Software : Windows Vista Ultimate with SP1 Upgrade |
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Rating:  - * now i get it ... My XP HP battleship finally could sail no more.. never gave Vista any thought actually..a few days ago the inevitable happened... plus the usb ports were becoming sloppy, white screen, but when it was good it was very good.. cut to the chase... From what i gather, buying Vista is a pant load different then purchasing a new computer. I am still amazed... my old XP would recycle sometimes, didn't like rollup 3, never thought I could use my extra's lke printer with Vista/new machine, the thing feches a program and my old close and play printer (all in one) is like new in doing its thing, same with "fixing" other programs, it just about apologizes for the trouble.. I don't know if the powers to be will post this but a new machine and Vista is a smooth experience... most of the reviews that I have read concerning upgrading an XP when i was thinking about bringing my old machine to the doctor seem like its a pain so I just bit the bullet and purchased an HP a6650f for not much over $700.00.. QUAD CORE AMD phenom.. I have read reviews that even with a new machine the reviewer would rather have XP... I don't know what to make of it, maybe its because my HP was ancient at 4 years old, one bummer is that I have read the Roxio's PhotoSuite 8 won't work with Vista snd they have not provided a fix.. You can put lipstick on an XP machine but its still an XP machine. Some have said its slowed down by bloated extra's.. its not very difficult to delete the stuff, geesh. Vista is smooth, if you are one of the lucky ones who can experience what I have with a new Vista program, I wouldn't say it is like going from a Hundyie to Porche, but its more like going from a Buick to a Cadillac, 5 stars witha new machine Rating: - * Was expecting horrors but am pleasantly surprised ... Since so many of my clients have PC's that come with Vista, I decided it was time to bite the bullet and learn more about it. I have a fairly powerful PC and decided to go against everything people had recommended and to upgrade over XP rather than do a clean install. I had my XP drive ghosted and figured the worst that would happen is I'd have to go back and try again. The upgrade was as smooth as silk. When it was complete, I had to download new video drivers from Nvidia, but they installed properly the first time and I've had no problems with them. So far, none of my applications or games has complained about Vista. I'm mainly running Adobe CS3 and Office 2007. A few games have had minor issues, but I've been able to tweak them and get things working. For someone like me who does a lot of file copying and manipulation, the new Explorer is 1,000 times better than the old ones. There is much less confusion when copying files as to what will happen when the same files already exist, and it is much easier to view photos, view audio files, etc. I really like the Aero interface. It looks slick and it's easy to move between Windows. In short, while Vista may just be "warmed over XP" under the hood, I've been pleasantly surprised. Rating: - * Microsoft Office 2007 ... Great product as always. Good value for money. The only negative is the blue background option has been removed, but if you're happy working with a white screen, this won't bother you. Otherwise, a worthwhile upgrade. Rating:  - * Vista upgrade ... Upgraded from Home to Ultimate. Only issue is that in order to install the upgrade, I had to upgrade the Home version to SP1 which seems kind of redundant. Rating: - * GOOD SOFTWARE!!! ... I HAVE RECENTLY BEGUN TO USE THE SOFTWARE . IT IS ALRIGHT VERY NICE AND HIGH TECH. WHAT I AM WORRIED ABOUT IS MY MEMORY. I'M PROBABLY GOING TO BUY EXTERNAL MEMORY. OTHERWISE THIS SOFTWARE SEEMS TO BE DOING WHAT IT PROMISED. THANK YOUWindows Vista Ultimate with SP1 Upgrade |
Three of them date from the '20s and '30s and were produced by Samuel Goldwyn. The 1926 silent The Winning of Barbara Worth gave Western stunt man and bit player Cooper his first featured role (by accident--the actor originally cast didn't report for work!). A cowboy whose visionary surveyor father aims to "redeem the desert and make it one fine garden," Cooper's character is the third corner of a romantic triangle, ordained by the Hollywood caste system to lose lifelong sweetheart Vilma Banky to engineer Ronald Colman. Colman has lots more screen time than Cooper and bears the moral-ethical brunt of the eco-conscious drama; he's also surprisingly persuasive wearing a sweat-stained Stetson and trading gunshots with the bad guys (if this were a sound film, Colman could never have gotten away with it). But the camera and the audience are locked onto Cooper whenever he's on screen. In longshot or vulnerable closeup, he's already one of the gods of the cinema. As for the movie, the quality of the print is excellent, its clarity intensified by bronze, yellow, and moonlit-blue tinting that often seems on the verge of resolving into full color. Director Henry King shows a good eye for action and bold vistas, and a visual adventurousness mostly absent from his later work.
Next up chronologically is The Cowboy and the Lady (1938), and the best thing about this misbegotten movie is Garson Kanin's description, in one of his Hollywood memoirs, of how Leo McCarey sold the idea for it to Sam Goldwyn. McCarey was, of course, a comedic master (recently Oscared for directing The Awful Truth), and his exuberant pitch convinced Goldwyn and his staffers that audiences would "piss" themselves laughing at this romantic comedy about a daughter of privilege (Merle Oberon) who falls for a rodeo rider (Cooper) and learns homespun values. Goldwyn paid McCarey off, assigned some writers to the script, then realized there was no real story--"no there there," as Gertrude Stein might have put it. The resultant unfunny and unromantic endeavor oozes bad faith from every pore, with neck-snapping life changes foisted on the hapless Cooper and Oberon from reel to reel, and excruciating scenes (jitterbugging in a drawing room, playing house back on Cooper's ranch) that strain charmlessly for McCarey's patented brand of fey. H.C. Potter directed, understandably without conviction.
We and Cooper are back on track with The Real Glory (1939). The reliable Henry Hathaway helmed this second cousin to his and Cooper's The Lives of a Bengal Lancer, with Cooper as an Army doctor assigned to the Philippine Constabulary on Mindanao in 1906. The movie was well-received when it came out; encountered in the shadow of the Iraq War, its tale of U.S. occupiers trying to help the local populace "stand up" against a fanatical and murderous insurgency takes on new fascination. There are some amazing passages--two horrendous murders by bolo knife--and the final battle sequence puts the CGI-riddled action films of the present day to shame. But the most impressive element is Cooper, and we can't improve on the verdict of that astute film critic Graham Greene: "Mr. Cooper ... has never acted better.... Watch him inoculate [Andrea King] against cholera--the casual jab of the needle, and the dressing slapped on while he talks, as though a thousand arms had taught him where to stab and he doesn't have to think any more."
For the final film in the set we jump into the '50s--the century's and Cooper's. Vera Cruz (1954) casts him as a former Confederate officer who's ridden into Emperor Maximilian's Mexico, hoping to make a fortune in the new civil war south of the border so that he can rebuild his own devastated homeland. Costar Burt Lancaster (whose company Hecht-Lancaster was producing) plays another mercenary, a real sociopath, and it's fascinating to watch these two stellar icons of very different Hollywood eras make common cause--Lancaster at the height of his grinning-predator mode, Cooper an aging knight whose aim is still true. Director Robert Aldrich keeps finding dynamic uses for the SuperScope format and flavorfully fills it with sublime uglies like Ernest Borgnine, Jack Elam, Charles Horvath, Jack Lambert, and Charles Buchinsky-about-to-become-Bronson. Pieces of this movie found their way into the dreams of Sam Peckinpah and Sergio Leone. --Richard T. Jameson
