A Rope Of Sand


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The Agencies A Profile of the Agency The Agents and Colonial Administration. The Agents and Their Allies. The Agents and British Politics. The Agents and the Stamp Act Crisis The Agents and Their Constituents. The ailantus, a tree common enough in our land, and certainly sufficiently tenacious of life in our streets and fields, is a sand-loving tree. I have seen an abandoned cellar choked with healthy ailantus trees, and have known them to spring up from the root after being cut down and rubbed with salt! It is probable, then, that if it will grow on the beach it will hold its own against the ocean or any other enemy.

Finally, forests, and even vineyards and pastures, cover the space once resigned to the barren sand. A succession of a very few favorable seasons suffices to bind the whole surface together with a vegetable network, and the power of resistance possessed by the dunes themselves, and the protection they afford to the fields behind them, are just in proportion to the abundance and density of the plants they support.

To return to our own country: It is said that the dunes of Michigan thirty years ago were clothed with trees, where now the sands are constantly shifting, and the lake beach changing with the action of wave and wind, while the lake level grows lower year by year. The sands of Cape Cod were formerly covered with beach grass, whortleberry bushes, and a peculiar species of dwarf oak.

Dwight, in his Travels, speaking of a beach in Massachusetts, says:.


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At Sea Girt, N. These have raised a natural dike. The sand, blown up the beach, is caught by the bushes and arrested, forming a long irregular bank of considerable height. The hollows behind this bank, protected from the surf, from the sea-breeze, and from destructive sand showers, could readily be reclaimed, fertilized, and made productive. For some years clover has been planted just above another part of the beach, and has produced a heavy crop.

Those who, not many years ago, first beheld with wonder beautiful rose bushes and honeysuckle vines springing from the sands at Ocean Grove, will think little of the difficulty of covering these sands with vegetation sufficiently strong to withstand the inroads of the encroaching sea. Hidden categories: Subpages Pages with contributor.

"a rope of sand" in Chinese

Namespaces Page Discussion. Views Read Edit View history. Display Options. In other languages Add links. This page was last edited on 1 October , at By using this site, you agree to the Terms of Use and Privacy Policy. Since violence against children is exceedingly rare in the giallo, even by the bloody standards of the genre, this is an especially shocking set piece.

Doubtless this coincidence has something to do with the shifting moral climate in Italy at the time, with the recent legalization of divorce and an increasing permissiveness toward depictions of sex and violence in popular culture. Who Saw Her Die? Lado introduces us to two of his main characters through a clever bit of visual trickery. We first see Franco Serpieri George Lazenby as he waits to greet someone among a group of arriving plane passengers. The camera picks up a pretty brunette woman, and crosscuts between the two as Franco proffers a heartfelt greeting. Only then do we hear an unexpectedly girlish voice in response, as the woman continues on, and Franco stoops down to hoist his daughter, Roberta Nicoletta Elmi , into shot.

Throughout the first act, Lado uses his wintry Venetian locations to optimum atmospheric effect. He continually frames Roberta against eerie, nearly empty streets, bridges, and squares. Lado shoots this whirling rondeau with a dizzying verve that would make Brian De Palma proud.

Female protagonists usually must battle against some sort of attempted gaslighting. Because Franco is a struggling sculptor, most of the list of suspects happen to be members of his inner circle. The standout killing, via a pair of scissors, takes place against the sterile white preserves of an indoor aviary.

And Lado even goes in for a bit of meta filmmaking when one potential eyewitness is garroted in a darkened movie theater. Only a producer-imposed final line of dialogue serves to blunt the impact of this chilly, surprisingly elegiac giallo film. The Blu-ray image reveals more information on the right-hand side, appears darker overall, with less harsh whites, and displays far greater depth and clarity of detail.

For the first time on domestic home video, the Italian-language track has been included.

A Rope of Sand: The Colonial Agents, British Politics, and the American Revolution

Howarth also extensively covers the careers of the principal cast and crew. When it comes to What Saw Her Die? Elmi relates an amusing anecdote about working with Dario Argento on Deep Red , decries the need for censorship with regard to the themes of Who Saw Her Die?

But their separateness from one another derives less from an adherence to cultural norms than a mutual stubbornness and refusal to compromise their deeply ingrained, class-informed attitudes. Unsurprisingly, their marriage is primarily defined by petty squabbles and white lies. Much of their tension stems from their disparate upbringings, as Taeko comes from a wealthy and traditional Tokyo family and Mokichi from a more restrictive rural family. Here, though Setsuko is certainly a disruptive force, her youthful ideals—particularly her desire to marry for love and alack of concern for class divisions—are shown in a resoundingly positive light, not only in her influence on Mokichi, but in her deepening bond with the working-class Noburo.

The image is consistently sharp, boasting strong contrast and nicely balanced by an even distribution of grain, ensuring a slight filmlike softness is retained throughout. Faces, as well as the fabrics of suits and kimonos and objects in the foreground, are particularly rich in detail. But the uniting theme of this trilogy may as well be the impossibility of intimate heterosexual relationships, as in each of these films the bonds that tie men and women together snap under pressure, or are already irreparably shattered.

In nearly silent, expressionistic sequence, Bergman evokes her simultaneous anguish and ecstasy as she experiences a kind of perverse rapture in the empty room. She confesses to Minus her horrifying, sexually tinged fantasies of God visiting her in the form of a spider, and the sexually confused Minus becomes infatuated with her.

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Karin discovers that even her bookish, outwardly sensitive husband has been keeping the true scope of her diagnosis from her, maintaining a diary in which he clinically logs the progress of her disease. Persson commits suicide later the same afternoon, and Tomas must grapple not only with his own encroaching lack of faith, but not having provided the man with effective counsel. Also in Winter Light , though, the dissolution of the bond between man and God manifests itself in a disturbance of the relations between men and women. Bergman, of course, deserves much credit as a director of actors.

The Silence , with its loose, meandering story, depends on commanding performances from Thulin and Gunnel Lindblom as Ester and Anna, a pair of sisters lodging in a hotel in an unnamed, presumably Eastern European country on the eve of war. The film would be notorious and unexpectedly successful upon its release for its frank depiction of female sexuality. What seemed scandalous and groundbreaking in , however, often feels tame and fetishizing today.

The transfers are derived from new 2K scans of each film, which exhibit marked improvements upon earlier home-video releases. These improvements are most readily apparent in Winter Light , whose use of bright, diffused light was washed out on the DVD. The other two films make more use of high-contrast lighting, reproduced on the Blu-rays with stable blacks and an utter lack of visual artifacts. The sound for each film is based on remastered versions of the original 35mm soundtracks. The most striking aspect of the films that the remastered soundtracks bring to bear is, appropriately, their silence.

Rope of Sand () - IMDb

In all, the extras on the Blu-ray discs present a much more robust offering than on the release. While these new pieces are welcome, oddly missing are the three essays, by Cowie, Leo Braudy, and Peter Mathews, included on the release. The film, whose Ennio Morricone score suggests a hushed lullaby, is soaked in the iconography of a world in transition.

Through a haze of simmering sexual tensions, suicide threats, seizure attacks, and slaps across the face emerges Alesandro Lou Castel , a young man with the face of Doogie Howser and the personality of Stanley Kowalski. The film comes on strong—no Linda Blair-style pisser in the living room to foreshow its fireworks—and, perhaps appropriately, ends with something close to an exorcism. The 1. Bad faith? Somewhere in between those two story points, Bob indirectly causes Helen to go blind, discovers something like a god in the form of a cryptically gay-ish artiste Otto Kruger , entertains Helen with the help of an adolescent live-action Peppermint Patty Judy Nugent , and goes a little gray at the temples.

Helen, meanwhile, cries.

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Sirk takes this plot, already committed to film in workmanlike fashion by John M. In any case, the traces of edge enhancement that plagued specific scenes in the DVD are nowhere to be seen here. The sound mix is uncompressed on the Blu-ray—not that it opens up things much beyond what the DVD accomplished, given s sound technology. Until such time comes as Criterion finally gets around to their Written on the Wind upgrade, this and All That Heaven Allows remain two parts of a bonus-feature trilogy waiting for the third to arrive.

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