File Name : The self-destruction of Gia_2003.mp4File Size : 1188.84 MBResolution : 640352Duration : 01:21:02Video : AVC, 2 000 kb/s, 25.000 FPSAudio : AAC, 128 kb/s (CBR), 44.1 kHz, 2 channels, 1 stream
Gia remains a mystery, despite input from her mother, the female stylist with whom she had some kind of affair, mostly one-sided pursuing from Gia, her counsellor who found himself in the grimiest shooting galleries rescuing her from ODing, and a handful of others from the fashion world, including Janice Dickinson. Included in the interviews, and probably the one with the most insight of heroin usage, is Zoe Lund, giving her last interview, as she succumbed from a drug overdose in 1999 at the age of 37.
The Self Destruction Of Gia Torr
Kabir Singh is a 2019 Indian Hindi-language romantic drama film written and directed by Sandeep Reddy Vanga and jointly produced by Bhushan Kumar and Krishan Kumar under T-Series Films and Murad Khetani and Ashwin Varde under Cine1 Studios.[4] A remake of Vanga's own Telugu film Arjun Reddy (2017), it stars Shahid Kapoor in the titular role as a surgeon who spirals into self-destruction when his girlfriend, Preeti, played by Kiara Advani, marries someone else. Adil Hussain, Nikita Dutta, Arjan Bajwa, Suresh Oberoi, Dolly Minhas, Suparna Marwah, Anurag Arora, Soham Majumdar, Kunal Thakur, Anusha Sampath, Amit Sharma and Kamini Kaushal feature in supporting roles.
Harpal continues to oppose their relationship, despite Kabir's attempts to explain their love. Enraged, Kabir asks Preeti to choose between him and her family within the next six hours, or he will end their relationship. Preeti fails to reach back to him in time; feeling abandoned, Kabir injects himself with morphine and remains unconscious for the next two days. On gaining consciousness, he learns that Preeti is being forced into an arranged marriage and gatecrashes the wedding party; Harpal has him beaten and arrested. After Kabir is released, his father, Rajdheer, ostracises him from the family for his antics.
Gia Marie Carangi (Angelina Jolie, Mila Kunis) was born in 1960 Philadelphia and grew up in a broken home. Her mother (Mercedes Ruehl) left her combative relationship with her father. She's volatile and carries a switchblade. At 17, she meets top modeling agent Wilhelmina Cooper (Faye Dunaway). She moves to NYC with boyfriend T.J. but he goes back to Philly. She gets involved with straight-laced photo assistant Linda (Elizabeth Mitchell). She becomes a modeling star. However there is always a need in her that is eventually filled by drugs.This is simply Angelina Jolie in all her glory. She solidifies herself as the most compelling sexually-volatile actress around at the time. The story isn't much and it doesn't have much drama. The movie has a little style but it is tethered to its TV roots. It is a showcase for Jolie and not much more.
Gia's a great biographic film with a credible story, great cast and great presentation. Angelina Jolie's performance here is nothing less than incredible, in fact there was a short time when I thought she's really Gia herself and that she's really troubled...that's how convincing her act is. Mercedes R makes a great support role...and a mother as well.There are so many things to learn here, like how fashion was in the 1970's and 1980's, Gia's lesbian crave, the drugs and the AIDS. The film is so realistic, you'll really care for the people and the events that unfold.Definitely a must-view!
Perhaps the granddaddy of the modern action spectacle, The Guns of Navarone broke with movie tradition by letting go of World War 2 as a sacred topic and presenting its thrills as escapism, pure and simple. The film pays lip service to the notion that War is Hell while constructing a giant fun-house attraction filled with explosions, hairbreadth escapes and the notion that a few superhero fighters can single-handedly turn the tide of history. For perhaps the first time, enemy soldiers are presented as bowling pins to be knocked over by our bulletproof chosen few; ugly reality is never allowed to seriously impinge on the fun. Big, slick and assembled with masterful style, The Guns of Navarone led the way for violent action dramas to become increasingly more cynical and self-righteous; a necessary step on the way to the James Bond sixties.
The film's self-confidence is best demonstrated when some of our heroes are trapped in a house surrounded by Nazis. We only see them begin to climb onto the roof; there's no need to show exactly how they escape. When Anthony Quinn plays his big scene pretending to be a coward so as to turn the tables on their captors, we don't ask why eight very dangerous people are guarded by only two armed Germans. But we do expect Gregory Peck to turn to the camera like Tex Avery's Screwy Squirrel and say, "We do this to them all through the picture!"
All of these shenanigans merely prove that The Guns of Navarone has stumbled onto a win-win adventure movie formula. Before we can laugh at the outrageousness of it all, the dapper David Niven follows up with a snappy wisecrack: the movie pre-empts our jokes by supplying its own. The overall tone is actually more than a little schizophrenic. When knives and bullets fly we're encouraged to sit back and enjoy the mayhem and destruction. But other scenes affect a serious mode, such as those involving the painfully injured Anthony Quayle character. Sheer class moviemaking does the trick, with the exotic Rhodes locations and Dimitri Tiomkin's superlative music putting us in the mood for high adventure, and building anticipation for a bombastic climax.
GAEA or GE (Gaia or Gê), the personification of the earth. She appears in the character of a divine being as early as the Homeric poems, for we read in the Iliad (iii. 104) that black sheep were sacrificed to her, and that she was invoked by persons taking oaths. (iii. 278, xv. 36, xix. 259, Od. v. 124.) She is further called, in the Homeric poems, the mother of Erechtheus and Tithyus. (Il. ii. 548, Od. vii. 324, xi. 576; comp. Apollon. Rhod. i. 762, iii. 716. According to the Theogony of Hesiod (117, 12,5, &c.), she was the first being that sprang front Chaos, sand gave birth to Uranus and Pontus. By Uranus she then became the mother of a series of beings, -- Oceanus, Coeus, Creius, Hyperion, Iapetus, Theia, Rheia, Themis, Mnemosyne, Phoebe, Thetys, Cronos, the Cyclopes, Brontes, Steropes, Arges, Cottus, Briareus, and Gyges. These children of Ge and Uranus were hated by their father, and Ge therefore concealed. them in the bosom of the earth; but she made a large iron sickle, gave it to her sons, and requested them to take vengeance upon their father. Cronos undertook the task, and mutilated Uranus. The drops of blood which fell from him upon the earth (Ge), became the seeds of the Erinnyes, the Gigantes, and the Melian nymphs. Subsequently Ge became, by Pontus, the mother of Nereus, Thaumas, Phorcys, Ceto, and Eurybia. (Hes. Theog. 232, &c.; Apollod. i. 1. 1, &c.) Besides these, however, various other divinities and monsters sprang from her. As Ge was the source from which arose the vapours producing divine inspiration, she herself also was regarded as an oracular divinity, and it is well known that the oracle of Delphi was believed to have at first been in her possession (Aeschyl. Eum. 2; Paus. x. 5. 3), and at Olympia, too, she had an oracle in early times. (Paus. v. 14. 8.) That Ge belonged to the theoi chthinioi, requires no explanation, and hence she is frequently mentioned where they are invoked. (Philostr. Vit. Apoll. vi. 39; Ov. Met. vii. 196.) The surnames and epithets given to Ge have more or less reference to her character as the all-producing and all-nourishing mother (mater omniparens et alma), and hence Servius (ad Aen. iv. 166) classes her together with the divinities presiding over marriage. Her worship appears to have been universal among the Greeks, and she had temples or altars at Athens, Sparta, Delphi, Olympia, Bura, Tegea, Phlyus, and other places. (Thuc. ii. 15; Paus. i. 22. 3, 24. 3, 31. 2, iii. 11. 8, 12. 7, v. 14. 8, vii. 25. 8, viii. 48. 6.) We have express statements attesting the existence of statues of Ge in Greece, but none have come down to us. At Patrae she was represented in a sitting attitude, in the temple of Demeter (Paus. vii. 21. 4), and at Athens, too, there was a statue of her. (i. 24. 3.) Servius (ad Aen. x. 252) remarks that she was represented with a key.
Hesiod, Theogony 116 ff (trans. Evelyn-White) (Greek epic C8th or C7th B.C.) :"Verily at first Khaos (Chaos, the Chasm) [Air] came to be, but next wide-bosomed Gaia (Gaea, the Earth), the ever-sure foundation of all the deathless ones who hold the peaks of snowy Olympos, and dim Tartaros (Tartarus, the Pit) in the depth of the wide-pathed Earth, and Eros (Love), fairest among the deathless gods, who unnerves the limbs and overcomes the mind and wise counsels of all gods and all men within them.From Khaos (Chaos, the Chasm) came forth Erebos (Erebus, Darkness) and black Nyx (Night); but of Nyx (Night) were born Aither (Aether, Light) and Hemera (Day), whom she conceived and bore from union in love with Erebos.And Gaia (Gaea, the Earth) first bore starry Ouranos (Uranus, the Heavens), equal to herself, to cover her on every side. And she brought forth long Ourea (Mountains), graceful haunts of the goddess Nymphai (Nymphs) who dwell amongst the glens of the mountains. She bare also the fruitless deep with his raging swell, Pontos (Pontus, the Sea), without sweet union of love.But afterwards she lay with Ouranos (Uranus) and bare [the Titanes (Titans)] deep-swirling Okeanos (Oceanus) [the earth-encircling river], Koios (Coeus) and Krios (Crius) and Hyperion and Iapetos (Iapetus), Theia and Rheia, Themis and Mnemosyne and gold-crowned Phoibe (Phoebe) and lovely Tethys. After them was born Kronos (Cronus), the wily, youngest and most terrible of her children, and he hated his lusty sire." 2ff7e9595c
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