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God Made The World! Man in the Wilderness is directed by Richard C. Sarafian and written by Jack DeWitt. It stars Richard Harris, John Huston, Prunella Ransome, Percy Herbert, Henry Wilcoxon, Norman Rossington and Dennis Waterman. Music is by Johnny Harris and cinematography by Gerry Fisher. "1820. The Captain Henry Expedition has completed two years of fur trapping in the unexplored Northwest territory. Determined to reach the Missouri River before the winter snows, the trappers and their boat, towed by 22 mules, struggled through the wilderness. Once on the Missouri they could sail south to the trading posts and sell their precious cargo. What occurred on this expedition is historically true." He was left for dead. He would not forget. Essentially, Man in the Wilderness is the redemptive tale of Zachary Bass (Harris). Left for dead by his unfeeling Captain (Huston) after being savaged by a grizzly bear, Bass survives the wilds of nature and the threat of man with revenge firmly on his mind. But as he recuperates and adjusts to the spiritualisation that the surrounds brings him, he looks back at his life and beliefs. It is undeniably a very slow picture, with dialogue appropriately in short supply, but the atmosphere created is perfect for the unfolding events. Strikingly the film also has a surreal quality that really cloaks the story with considerable impact, where deft touches of imagery land firmly in the conscious. The makers slot in some "bloody" moments, backed with tension, such as the well constructed sequences involving the bear attack and a time when Bass has to scare away two snarling wolves so he "also" can feast off of a stricken Bison. The presence of Indian attacks is handled with care by the director, and in fact helps the finale get away with the expected outcome. While strong moments such as two separate incidents involving rabbits really show the makers to have the best of intentions to tell a valid and interesting story. Especially when it's scenes of just Bass and nature at war. Narratively, however, it is a bit hit and miss. The pertinent question of faith and the use of flashbacks are an uneasy alliance, mostly because the former drapes the film in predictability, and the latter takes you out of the whole "man in the wilderness" struggle that Bass is luring us into. It renders the film far from flawless which is a shame because it has much to recommend a viewing. The Almería, Andalucía location is used to good effect to pass as the Northwest of America, where quite often Gerry Fisher's photography neatly shifts between beauty and the harshness of mother nature. Harris could do this type of role in his sleep, he isn't asked to stretch himself but still leaves a very favourable impression. Huston is up to scratch, but again he doesn't have to do much, while everybody else are giving performances that any other working actor of the time could have given. A movie of rewards and frustrations for sure, and it's no Jeremiah Johnson, but this is definitely worth a spin for anyone interested in the "Man Vs Nature" sub-genre of period films. 7/10
For ten years, engineer Bill Markham has searched tirelessly for his son Tommy who disappeared from the edge of the Brazilian rainforest. Miraculously, he finds the boy living among the reclusive Amazon tribe who adopted him. And that's when Bill's adventure truly begins. For his son is now a grown tribesman who moves skillfully through this beautiful-but-dangerous terrain, fearful only of those who would exploit it. And as Bill attempts to "rescue" him from the savagery of the untamed jungle, Tommy challenges Bill's idea of true civilization and his notions about who needs rescuing.
An Edinburgh professor and assorted colleagues follow an explorer's trail down an extinct Icelandic volcano to the earth's center.
Sent into a drunken tailspin when his entire unit is killed by a gang of thrill-seeking punks, disgraced Hong Kong police inspector Wing needs help from his new rookie partner, with a troubled past of his own, to climb out of the bottle and track down the gang and its ruthless leader.
Keith Allen plays William Palmer in this true story of a Victorian-era English surgeon who uses poison to settle scores and ward off debt. William lacks a sense of regret, even after killing his wife, brother and three of his own children.
Zaid is a successful heart surgeon with an expensive apartment and pregnant girlfriend. One night he gets a visit from his brother Yasin, who is desperate for money, but he refuses. Soon after, Yasin is found beaten to death and Zaid is overcome with guilt. As guilt gives way to anger, Zaid becomes a masked avenger and takes on Copenhagen's criminal underworld in his quest for justice.
The film chronicles the rise and fall of the world's most feared drug lord Pablo Escobar and his volatile love affair with Colombia's most famous journalist Virginia Vallejo throughout a reign of terror that tore a country apart.
Herbert Stempel's transformation into an unexpected television personality unfolds as he secures victory on the cherished American game show, 'Twenty-One.' However, when the show introduces the highly skilled contestant Charles Van Doren to replace Stempel, it compels Stempel to let out his frustrations and call out the show as rigged. Lawyer Richard Goodwin steps in and attempts to uncover the orchestrated deception behind the scenes.
A reforming ex-gangster tries to reconcile with his estranged policeman brother, but the ties to his former gang are difficult to break.
The Tashkent Files is a thriller that revolves around the mysterious death of India's 2nd Prime Minister Shri Lal Bahadur Shastri and attempts to uncover if he had actually died a natural death, or, as alleged, was assassinated.
A glowing space ship that arrives in the middle of the forest near a village in Pakistan and a glowing figure appears and follows a terrified girl Hina and assume the appearance of a young man he happens to view in a framed portrait.He is greeted with open arms by the villagers and especially by Hina because of his new appearance that is of Shaani,but they know nothing about reality.