Summary 10

The Moon and Sixpence

(by W Somerset Maugham)

Strickland invites Crabbe up to his apartment, to see his paintings. Crabbe looks forward to it, since Strickland never lets anyone else see his work. Strickland tells him where to stand and to be quiet and then sets painting after painting on the easel. He leaves each one on the easel for a few minutes, and Crabbe can see that in six years, Strickland has made about thirty paintings. Crabbe is disappointed, because he has been expecting something really special. Instead, he finds Strickland's style clumsy and awkward, and he does not like the paintings. He does, however, sense something powerful struggling to come out. Crabbe suggests that perhaps painting is not the way to express the ideas and feelings that Strickland is trying to convey. Crabbe does not even once consider buying one of the paintings.

Summary 9

The Moon and Sixpence

(by W Somerset Maugham)

Dirk visits the hospital multiple times per day, but Blanche will never see him. He learns, eventually, from the doctors, that the poison has done internal damage, and she is going to die very soon. When she has slipped into unconsciousness, Dirk is finally allowed to go in and sit with her. He is saddened by the burns on her face and neck from the poison. Blanche quietly dies, leaving Dirk crushed. Crabbe goes with him to her funeral, and then Dirk says that he wants to go by his apartment. Later, Dirk comes to see Crabbe and tells him that he found a picture in the apartment that Strickland left behind. It is a nude portrait of Blanche, and when Dirk first sees it he is enraged and almost destroys it. Then he is overcome by the beauty of the painting.

Rendering 11

The article published on the website of the newspaper "The Guardian" on April 23, 2013 is headlined "Barbra Streisand wins film award" by Associated Press in New York.  The article reports at Barbra Streisand wins film award.
Speaking of this situation it is necessary to note that The crowd, which included Bill and Hillary Clinton, cheered for pretty much anything connected to Streisand all evening as the star of song and screen was honoured for her film career with the 40th annual Chaplin award from the Film Society of Lincoln Centre.
It’s important to note that there was Yentl, the first Hollywood movie directed, produced and written by and starring a woman, as the crowd was reminded.
It is necessary to point out that Streisand spoke of how hard it was to get funding to make the film. 
It is important to emphasize that Streisand, who turns 71 this week, has won Oscar, Emmy, Grammy and Tony awards.
The author writes that Streisand was serenaded by Wynton Marsalis on trumpet, by Liza Minnelli, and by Tony Bennett, who closed the show with Smile, a Charlie Chaplin song.
It is interesting to note that Also appearing on stage were Michael Douglas, Catherine Deneuve, Blythe Danner and Kris Kristofferson.
It is necessary to emphasize that In video clips, Robert Redford spoke of how he had been warned before making The Way We Were that Streisand was a pain to work with, but had discovered that she was "totally engaging to act with, beautiful, thorough and skilled".
The article draws a conclusion that Bill Clintonhad had the last word before Streisand.  
As for me, I would like to say that every great person is driven. But if that person has massive talent, big brains and a bigger heart, you want to go along for the ride.

Summary 8

The Moon and Sixpence

(by W Somerset Maugham)

Crabbe runs into Rose Waterford, who excitedly tells him that Charles Strickland has left his wife. She is happy to be presenting the newest and most exciting gossip, and hints that Strickland has run off with a young woman. Crabbe, feeling bad for his friend, goes over to her house, and finds her wiping away tears, talking with her brother-in-law, Colonel MacAndrew. Mrs. Strickland does some semblance of hospitality, then asks Crabbe what he has heard. He tells her that he knows that people say silly things, and that all he knows is that Rose told him that her husband has left her. MacAndrew angrily suggests that Mrs. Strickland should divorce her husband as soon as possible, and she says that she will never divorce him, no matter what. She is convinced that he has run off suddenly with another woman.

Rendering №10

The article published on the website of the newspaper "The Guardian" on April 14, 2013 is headlined "Falklands on film: how broadcasters have handled Margaret Thatcher's war" by Mark Lawson. The article reports at BBC and ITV enraged the government with early portrayals of the conflict but it is being supplanted by recent conflicts. 
The author writes that British TV deployed rapidly – and with frequent controversy – to attack the Falklands war as a subject.
Speaking of this situation it is necessary to note that The BBC screened five plays within five years of the events, which may surprise those who now associate the corporation with editorial caution and at the time clearly astonished the Ministry of Defence, which made numerous objections and obstructed access to actual locations and equipment.
It’s important to point out that the earliest pieces were oblique, with Don Shaw's The Falklands Factor dramatising an 18th-century dispute over the islands, and Maggie Wadey's The Waiting War focusing on military and naval families.
In spite of this fact,  it is necessary to note that around the time of the fifth anniversary, television fiction became the major battleground over how Thatcher's crusade should be recorded by broadcasters.
It’s important to point out that some journalists were privately briefed that the play was of inferior quality, Curteis believes that executives were unhappy with his sympathetic portrayal of Margaret Thatcher; and certainly his script is alone among the Falklands dramas in not presenting the conflict as a savage and pointless colonial overhang.
The author writes that however the most powerful representation of the human consequences of the conflict on the British side remains Tumbledown (1988, BBC1), written by Charles Wood and directed by Richard Eyre, based on the experiences during and after the conflict of the seriously injured Scots Guards officer Robert Lawrence. 

It is necessary to emphasize that Tumbledown, in common with Paul Greengrass's cinema film Resurrected (1989), raised the figure of the Falklands veteran who feels ignored by postwar society as a conscious parallel to US movies about Vietnam vets. 

It’s important to note that McGovern, in his last two series, The Street and Accused, has used vets from the Northern Ireland, Afghanistan and Iraq campaigns, while Ian Rankin's DI John Rebus, played on TV by John Hannah and Ken Stott, also saw military service in Belfast.
The article draws a conclusion that Thatcher's war now mainly gets a show in epic dramas following characters through recent British decades, such as Peter Flannery's Our Friends in the North (1996, BBC1) and Paula Milne's White Heat (2012, BBC2), both of which have an episode that reflects the influence on British politics of the response to Argentina.
As for me, I would like to say that The Falklands has, though, largely disappeared as a back-story in drama – mainly because the UK has been involved in many other, more lengthily resonant conflicts.

Rendering №9

The article published on the website of the newspaper "The Guardian" on April 10, 2013 is headlined "Bollywood's 100th birthday celebrated at Bradford international film festival" by Irna Qureshi. The article reports at thursday marks the start of the 19th Bradford international film festival (Biff), which this year, in recognition of 100 years of Bollywood, includes a strand devoted to Indian film.

Speaking of this situation it is necessary to note that Happy Birthday Indian Cinema features a range of classics, such as the 12 surviving minutes of India's very first feature film, Raja Harishchandra, and the most expensive film ever made up to 1960, Mughal-e-Azam.

It’s important to note that there's also a rare opportunity to watch some of the greatest Indian films of all time on this festival.

The author writes that Silsila (The Affair) was made by the late Yash Chopra, known as the godfather of romance. The 1981 film famously popularised the tulip fields of Holland and featured a love triangle with a twist. 

It is necessary to point out that when Yash Chopra's son Aditya made his directorial debut in 1995, he paid an affectionate tribute to his father by borrowing some of his visual vocabulary.

It is important to emphasize that when Mughal-e-Azam (The Greatest of the Mughals) was released in 1960, it was the most expensive film ever made.

The author writes that the director, K Asif, was such a perfectionist that it took him 10 years to complete the black and white film, at which point he approached the funders about shooting the entire thing again in Technicolor. 

It is interesting to note that Mughal-e-Azam went on to become the highest-grossing film of its day thanks to its sweeping love story, epic battle scenes, legendary cast, unforgettable performances, memorable dialogue and one of the best soundtracks in the history of Indian cinema.

It is necessary to emphasize that Bollywood fans love reading elements of the stars' real lives into their films. They love watching Mother India knowing that the luminous actress Nargis fell in love with Sunil Dutt during filming, allegedly after he saved her from a fire on the set.

The article draws a conclusion that Happy Birthday Indian Cinema is part of Biff, which runs until 21 April 2013.

As for me, I would like to say some words about Mother India. I think that It  is perhaps the quintessential Indian film, thanks to its powerful portrayal of womanhood and community in traditional Indian society.

Summary 7

The Moon and Sixpence

 (by W Somerset Maugham)

The narrator recollects the circumstances in which he first met Charles Strickland, who is now famous. He begins by pointing out that there seems to be nothing special about Charles Strickland. Then he says that the man is a genius. The narrator talks about how Strickland is relatively obscure in life, and that his emotional style of art is misunderstood. He then lauds the legends which have risen up about Strickland. He says that such legends are the key to immortality.The narrator says that, although he knew Strickland in early life, he would not be writing about his friend if he had not gone to Tahiti. Apparently, the most obscure parts of Strickland's life took place in Tahiti. So, now the narrator has a chance to interview those who knew Strickland during this time in his life.