In The Heart Of The Sea Tamil Dubbed Movie Download Moviesda

[Victorio Galindo]

Anywaythe local government representative, John Hardin (Thomas Meighan), has an awful crush on Wetona but she only has eyes for his assistant, Anthony (Gladden James). Why this is, I have no idea. Ladies, if you were Wetona, who would you rather have?

Well, Wetona is not exactly the brightest bulb on the tree and she prefers Anthony. In fact, it seems that Wetona and Anthony have been Very Naughty Indeed. Naughty enough for Wetona to quit her position as Vestal Virgin at the traditional corn festival.

I find this detail odd as the Blackfoot, shockingly, were not Romans. Romans worshipped Vesta, goddess of the hearth, and therefore had Vestal Virgins. Did the Blackfoot worship other Roman gods? Like Bubona, goddess of cattle, or Devera, goddess of brooms or perhaps even Laverna, patroness of con men? Or did they, perhaps, mix and match from assorted mythology and also worshiped, say, Yeomra, Korean king of the underworld, or Mamlambo, Zulu goddess of rivers. How did this get started?

See, the marriage will be in name only and that way she will be safe until her lover returns. I would have thought it would make more sense for her to just marry her lover. Well, Anthony has decided that Wetona is too hot to handle and he means to beat feet. He asks Wetona to keep covering for him and to marry John because he (Anthony) will totally come back for her later. If you were Wetona, what would you do?

Maybe she and John are made for one another! Anyway, Anthony sticks around for the ceremony and even provides his pinkie ring as the wedding band. (The same pinkie ring business happens in Moonstruck nearly seventy years later. Lesson? Never share your pinkie ring.)

Our female lead, on the other hand, does not come off so well. Of all the silent era superstars, no actress has sunk further into obscurity than Norma Talmadge. She dominated the box office for over a decade. Her marriage to producer Joseph Schenck ensured that she was one half of a super-power couple. She was mentioned in the same breath as Mary Pickford, Lillian Gish and Gloria Swanson.

Nowadays, though, Norma Talmadge is often a footnote. She made her last film in 1930 and, while she made some personal appearances, she showed very little interest in maintaining the trappings of stardom. She passed away in 1957, years before scholarly interest in the silent era reached the mainstream.

As Wetona, Talmadge comes off as weird and just a little dim. Okay, not just dim, she is as thick as a brick. Of course, the incredible offensive title cards do not help matters but the scenario also fails its star. Wetona is made to do preposterous things in order to keep the plot going. Because she makes so many idiotic mistakes, Wetona is a difficult heroine to root for.

Heart of Wetona is probably not going to win Talmadge many new fans but I have newfound respect for Thomas Meighan. I have always liked him as an actor but coming through this film with his dignity intact is a marked accomplishment and I salute him for it.

You see, the movie was shot on location right when the Spanish Influenza epidemic hit. As the picture was being made in the middle of nowhere, filming was not shut down (many companies had to take a break due to illness and fear of transmission) and it seems that the worst of the epidemic was avoided.

Heart of Wetona was released on DVD by Alpha, a budget disc company. You can snag a copy for as little as $3.00, as of this writing. All this entertainment for the price of a latte? (Yes, I do couch all my economic information in coffee shop terms, what of it?) The film is too fast and it has a cobbled-together canned score. I recommend using my Silent Film First-aid Kit for best results.

And this film received a higher note than The Wizard of Oz? Well, if I could endure the 1925 Dorothy misery, I can see this one without problems.

Your review was very witty and I loved the captions for the pictures; I need more of this man in leopard chaps, really.

Thanks for the amazing blogathon!

Kisses!

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Werner Herzog's "Heart of Glass" (1976) is a vision of man's future as desolation. In a film set entirely in a Bavarian village around 1800, it foresees the wars and calamities of the next two centuries and extends on into the 21st with humanity's nightfall. In the story of the failure of a small glassblowing factory, it sees the rise and collapse of the industrial revolution, the despair of communities depending on manufacture, the aimlessness of men and women without a sense of purpose.

None of these things is specifically stated. They come in the form of prophecies by a shepherd, who pronounces them in a trance to townspeople who think he must be mad. His words don't specify any of the events we know to have taken place, but they're uncanny in their ability to evoke what was coming. His words are the way a man might describe nuclear destruction, tyranny, ecological disaster and the dominance of the crowd over the individual--if that man lacked words for the fearful images that appeared to him.

This is one of the least seen and most famous of Herzog's films, known as the one where most of the actors were hypnotized in most of the scenes. It hasn't been much seen, perhaps because it isn't to the taste of most people, seeming too slow, dark and despairing. There's no proper story, no conclusion, and the final scene is a parable seemingly not connected to anything that has gone before. I think it should be approached like a piece of music, in which we comprehend everything in terms of mood and aura, and know how it makes us feel even if we can't say what it makes us think.

Herzog's canvas has two shots from the tops of peaks, looking down over the earth. For the rest, he sets his film entirely within the village, in a few houses, a beer hall, a glass factory, and in the surrounding forest. The people depend for their existence on the manufacture of beautiful and valued rose-colored glassware. The master glassmaker Muhlbeck has died, taking to the grave the secret of the glass. Desperate experiments are undertaken to rediscover the recipe, but all fail. A reasonable person might say, "All right then, the factory can make other kinds of glass." There are no reasonable people in the village.

Herzog indeed hypnotized them for most of the scenes; that is not simply publicity. The dialogue which they repeat under hypnosis is pronounced with a dread certainty. It lacks life and individuality. Is this how hypnotized people speak? Not necessarily. Usually they speak more like--themselves. Eerily, it occurs to me that what we may actually be hearing are the intonations of Herzog's own voice as he hypnotized them and told them what to say. He is acting through them.

He removes all individuality from the performances. He removes all self-awareness. These are not "characters," although they have distinct characteristics. They are men who have had their souls taken from them by the failure of their work. With nothing to do and nothing to hope for, they no longer have the will to survive. I am reminded of the Chinese factory workers in the documentary "Last Train Home," who leave the provinces and live in dormitories to work for meager wages which they send home to support their children. It is a dismal life, but it is a purpose, and if while absent 50 weeks a year they lose the love of their children, then the secret of the glass has been lost.

Certain citizens stand out from the small population. There is Hias (Joseph Bierbichler), the prophetic shepherd. The heir to the factory. The dwarfish sycophant. A brazen woman. A glass blower. Two friends, who quarrel and fall drunken from a hayloft, one living, one dying because his body cushions the other's fall. The survivor dances inconsolably with his friend's body. His macabre dance, and many other scenes, take place within a beer hall where the people drink and stare. In a well-known scene, one of the friends breaks a beer stain over the head of the other, who doesn't react. Then, slowly, he pours his own beer over the first one's head, again getting no reaction.

You can sense what Herzog is getting at. In the ordinary world one man doesn't break a mug over another's head without some ostensible reason, based on their personalities, the situation, and what they've said. All of that is redundant for Herzog's purpose. He shows the essence of the two men quarreling. They require no occasion. They are bereft of reason and a purpose for living, and reduced to automatons of hopelessness and hostility.

I mentioned two scenes on mountain peaks. They open and close the film. The first shows a man looking down into a vast valley, through which a river of clouds pours. In 1976 these clouds were not created by CGI; Herzog used special effects to combine the man and the image. I learn he worked 12 days to get the shot. The effect is haunting. What it evokes for me is the sense of Man standing above Time and glimpsing it on its flow toward Eternity. I learn from the critic Neil Young that Herzog's "debt to 19th-century German artists is evident, with Caspar David Friedrich prominent among the influences." He says this shot "recreates his famous 'Wanderer Over a Sea of Fog'."

The final scene involves a man on a mountain peak who looks out to sea. Herzog intercuts sea birds on the mountain side, moving in nervous waves of flight. A narrator explains that the man concludes there must be something on the other side of the ocean. Transfixed by his conviction, men set out to cross the sea, rowing with fierce determination in a pitifully small boat after land disappears behind them and no land appears before them. The narrator tells us they took it as a good omen that the birds followed them out to sea.

What does this mean? It is better to row into oblivion than to wait for it to come to you? I don't know. Some images are complete without translation into words. "Heart of Glass" strikes me as a film of such images. From it I get a feeling that evokes my gloom as I see a world sinking into self-destruction, and feel I am lucky to be old because there may not be another lifetime's length of happiness left for most people on this planet. For most of my time here there was still rose-colored glass.

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