Unable to control his urges, Hunter touches it, and in a flash of brilliant light and intense pain, the team is no longer in contemporary Syria — but in Ancient Rome during the reign of the emperor Caligula. The fact that they should not be there becomes obvious almost immediately, as does the thought that with every breath they take, everything history has worked so hard to achieve is at risk of unraveling. Staying alive suddenly becomes a secondary objective, superseded by the theory that their mere presence in Ancient Rome has caused irreparable damage to the timeline.
This won't be an easy task for Hunter and his friends as they will quickly encounter numerous Roman figures straight from his old history books, each with their own agendas, schemes and machinations, including the Caesar himself, who history remembers as little more than an insane tyrant who once tried to appoint his horse as the head of state…. The story started out with a Bank, but by the Middle it became a history tale.
They are administered by government-appointed Governors and pay constantly increased tribute to the Crown Jewels. You submitted the following rating and review. See All Customer Reviews. Fortune's Pawn Paradox , book 1 Rachel Bach. The Yale-educated Yankee aristocrat George W.
So I think I will pass on the rest of the books. Headlines and news reports declaring the theft flash on screen.
An elderly official rides in an open car, carrying a satchel; a motorcycle rider approaches from behind, shoots the official and, in the next shot, seizes the satchel. A man talks hurriedly into a telephone. Another news headline: more theft, plus a murder.
After a brief flurry of shots conveying the almost burlesque consternation about the missing documents at the Ministry of War, a man pulls up in a car, runs into a government office, and begins to reveal to his superior the identity of a villain. A bullet passes through the window behind the man; he crumples up and dies. The superior is left fulminating and perplexed.
This montage flows marvellously and vividly. Yet, what sort of sense does it really make?
How do we know for certain that the hands at the safe are the same as the hands over the envelope, and that these hands belong to the motorcyclist? The images of the opening montage, like so many in the story to follow, contain an element of mystery, enigma, intrigue. Few films work the frame with as much tenacity, cleverness or rigour as Spione. There are literally hundreds of such images in the film: a vase containing a hidden microphone revealed in a superimposition ; a wine glass with pearls strung around its base; a miniature camera held between two fingers; photographs and fingerprints, annotated and archived; hands holding letters, pens, guns Like F.
Murnau, Lang gives every major performer a specific way of inhabiting the static frame, of possessing or being possessed by a space, absorbing or being absorbed by it. Rudolf Klein-Rogge as Haghi, for instance, dominates the frame with slow menace, filling the empty expanse around his wheelchair and desk by spreading his hands, leaning forward, or most often simply by taking his good time to roll up a cigarette, have it lit by his off-screen assistant, and then take a puff and fill the air, extravagantly, with the resulting clouds of smoke.
In fact, every character in this drama has his or her own, particular, highly theatrical way of smoking: Sonja Gerda Maurus draws and exhales aggressively, billowing long trails over Haghi; Willy Fritsch in tramp guise flicks his cheap butts on the street; Matsumoto sports thin, refined cigarettes the sign of his fatal attraction to Kitty is that he stops smoking for a second ; Jellusic Fritz Rasp , before entering the post office, puts his cigar aside, thinks twice and then takes another puff, and finally retrieves it again on his way out.
The narrative and cinematic form of Spione moves in concentric circles, outwards from its smallest units. The individual shot poses a question that a full scene can begin to answer. Haghi, the all-powerful, god-like figure of evil is a living paradox: in himself, this apparently crippled character at the centre of a catacomb does almost nothing, scarcely moves or acts at all; rather he reads, gathers data, ponders, stages appearances and gives orders.
He can easily be seen as the enunciator or stand-in for Lang, precisely because of the paradox he embodies and articulates: the story, the action, is for the most part not where he is, but in some other place where he causes it to happen, to flower. Thus, he exists on the blurry edge between diegetic and non-diegetic realms, a potentiality condensed in the famous close-up of Haghi staring into the camera and having a smoke.
The Paradox (Machinations Book 2) eBook: Michael Alexander: halfketvarippzol.ga: Kindle Store. The Paradox (Machinations Book 2) - Kindle edition by Michael Alexander. Download it once and read it on your Kindle device, PC, phones or tablets.
Advancing, stitching itself together from shot to scene, scene to sequence, sequence to segment, segment to large-scale part, and finally from the part to the film as a total structure: what matter in this global or ensemble form of articulations, correspondences and connections are precisely the passages, the relations in time and space that allow movement, transition, dynamic exchange. There are three, tightly interwoven principles of passage in Spione :.
Bodies, objects and messages cross a variegated territory: they pass along corridors, through doorways and into rooms; are transported across borders; zip along wires or tubes.