Uprising Film Quotes

mailbox decorated with both an eagle and a lily, to signify that the youngest scouts risked their lives delivering its letters. When news of the Uprising reached Hitler, he ordered Himmler to send in his harshest troops, kill every Pole, and pulverize the whole city block by block, bomb, torch, and bulldoze it beyond repair as a warning to the rest of occupied Europe. For the job, Himmler chose the most savage units in the SS, composed of criminals, policemen, and former prisoners of war. On the Uprising’s fifth day, which came to be known as “Black Saturday,” Himmler’s battle-hardened SS and Wehrmacht soldiers stormed in, slaughtering 30,000 men, women, and children. The following day, while packs of Stukas dive-bombed the city—in archival films, one hears them whining like megaton mosquitoes—ill-equipped and mainly untrained Poles fought fiercely, radioed London to air-drop food and supplies, and begged the Russians to launch an immediate attack. Antonina wrote in her diary that two SS men opened the door, guns drawn, yelling: “Alles rrraus!!” Terrified, she and the others left the house and waited in the garden, not knowing what to expect but fearing the worst. “Hands

Sarah,’ Hugo smirked, ‘we’re only making movies here, not inciting a Marxist uprising. I mean, there’s only room in history for one film-maker like Tarkovsky, right?

The Supreme Court case briefly turned Bossie into a conservative cause célèbre, not because Republicans thought his film would have any effect on Clinton, who had already been dispatched by Obama, but because it was the vehicle that eliminated campaign spending restrictions, opening the floodgates for more corporate money to pour into electoral politics. It bestowed upon Bossie a temporary glow that made him seem like a big deal and a consequential player in Republican circles at the very moment when Donald Trump was getting serious about running for president and casting about for advice. Trump

In the same way that a collateralized-debt obligation is the sum of hundreds of individual mortgages, the real value of a film is the outstanding sum of its individual licensing deals: both products can quickly ruin investors who don’t understand them. When