The Haunting Of Helena [PORTABLE]
Locating the murderer's file, Sophia is able to piece the evidence together and discover the hiding place of the dead woman's teeth. When the closet door appears to her again she throws them in, believing that it will satisfy the spirit. Helena immediately begins to speak again, and it appears that the haunting has come to an end. When she views a recorded interview with the murderer, however, she discovers that his wife was a serial killer who preyed upon children, eating the flesh from their faces, and he killed her in order to stop her from killing others. It is revealed that the elderly man who tried to warn Sophia witnessed her crimes as a child. Running through the institution, she comes across a patient whose face has been mauled, and he tells her that the ogre has her teeth once more. Reaching Helena's room, she walks in, then slowly backs out. She finally collapses and screams in horror.
The Haunting of Helena
Sterritt **** Coppola has restored 53 minutes of material trimmed from the original 1979 release of "Apocalypse Now," his legendary drama about the Vietnam War, and reedited the movie as a whole. The story, based on Joseph Conrad's haunting 1898 novella "Heart of Darkness," hasn't changed: A young soldier (Sheen) travels up a jungle river to find and assassinate a renegade military officer (Brando) who's gone insane and established a private kingdom ruled by terror. The film is episodic and uneven, but it has moments of great emotional power and stands as a key document for anyone hoping to understand American ambivalence toward the Vietnam War and its soul-searching aftermath.
The whole incident illustrates how complicated justice can be, and how the law can never be a neutral instrument. The clergymen who faced trial were almost certainly sincere believers in the ghost, and were made an example of largely due to wider anxieties around the social and political implications of the Methodist movement. In contrast, Richard Parsons, his wife and family friend Mary Fraser were almost certainly involved in a deliberate fraud. On the one hand, spreading vindictive rumours about William and Fanny are difficult to overlook; even in an era when sin was expected to lead to a dismal end, baselessly accusing a grieving husband of murder was extremely cruel. On the other, it appears very possible that they never intended the haunting to take on the life that it did. It is likely that there really were unexplained sounds, caused by rodents or the creaking of a ramshackle house. It is easy to imagine how a mixture of boredom, genuine beliefs in spirits and a simmering resentment towards William Kent, could coalesces bit by bit into a juicy tale for gossip. No doubt they initially enjoyed the attention and money it brought, and then panicked when the situation got bigger than their wildest dreams or worst nightmares. The Cock Lane haunting only became the phenomenon that it did because hoards of privileged people kept fuelling the fire, mainly with the motive of seeking entertainment.
Since classical deterrence theory is largely a byproduct of the Cold War era, it should be no surprise that its development has been inordinately influenced by the hostile relationship of the United States and the Soviet Union and by the haunting specter of nuclear weapons. But now that the Cold War has ended, it should be easier to see that deterrence is a universal phenomenon that operates across cultures, across technologies, and across millennia. As such, it requires a more general treatment than is typically found in the literature of international relations. 041b061a72