Liberty Under Fire |

AJ DePriest: Confront the Schools, Ask Them How Much They're Being Bribed to Abuse Our Children

Published October 10, 2022

video

https://rumble.com/v1nd0sc-aj-depriest-confront-the-schools-ask-them-how-much-theyre-being-bribed-to-a.html

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The Vigilant Fox

"Take this [information] in front of your school boards and confront them. Ask them, How much money are you taking from the federal government to commit this egregious tyrannical behavior on our kids?' And if they don't know, tell them how much it is and tell them to give that money back."

H/T: https://t.me/childcovidvaccineinjuriesuk

Support my work with a free or paid Substack subscription: https://vigilantfox.substack.com

Read my articles: https://redvoicemedia.com/vigilantfox

Follow my other socials at https://vigilantfox.id

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Situation Update, Oct 10, 2022 - Why the COLLAPSE of the current EVIL system will set humanity free

Situation Update, Oct 10, 2022 - Why the COLLAPSE of the current EVIL system will set humanity free

Oct 10, 2022

video

https://www.brighteon.com/1f4ac4cc-3533-443a-a64c-7f81bc5237ee.

source

Health Ranger Report

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THE BRIDGE OF THE RIVER KWAI 1957 . Full Movie

image by Roger Ebert

 THE BRIDGE OF THE RIVER KWAI 1957 . Full Movie

VIDEO LINK :

https://ww2.fmovies.co/film/the-bridge-on-the-river-kwai--13159/.

SOURCE

https://ww2.fmovies.co/home/.

================================

The last words in David Lean's "The Bridge on the River Kwai" are "Madness! Madness ... madness!" Although the film's two most important characters are both mad, the hero more than the villain, we're not quite certain what is intended by that final dialogue. Part of the puzzle is caused by the film's shifting points of view.

Seen through the eyes of Col. Nicholson (Alec Guinness), commanding officer of a battalion of British war prisoners, the war narrows to a single task, building a bridge across the Kwai. For Shears (William Holden), an American who escapes from the camp, madness would be returning to the jungle. For Col. Saito (Sessue Hayakawa), the Japanese commandant of the camp, madness and suicide are never far away as the British build a better bridge than his own men could. And to Clipton (James Donald), the army doctor who says the final words, they could simply mean that the final violent confusion led to unnecessary death.

Most war movies are either for or against their wars. "The Bridge on the River Kwai" (1957) is one of the few that focuses not on larger rights and wrongs but on individuals. Like Robert Graves' World War I memoir, Goodbye to All That, it shows men grimly hanging onto military discipline and pride in their units as a way of clinging to sanity. By the end of "Kwai" we are less interested in who wins than in how individual characters will behave.

The film is set in 1943, in a POW camp in Burma, along the route of a rail line the Japanese were building between Malaysia and Rangoon. Shears is already in the camp; we've seen him steal a cigarette lighter from a corpse to bribe his way into the sick bay. He watches as a column of British prisoners, led by Nicholson, marches into camp whistling "The Colonel Bogey March."

Nicholson and Saito, the commandant, are quickly involved in a faceoff. Saito wants all of the British to work on the bridge. Nicholson says the Geneva Convention states officers may not be forced to perform manual labor. He even produces a copy of the document, which Saito uses to whip him across the face, drawing blood. Nicholson is prepared to die rather than bend on principle, and eventually, in one of the film's best-known sequences, he's locked inside "the Oven"--a corrugated iron hut that stands in the sun.

The film's central relationship is between Saito and Nicholson, a professional soldier approaching his 28th anniversary of army service ("I don't suppose I've been at home more than 10 months in all that time"). The Japanese colonel is not a military pro; he learned English while studying in London, he tells Nicholson, and likes corned beef and Scotch whisky. But he is a rigidly dutiful officer, and we see him weeping privately with humiliation because Nicholson is a better bridge builder; he prepares for hara-kiri if the bridge is not ready on time.

The scenes in the jungle are crisply told. We see the bridge being built, and we watch the standoff between the two colonels. Hayakawa and Guinness make a good match as they create two disciplined officers who never bend, but nevertheless quietly share the vision of completing the bridge.

Hayakawa was Hollywood's first important Asian star; he became famous with a brilliant silent performance in Cecil B. DeMille's "The Cheat" (1915). Although he worked onstage and in films in both Japan and the United States, he was unusual among Japanese actors of his generation in his low-key delivery; in "Kwai" he doesn't bluster, but is cool and understated--as clipped as Guinness. (Incredibly, he was 68 when he played the role.)

Alec Guinness, oddly enough, was not Lean's first choice for the role that won him an Oscar as best actor. Charles Laughton originally was cast as Col. Nicholson, but "could not face the heat of the Ceylon location, the ants, and being cramped in a cage," his wife, Elsa Lanchester, wrote in her autobiography. The contrasts between Laughton and Guinness are so extreme that one wonders how Lean could see both men playing the same part. Surely Laughton would have been juicier and more demonstrative. Guinness, who says in his autobiography that Lean "didn't particularly want me" for the role, played Nicholson as dry, reserved, yet burning with an intense obsession.

That obsession is with building a better bridge, and finishing it on time. The story's great irony is that once Nicholson successfully stands up to Saito, he immediately devotes himself to Saito's project as if it is his own. He suggests a better site for the bridge, he offers blueprints and timetables, and he even enters Clipton's hospital hut in search of more workers, and marches out at the head of a column of the sick and the lame. On the night before the first train crossing, he hammers into place a plaque boasting that the bridge was "designed and built by soldiers of the British army."

It is Clipton who asks him, diffidently, if they might not be accused of aiding the enemy. Not at all, Guinness replies: War prisoners must work when ordered, and besides, they are setting an example of British efficiency. "One day the war will be over, and I hope the people who use this bridge in years to come will remember how it was built, and who built it." A pleasant sentiment, but in the meantime the bridge will be used to advance the war against the Allies. Nicholson is so proud of the bridge that he essentially forgets about the war.

The story in the jungle moves ahead neatly, economically, powerfully. There is a parallel story involving Shears that is not as successful. Shears escapes, is taken to a hospital in British-occupied Ceylon, drinks martinis and frolics with a nurse, and then is asked by Maj. Warden (Jack Hawkins) to return as part of a plan to blow up the bridge. "Are you crazy?" Shears cries, but is blackmailed by Warden's threat to tell the Americans he has been impersonating an officer. Holden's character, up until the time their guerrilla mission begins, seems fabricated; he's unconvincing playing a shirker, and his heroism at the end seems more plausible.

Lean handles the climax with precision and suspense. There's a nice use of the boots of a sentry on the bridge, sending hollow reverberations down to the men wiring the bridge with plastic explosives. Meanwhile, the British celebrate completion of the bridge with an improbable musical revue that doesn't reflect what is known about the brutal conditions of the POW camps.

The next morning brings an elaborate interplay of characters and motives, as the sound of the approaching train creates suspense, while Nicholson, incredibly, seems ready to expose the sabotage rather than see his beloved bridge go down. (The shot of the explosion and the train tumbling into the river uncannily mirrors a similar scene in Buster Keaton's silent classic "The General," in which the train looks more convincing.)

Although David Lean (1908-1991) won his reputation and perhaps even his knighthood on the basis of the epic films he directed, starting with "The Bridge on the River Kwai" in 1957, there's a contrarian argument that his best work was done before the Oscars started to pile up. After "Kwai" came "Lawrence of Arabia," "Doctor Zhivago," "Ryan's Daughter" and "A Passage to India"; all but "Ryan" were nominated for best picture, and the first two won. Before "Kwai" he made smaller, more tightly wound films, including "Brief Encounter," "Oliver Twist" and "Great Expectations" (1946). There is a majesty in the later films (except for "Ryan's Daughter") that compensates for the loss of human detail, but in "Kwai" he still has an eye for the personal touch, as in Saito's private moments and Nicholson's smug inspection of the finished bridge. There is something almost Lear-like in his final flash of sanity: "What have I done!"

Roger Ebert 

April 18, 1999

===================

Bridges of this magnitude are Specimen of Civilization and they should NOT be destroyed.

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TIMELAPSE - MAN BUILDS OFF GRID CABIN (In Alaska) // An Amazing video! You have to see it. // Ένα Καταπληκτικό βίντεο! Πρέπει να το δείτε.

TIMELAPSE - MAN BUILDS OFF GRID CABIN (In Alaska)

An Amazing video! You have to see it. //// 

Ένα Καταπληκτικό βίντεο! Πρέπει να το δείτε.

source

This Is My Alaska

This Is My Alaska

235K subscribers
This video is special to me, because it is one of my earliest. I shot it about a year before starting this channel. Most of the footage was taken using an I Phone 8, and I have been hesitant to release it because the quality is not the greatest. But after some consideration, I have decided to put it out there. The setting for this little place is spectacular and too pretty to keep to myself. The cabin is located high up in a mountain pass, way above timberline. The country is alpine. There are a number of glaciers in the surrounding mountains, one you can see from the back porch of the cabin. The lake in front of the cabin is a bit of an illusion. The cabin sits on the edge of a bluff, about 150 feet above the water. The lake is actually several miles long. I started work on this project in early August, when the blueberries were just ready to pick, and finished it in January of the same year. Enjoy! Oh, and this video is also my first time lapse - Let me know how you like it.
////
Αυτό το βίντεο είναι ξεχωριστό για μένα, γιατί είναι από τα πρώτα μου. Το γύρισα περίπου ένα χρόνο πριν ξεκινήσω αυτό το κανάλι. Το μεγαλύτερο μέρος του πλάνα τραβήχτηκε χρησιμοποιώντας ένα I Phone 8 και δίστασα να το κυκλοφορήσω επειδή η ποιότητα δεν είναι η καλύτερη. Αλλά μετά από κάποια σκέψη, αποφάσισα να το βάλω εκεί έξω. Το σκηνικό για αυτό το μικρό μέρος είναι εντυπωσιακό και πολύ όμορφο για να το κρατήσω για τον εαυτό μου. Η καμπίνα βρίσκεται ψηλά σε ένα ορεινό πέρασμα, πολύ πάνω από την ξύλινη γραμμή. Η χώρα είναι αλπική. Υπάρχουν αρκετοί παγετώνες στα γύρω βουνά, έναν που μπορείτε να δείτε από την πίσω βεράντα της καμπίνας. Η λίμνη μπροστά από την καμπίνα είναι λίγο ψευδαίσθηση. Η καμπίνα βρίσκεται στην άκρη μιας μπλόφας, περίπου 150 πόδια πάνω από το νερό. Η λίμνη είναι στην πραγματικότητα αρκετά μίλια σε μήκος. Ξεκίνησα να δουλεύω σε αυτό το έργο στις αρχές Αυγούστου, όταν τα βατόμουρα ήταν μόλις έτοιμα να μαζευτούν, και το τελείωσα τον Ιανουάριο του ίδιου έτους. Απολαύστε το ! Α, και αυτό το βίντεο είναι επίσης το πρώτο μου time lapse - Πείτε μου πώς σας αρέσει.

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CANADA

Trudeau humiliated by Poilievre and foreign media

source

JustinCredibleTV

125K subscribers
Pierre Poilievre destroying the Liberals at every turn in Parliament, sleveral provinces fighting back against the Liberal firearms confiscation scheme, and public opinion of JT is dropping by the day. it's all great news! #pierrepoilievre #justintrudeau #trudeaumustgo

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DR. ROGER HODKINSON; 20 MILLION DEATHS, 2 BILLION SERIOUS INJURIES FROM THE COVID SHOTS.

First published at 01:15 UTC on October 10th, 2022.

video

https://www.bitchute.com/video/Pyl8e6qdvnJJ/.

source

Truth Provider

Oct. 7, 2022. The true global numbers of deaths and injuries are beyond staggering and this is only current estimates. This does not take into account future deaths from the injections, stillbirths, cancer deaths, deaths and illness from immune system disorders etc. These numbers are best estimates taken from Government data. I hope people can appreciate the scale of what is going on here.
See: https://expose-news.com/2022/10/01/20milllion-dead-covid-vaccination/
and: https://peterhalligan.substack.com/p/call-to-arms-the-spike-wars
and: https://peterhalligan.substack.com/p/20-million-saved-or-20-million-killed

Source @Child Covid Vaccine Injuries UK

Interview with Laura-Lynn Tyler Thompson.

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Είναι υπερήρωες όσοι δεν εμβολιάστηκ@ν και δεν λύγισαν στην πίεση λέει ο γάλλος στρατηγός Κρίστιαν Μπλανσόν

 Σε μια ανοικτή επιστολή που έχει προκαλέσει  σάλο  σε όλη την Ευρώπη, ο Γάλλος στρατηγός Κρίστιαν Μπλανσόν επαίνεσε τους πολίτες που αρνήθηκαν τα πειραματικά εμβόλι@ για τον COVI-D-19.

Παρά τις πολυετείς εκστρατείες πίεσης, τις πολιτικές διακρίσεων, τον κοινωνικό αποκλεισμό, την απώλεια εισοδήματος, τις απειλές, ο Γάλλος στρατηγός ευχαρίστησε τους «ανεμβόλι@στους» για τη δύναμη, το θάρρος και την ηγεσία τους:

Πιο συγκεκριμένα ανέφερε ο Κρίστιαν Μπλανσόν:
«Ακόμα κι αν ήμουν πλήρως εμβολι@σμένος, θα θαύμαζα τους ανεμβολί@στους που άντεξαν στη μεγαλύτερη κοινωνική πίεση που έχω δει ποτέ στη ζωή μου. Πίεση από  φίλους, συναδέλφους γιατρούς ακόμη και από συζύγους, γονείς ή και παιδιά.

Οι άνθρωποι που επέδειξαν τέτοιες ικανότητες  προσωπικότητα, θάρρος όπως και κριτική ικανότητα ενσαρκώνουν αναμφίβολα τα καλύτερα παραδείγματα της ανθρωπότητας.

Οι άνθρωποι αυτοί βρίσκονται παντού, σε όλα τα κοινωνικά στρώματα, σε όλες τις ηλικίες, τα επίπεδα εκπαίδευσης, τις χώρες και τις απόψεις.

Είναι συγκεκριμένου είδους.

Είναι οι στρατιώτες που κάθε στρατός του φωτός θα επιθυμούσε να έχει στις τάξεις του.

Είναι οι γονείς που κάθε παιδί επιθυμεί να έχει και τα παιδιά που κάθε γονιός ονειρεύεται να αποκτήσει.

Είναι όντα πάνω από τον μέσο όρο των κοινωνιών τους.

Είναι η ουσία των λαών που έχουν χτίσει όλους τους πολιτισμούς και έχουν κατακτήσει ορίζοντες.

Είναι εκεί, δίπλα σου, φαίνονται φυσιολογικοί, αλλά είναι υπερήρωες.

Έκαναν αυτό που οι άλλοι δεν μπορούσαν να κάνουν. ήταν το δέντρο που άντεξε στον τυφώνα των προσβολών, των διακρίσεων και του κοινωνικού αποκλεισμού.

Και το έκαναν γιατί νόμιζαν ότι ήταν μόνοι και πίστευαν ότι ήταν μόνοι.

Αποκλεισμένοι ακόμη και από τα χριστουγεννιάτικα τραπέζια των οικογενειών τους, δεν έχουν βιώσει τίποτα τόσο σκληρό.

Έχασαν τις δουλειές τους, άφησαν την καριέρα τους να βυθιστεί και δεν είχαν άλλα χρήματα… αλλά δεν τους ένοιαζε.

Υπέστησαν αμέτρητες διακρίσεις, καταγγελίες, προδοσίες και ταπεινώσεις… αλλά δεν λύγισαν. Συνέχισαν.

Ποτέ άλλοτε στην ανθρωπότητα δεν υπήρξε τέτοια κοινωνική πίεση.

Τώρα ξέρουμε όμως  ποιοι είναι οι πραγματικοί αντισταστικοί στον κόσμο μας.

Γυναίκες, άντρες, γέροι, νέοι, πλούσιοι, φτωχοί, κάθε φυλής και κάθε θρησκείας, οι ανεμβολί@στοι, οι εκλεκτοί της αόρατης κιβωτού, οι μόνοι που κατάφεραν να αντισταθούν όταν όλα κατέρρεαν.

Έχετε περάσει μια ασύλληπτη δοκιμασία  που πολλοί από τους πιο σκληρούς πεζοναύτες, , πράσινους μπερέδες, αστροναύτες και ιδιοφυΐες δεν μπορούσαν να περάσουν.

Είστε φτιαγμένοι από τους σπουδαιότερους που έζησαν ποτέ, αυτούς τους ήρωες που γεννήθηκαν ανάμεσα σε απλούς ανθρώπους που λάμπουν στο σκοτάδι».

πηγη

https://karditsastakara.

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