronological order, the story focuses primarily on aspiring actors who plot to rob a high-level drug dealer and then go to Hollywood to sell off the drugs and make t in the movie business.

Directed by Tim Firtion. Long before the MeToo movement, a handful of young poker players challenged stereotypes and battled a hostile environment where women were often abused, insulted, and sexually harassed. Short Shorts and More 2: Bae Enjoying a quiet night with bae.

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As a result, we will screen Die Hard 2 instead. Admission will be free to the screening. Tickets already purchased will be refunded. Always Ready to move on from her chaotic past, Laney Bennet is in search of new love. She will soon discover, however, that her past is not finished with her. Directed by Tracey Medberry. Vendetta Games A group of DEA agents go undercover as security for a city casino where they uncover ties between Colombian drug dealers and an underground narcotics operation by casino security.

Directed by Andre Joseph. Cog and Gear An aging hit man comes to terms with his life choices on the anniversary of his initiation. Directed by Andrew Froening. Nothing To Do Kenny, an aimless DJ at an oldies station is informed that his father is at the end of his life. Kenny and his father discuss hospice. Directed by Mike Kravinsky. Twofer Docs I 3: Directed by David Fresina. Directed by Joshua Eisenberg. Directed by Joseph McGovern. A presence from a different dimension will open a way to reunite with him.

Directed by Giovanni Lodigiani. Along the way, they face mental illness, childhood neglect and addiction head-on. Mental Health 35 mins. Directed by Eva Tenuto. She however ends up shooting the partner who might be troublesome and she vanishes, providing hardly any explanation for he behaviour, leaving Jeff to get rid of the body there will be others and later bear the brunt of the accusation.

The flashback is over and we revert back to Jeff and Ann in the car in full day light, as if the narrative had exorcised the demons of the past, which of course is illusory. The subsequent events will reiterate the past events. Jeff proves unable to get rid of the influence exerted by Kathie, even though he grows more and more aware of her duplicity and treachery. Again the final scene is largely anticipated by the spectator. Jeff has no future with Ann and can only escape through death: In Nightfall , also directed by Jacques Tourneur, there is an extensive use of flashback. As in Criss Cross , the flashback narrative starts belatedly.

We are first introduced to the main character Jim Vanning Aldo Ray as he casually meets first a man, Fraser, then Maria Anne Bancroft a young woman, then is driven forcefully away by two other men, John and Red. We learn that Fraser is an insurance agent who spies upon Vanning in relation with an unsolved murder case and a bank robbery. The two other men are in fact gangsters who wish to know what has happened to the money of the robbery. Thus the spectator has little clues as to the implications of Vanning in the robbery and murder. The first one starts when Vanning is being cross examined and physically threatened by the gangsters.

The scene takes place close to the sea in a peripheral harbour zone in front of a huge pumping machine. This first objective flashback enables Tourneur to evoke the circumstances that have led to the confrontation with the gangsters. It prolongs the first but it is presented more subjectively. Vanning first sums up what we already saw. The shift to the past scene occurs through a straight cut again accompanied by the same three note tune.

Again Tourneur has no recourse to the voice over. On the last shot of Vanning, lying dead seemingly , the voice over surges up while we come back to the present by means of a cut to the body of the narrator, filmed at waist level. The camera cuts to an image of Vanning trying to stand up, this time commented by his voice over.

An abrupt cut on the face of Maria listening leads us back to the present scene in the flat. The rest of the story is told by Vanning, but we have no images of the past. The last part of the film is linear and simply unrolls events down to the final confrontation which takes place on the very site of the flashback scene, in the deserted snowy Wyoming setting. Red, the more sadistic hoodlum kills his companion treacherously but then gets crushed under the wheels of a snowplough, a mechanical device reminiscent of the pumping machine opening the first flashback.

The couple is saved as well as the insurance agent who accompanied them, a rare example of happy ending in a film noir. Neither is it presented as an obsessive intrusion of the past into the present leading the protagonist to a tragic fate. It also enables Tourneur to establish a strong contrast between two settings, one natural, beautiful, unspoiled, the other, an urban, ugly, industrial wasteland, but also to show how they interact and encroach upon one another. Tourneur thus extends the blackness and evil of film noir onto natural landscapes, which is rather uncommon.

He also attempts to objectify the flashback narrative and to challenge, partly at least, its rules. The flashback starts at the very beginning of the film. We see a man, Davey, the main protagonist, at a railway station. While we hear his voice over telling his story to himself and the spectator no confession here the image gets out of focus and we shift to a past image. However we shall regularly come back to the present of narration, to that station, so as to remind us where and who is the source of the narrative.

The second embedding is more original formally. The flashback starts when we shift from a close up of a photograph of Iris as a ballerina, getting gradually out of focus, to a shot of her dancing on a stage, under the ray of a projector. While we expect a scene to take place, the voice over starts telling the story of Iris from her childhood. The narrative is not, strictly speaking, a flashback since we are given no corresponding images and sounds of the past, but only images of the ballerina filmed from various angles and in varied lights, only showing an impersonal mask-like face.

Thus there is no equivalence between the voice and the images, which establishes a dedramatizing distance and a certain degree of formal abstraction. It is as if the character of Iris remained opaque and forever inaccessible. Thus, while Davey tells about his developing relationship with Gloria, the image gets blurred and the voice over stops for a while, as if what it had to tell were too intimate: The voice over then goes on but, contrary to what we could expect, we are shown images of Davey walking in the station.

The image of the past only surges up to evoke a more intense moment, that of the first kiss, presented as a kind of momentary loss of consciousness.

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At that point, the voice over ceases and is replaced by the flashback proper: The scene ends with a fade to black indicating an ellipsis and the next shot is a general view of the city at dawn. The voice over is back, evoking future plans for the couple. What Kubrick seems here to impart to us is a sense of the variety of forms that the flashback may assume, either suggesting degrees of subjectivity or dissociating the flash back from interiority.

The film opens in medias res on a race track, at the moment of the third race. The time Saturday, 3. The deep sonorous voice, almost documentary 5 like, comments the actions of various characters, focusing first on Johnny Clay Sterling Hayden presented as: This metaphor applies to the event the heist and its tragic outcome that is reconstructed by the film, but also to the film itself, structured as an assembling of fragmented parts.

The film concentrates first on the preparation of the heist, the meetings between the members of the gang, the hiring of people for some specific tasks etc. Each of these scenes is introduced by the voice over, the narrative moving backward and forward in time. The whole event takes place over a week, but three moments are foregrounded: That final day opens with a breakfast scene where Sherry is trying to get more information out of her husband. Then we come back in time to the moment 5pm when Red Lightning, the horse which will be killed by Nicky, is being prepared in his box.

Then we focus again on Johnny Clay, following his actions from 7am onward. Then we focus in turn on the various actors of the heist, reverting back in time to account for some missing scene. The whole set up is organized around the seventh race where the horse must be shot in order to create some diversion which will allow the robbery. The same scene when the horses approach the starting gates is filmed several times.

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We also have recurrent shots of the loud speakers announcing the race. Each new scene the scene with Maurice, the scene when Nicky gets shot, the scene of the heist proper where Johnny Clay operates under a mask provides a new part of the puzzle, but some moments are taken up strictly, such as the scene when Maurice breaks a bottle on the counter, while others are repeated but shown from a different angle.

A typical example is the moment when the bag containing the money is thrown out of the window by Johnny. At that point of the film, the repetition of the scene serves to provide the last piece of the puzzle since it gives an answer to the enigma raised by the radio speaker who sums up the events on the day following the heist. While the gang are waiting for Johnny, listening to the radio and commenting what they hear, one of them, Randy the policeman also an accomplice , alludes to that precise moment, which leads to a quick low angle flashback shot of the bag seen from the point of view of Randy who picks it up at the foot of the building.

It ends in a rather unexpected bloody massacre where all are killed except George who, though mortally wounded, finds enough strength to come back home and shoot his treacherous wife. On the belated arrival of Clay, the voice over returns to introduce the last events and the way he gets caught while trying to catch a plane with Fay, his girl friend. It is neither a confessional nor an investigative flashback.

The event is not really reconstructed by means of clues or interviews. It is presented while it happens in a fragmented way within a very accurate temporal frame. There is no consciousness involved, no subjective voice over, no access to the interiority of characters. There is no weighing of the past upon the present, no obsessive, compulsive attitude. Events are described objectively, from without, by means of a behavioural technique. What is stressed is the role of chance rather than determinism.

Things might have turned right, Johnny Clay might have arrived in time to prevent the massacre, the suitcase full of banknotes might not have crashed down and opened. All are amateurs, except Johnny the only one who escapes death, if not jail. The objective narrative technique adopted by Kubrick stresses the almost mechanical chain of events, the lack of control of the characters over their destiny. The flashback serves many purposes. It helps to feed the primary narrative by staging more or less expanded incursions into the past, thus allowing the reconstruction of what has already happened, what has led to the present situation.

It thus partakes of a quest for the origin s as well as being related to the investigative pattern. It allows for a confrontation of two time frames which often correspond to different and highly contrasted settings and moods. It thus introduces duality and tension, but also, at times, interaction, in so far as the intrusion of the past may generate a new chain of events, often on a repetitive, almost cyclic basis.

The flashback often foregrounds a certain subjectivity, thus making us share the intimacy of the character and favouring identification processes. The part played by memory is thus essential, hence also the possible unreliability of the testimony in so far as memory may fail to account for the events or else may lead to a biased evocation.

The spectator often tends to trust the character on account of the confessional quality of the retrospective narration, yet this may be misleading too.

There is thus involved in the use of flashback a certain manipulation. This first concerns point of view since what is filmed rarely corresponds to the perspective of the narrative voice enunciating the flashback. It may also concern the motivations of the characters involved and depend upon the circumstances in which the flashback is narrated. The flashback may now seem a rather trite device, but its role in film noir is quite prominent and contributes to the enduring appeal of the genre since its inception.

In both cases, the main protagonist is trying to escape from his past and lead a normal life. He finds refuge and a modest working class job in a small town at a garage a sign of normalcy?

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