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Thread: Obituary

  1. #1
    Administrator Platinum Hubber NOV's Avatar
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    Obituary

    [tscii]
    Actor David Carradine Dead At 72
    The 'Kill Bill' and 'Kung Fu' star was found in his hotel room in Thailand, where he was filming a movie.


    "Kill Bill" and the man behind the legendary 1970s TV series "Kung Fu," has died at age 72.

    Carradine was reportedly found dead in his hotel room in Bangkok, Thailand, either late Wednesday or early Thursday morning. A spokesman for the U.S. Embassy, Michael Turner, confirmed the death to The Associated Press but would provide no further details out of respect for Carradine's family.

    Citing unidentified police sources, the Thai English-language newspaper The Nation has reported that Carradine was found hanged in a luxury hotel room and died as a result of suicide, though other sources say he died of natural causes.

    Carradine was staying in Bangkok while filming a movie, according to Fox News. The film's crew noticed his absence when they went out to a restaurant. A producer went to Carradine's room and discovered the actor had died.

    Carradine appeared in the late '60s Western series "Shane" and went on to portray Shaolin monk Kwai Chang Caine in "Kung Fu" from 1972 to 1975, a role he reprised in a TV-movie and a '90s TV series. Carradine appeared in over 100 feature films, but perhaps his most well-known recent movie was as Bill in Quentin Tarantino's "Kill Bill" films. MTV News spoke with Carradine in February, and the actor talked hopefully about returning to work with Tarantino on another "Bill" installment.

    "[Tarantino] planned an anime version of the life of Bill before the movie — which would have to be anime because I'm not getting any younger," Carradine said.
    Never argue with a fool or he will drag you down to his level and beat you at it through sheer experience!

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  3. #2
    Senior Member Diamond Hubber groucho070's Avatar
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    Just saw it in the morning. Wonder why? Nalla thaaney iruntharu manusan.

    Well, RIP Grasshopper.
    " நல்ல படம் , சுமாரான படம் என்பதையெல்லாம் தாண்டியவர் நடிகர் திலகம் . சிவாஜி படம் தோற்கலாம் ..சிவாஜி தோற்பதில்லை." - Joe Milton.

  4. #3
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    And Farrah Fawcett

    RIP!!

  5. #4
    Administrator Platinum Hubber NOV's Avatar
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    Michael Jackson dead at 50

    Quote Originally Posted by Sun
    LOS ANGELES (AP) — Michael Jackson, the sensationally gifted child star who rose to become the “King of Pop” and the biggest celebrity in the world only to fall from his throne in a freakish series of scandals, died Thursday, a person with knowledge of the situation told The Associated Press. He was 50.

    The person said Jackson died in a Los Angeles hospital. The person was not authorized to speak publicly and requested anonymity.

    The circumstances of his death were not immediately clear. Jackson was not breathing when Los Angeles Fire Department paramedics responded to a call at his Los Angeles home about 12:30 p.m., Capt. Steve Ruda told the Los Angeles Times. The paramedics performed CPR and took him to UCLA Medical Center, Ruda told the newspaper.

    Jackson’s death brought a tragic end to a long, bizarre, sometimes farcical decline from his peak in the 1980s, when he was popular music’s premier all-around performer, a uniter of black and white music who shattered the race barrier on MTV, dominated the charts and dazzled even more on stage.

    His 1982 album “Thriller” — which included the blockbuster hits “Beat It,” “Billie Jean” and “Thriller” — remains the biggest-selling album of all time, with more than 26 million copies.

    He was perhaps the most exciting performer of his generation, known for his feverish, crotch-grabbing dance moves and his high-pitched voice punctuated with squeals and titters. His single sequined glove, tight, military-style jacket and aviator sunglasses were trademarks second only to his ever-changing, surgically altered appearance.

    By some measures, he ranked alongside Elvis Presley and the Beatles as the biggest pop sensations of all time. In fact, he united two of music’s biggest names when he was briefly married to Presley’s daughter, Lisa Marie.

    As years went by, he became an increasingly freakish figure — a middle-aged man-child weirdly out of touch with grownup life. His skin became lighter, his nose narrower, and he spoke in a breathy, girlish voice. He surrounded himself with children at his Neverland ranch, often wore a germ mask while traveling and kept a pet chimpanzee named Bubbles as one of his closest companions.

    In 2005, he was cleared of charges he molested a 13-year-old cancer survivor at Neverland in 2003. He had been accused of plying the boy with alcohol and groping him. The case took a fearsome toll on his career and image, and he fell into serious financial trouble.

    Jackson was preparing for what was to be his greatest comeback: He was scheduled for an unprecedented 50 shows at a London arena, with the first set for July 13. He was in rehearsals in Los Angeles for the concert, an extravaganza that was to capture the classic Jackson magic: showstopping dance moves, elaborate staging and throbbing dance beats.

    Hundreds of people gathered outside the hospital as word of his death spread. The emergency entrance at the UCLA Medical Center, which is near Jackson’s rented home, was roped off with police tape.

    “Ladies and gentlemen, Michael Jackson has just died,” a woman boarding a Manhattan bus called out, shortly after the news was annunced. Immediately many riders reached for their cell phones.

    In New York’s Times Square, a low groan went up in the crowd when a screen flashed that Jackson had died, and people began relaying the news to friends by cell phone.

    “No joke. King of Pop is no more. Wow,” Michael Harris, 36, of New York City, read from a text message a friend sent to his telephone. “It’s like when Kennedy was assassinated. I will always remember being in Times Square when Michael Jackson died.”
    Never argue with a fool or he will drag you down to his level and beat you at it through sheer experience!

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    Administrator Platinum Hubber NOV's Avatar
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    for obituary msgs for Michael Jackson, please go to dedicated thread here: http://tfmpage.mayyam.com/hub/viewto...832307#1832307
    Never argue with a fool or he will drag you down to his level and beat you at it through sheer experience!

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    Senior Member Diamond Hubber groucho070's Avatar
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    Liked or not, he made quite an impact, especially in the 80s.

    R.I.P John Hughes.

    http://www.mirror.co.uk/news/top-sto...5875-21578100/

    Creator of Home Alone dies at 59

    By Allison Martin 7/08/2009

    SHOWBIZ

    Home Alone creator John Hughes has died of a heart attack aged 59.

    The writer, producer and director, collapsed during a morning walk in New York while visiting family.

    Hughes wrote and produced Home Alone I and II, starring Macaulay Culkin. The first was the top grossing film of 1990.

    He was also director of a number of successful 80s coming-of-age films, including The Breakfast Club, Pretty in Pink and Ferris Bueller's Day Off.

    Born in Michigan, Hughes began his career as an advertising copywriter in Chicago.

    The last film he directed was the comedy Curly Sue in 1991, starring Jim Belushi and Kelly Lynch.

    But he turned his back on Hollywood to run a farm in northern Illinois.

    Hughes leaves his wife of 39 years, Nancy, two sons, John and James, and four grandchildren.
    " நல்ல படம் , சுமாரான படம் என்பதையெல்லாம் தாண்டியவர் நடிகர் திலகம் . சிவாஜி படம் தோற்கலாம் ..சிவாஜி தோற்பதில்லை." - Joe Milton.

  8. #7
    Administrator Platinum Hubber NOV's Avatar
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    John Hughes, director of Planes Trains & Automobiles (percussor to Anbe Sivam), Home Alone, Ferris Buellers Day Off, etc, passed away last Thursday.


    Commentary: Filmmaker John Hughes fondly remembered
    By A. O. Scott


    I've reached the age when my children sometimes ask, "Dad, what were things like in the olden days, when you were a teenager?" They mean the 1980s, and it's not so easy to explain. The ancient past never is.

    But in a pinch I can turn to "The Breakfast Club," "Sixteen Candles" and "Ferris Bueller's Day Off." The haircuts, the music, the clothes — it's all there, and also something of the buoyancy and confusion of being young in those days when VCRs were still a novelty, and vinyl records were not yet obsolete, when text was not a verb and the potential of the Internet was something not even the nerds of "Weird Science" could intuit.

    John Hughes, who died on Aug. 6 at 59, directed only eight films, of which the four I've mentioned are the best. All but his last, "Curly Sue," belong to the '80s, a decade in which Hughes was also busy as a producer, a screenwriter and a pop-culture embodiment of the age. Historians of cinema may be slow or begrudging in appreciating his achievement, but if auteur status is conferred by the possession of a recognizable style and set of themes, Hughes' place in the pantheon cannot be denied.

    Especially for those of us born between the Gulf of Tonkin Resolution and the Bicentennial, the phrase "a John Hughes movie" will instantly conjure a range of images and associations, including the smooth, pale faces of a bevy of young actors. I cringe at the phrase "brat pack," but there they are: Judd Nelson, Jon Cryer, Ally Sheedy, Andrew McCarthy, Anthony Michael Hall.

    And above all, of course, Molly Ringwald, the ginger-haired teenager who, from 1984 to '86, was for Hughes what James Stewart had been for Frank Capra at the end of the Great Depression, and what Anna Karina had been for Jean-Luc Godard in the mid-'60s: an emblem, a muse, a poster child and an alter ego.

    Especially in "Sixteen Candles" and "Pretty in Pink" (directed by Howard Deutch from Hughes' script), she represented his romantic ideal of the artist as misfit, sensitive and misunderstood, aspiring to wider acceptance but reluctant to compromise too much.

    In "Sixteen Candles" she's Sam, the neglected younger sister and social oddball; in "Pretty in Pink" she is Andie, a poor girl in a sea of affluence. That both characters have boys' names is evidence of just how much their author identified with them.

    Shortly after I heard the shocking news of Hughes' death, I was talking to a friend of mine, a few years older than I am, who had seen almost none of those movies. The half-decade gap in our ages made all the difference. While I was in high school, in my own private breakfast club, she was a budding undergraduate cinephile, dressing in black and watching Godard movies.

    But I don't think I'm alone among my cohorts in the belief that John Hughes was our Godard, the filmmaker who crystallized our attitudes and anxieties with just the right blend of teasing and sympathy. Godard described "Masculin Féminin," his 1966 vehicle for Jean-Pierre Léaud and Karina, as a portrait of "the children of Marx and Coca-Cola." McCarthy and Ringwald, in "Pretty in Pink," were corresponding icons for the children of Ronald Reagan and New Coke.

    Which is not to say — I hasten to tell the children of Barack Obama and Vitamin Water — that movies provide a literal or comprehensive picture of that time. A lot of stuff is left out. Politics, for one thing. Black people, for another. And like many other filmmakers who solicit the favor of young audiences, Hughes has been faulted for smoothing over too many rough edges and softening harsh social and psychological realities.

    The response, which will never satisfy some critics, is that his films are fables, not documentaries. These comic dramas may seem juvenile, but they have a classicism — an attention to nuances of dialogue, an elegance of narrative design — that places them well within the noble tradition of Hollywood romance. The spirit of Ernst Lubitsch smiles on "Sixteen Candles," and some of Preston Sturges' mischief inhabits "Ferris Bueller's Day Off."

    In any case, it is as fairy tales rendered from experience, rather than as blunt records of life, that his mid-'80s movies live on. They capture — with a winning mixture of optimism and melancholy, with a generosity of spirit tempered by a punitive sense of right and wrong — something essential in the experience of youth.

    Not only in that specific era, but also before and, I'm guessing, since. Like most artists who are perceived as the voice of a generation, Hughes did not belong to the generation in question. He was a baby boomer, a member of the high school class of 1968 in Northbrook, Ill. And his vision of the classes of 1984 and after was certainly colored by a post-'60s sense of wariness and counter-counterculture suspicion.

    A few years ago an article in Slate pegged Hughes as a conservative, even a reactionary, whose celebration of rebellion had more to do with the middle-class resentments that brought Reagan into office than with residual anti-establishment radicalism. The answers to this accusation are: maybe so, and so what?

    It is true that while his heroes, most notably Ferris Bueller and the members of the Breakfast Club, are in conflict with authority, they are also stubborn in their individualism and often unapologetically materialistic. Which is part of what makes them authentic, and authentically confused.

    The unspecified North Shore Chicago suburb where most of these stories take place is, at first glance and in its own mind, a paradise of uniformity and privilege. And this setting, rather than being the facile hell imagined in movies like "American Beauty," is shown as a genuine expression of the American utopian ideal, a pastoral city on a hill where everyone is comfortable and everyone's the same.

    The paradox is that most people feel, and want to be, different. Not to smash the system or flee its clutches, but rather to find a place within it where they can be themselves, even if they like strange music, come from a poorer family or favor eccentric styles of dress. That desire is what motivates Sam, the birthday girl in "Sixteen Candles," and it also drives both the cocky Ferris Bueller and his nervous buddy Cameron.

    The great, paradoxical insight of "The Breakfast Club" is that alienation is the norm, that nerds, jocks, stoners, popular girls and weirdos are all, in their own ways, outsiders.

    Adolescence is the stage at which this contradiction is most acute, and its possible resolution most tantalizing. And when Hughes moved outside of that zone, into childhood or early adulthood, a sour, hostile undertone crept into his films. You see this in the brutal slapstick of "Home Alone" (which he wrote and produced but did not direct) and the eruptions of misogyny in "She's Having a Baby," and also in the belligerence of John Candy, who replaced Ringwald as Hughes' second self in "Planes, Trains and Automobiles" and "Uncle Buck."

    So you might say that, as an artist, John Hughes never outgrew high school. And it's a little eerie that Hughes died so soon after Michael Jackson, another fixture of '80s popular culture locked in perpetual youth.

    Their deaths make me feel old, but more than that, they make me aware of belonging to a generation that has yet to figure out adulthood, for whom life can feel like a long John Hughes movie. You know the one. That Spandau Ballet song is playing at the big dance. You remember the lyrics, even if it's been years since you heard them last. This is the sound of my soul. I bought a ticket to the world, but now I've come back again. Why do I find it hard to write the next line?
    http://www.mercurynews.com/style/ci_...nclick_check=1
    Never argue with a fool or he will drag you down to his level and beat you at it through sheer experience!

  9. #8
    Senior Member Diamond Hubber groucho070's Avatar
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    I posted the news earlier...but no response. I guess our Hubbers either don't know him, or like him, or experienced the 80s filled with his films...most of which I didn't like, but were important landmarks of the American pop culture.
    " நல்ல படம் , சுமாரான படம் என்பதையெல்லாம் தாண்டியவர் நடிகர் திலகம் . சிவாஜி படம் தோற்கலாம் ..சிவாஜி தோற்பதில்லை." - Joe Milton.

  10. #9
    Administrator Platinum Hubber NOV's Avatar
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    Quote Originally Posted by groucho070
    most of which I didn't like...
    which means I like them very much

    loved FBOD and felt very aligned to the film. needless to say as a steve martin fan, watched PTA in the cinema and thorougly enjoyed it. HA is defintely good.

    RIP Hughes.
    Never argue with a fool or he will drag you down to his level and beat you at it through sheer experience!

  11. #10
    Senior Member Diamond Hubber groucho070's Avatar
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    PTA was good. Inspiration for Anbe Sivam.
    " நல்ல படம் , சுமாரான படம் என்பதையெல்லாம் தாண்டியவர் நடிகர் திலகம் . சிவாஜி படம் தோற்கலாம் ..சிவாஜி தோற்பதில்லை." - Joe Milton.

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