If you cannot find the accessory you need and you have a Visa, MasterCard, Discover. Which are available at most Brother retailers. The Brother Solutions Center is our one-stop resource for all your Fax Machine/Multi-Function.Could you please fix this for me.Purchasing Power is an employee purchasing program available to employees working. I have checked all kind of possibilities, including uninstalling en reinstalling the complete software suite. Now the Control Center gives the message 'Check the I/F connection etc. It used to do so in the past (wireless). Kerberos name I put in the Domain controller IP Address.My Brother Control Center 4 is not connecting to my Brother MFC-7860DW printer/scanner. I'm going to start today's show with a scene from the 1944 classic film noir "Double Indemnity."I ended up setting up a FTP server to get the Brother to put scanned files onto the network.What they do often get is double crossed and killed. They don't get the money, and they don't get the woman. I didn't get the money, and I didn't get the woman.GROSS: Yeah, that's how a lot of men in film noir end up. I killed him for money and for a woman.
He covered his first prize fight in 1926. He's the founder and president of the Film Noir Foundation, which has restored and preserved more than 30 nearly lost classics in partnership with the UCLA Film and Television Archive.Some of the great film noirs were set in the world of boxing, a world Muller was well acquainted with through his father, also named Eddie Muller, who was considered the West Coast dean of boxing writers and covered boxing for the San Francisco Examiner for over 50 years. He's the author of a book about the women who starred in these films. His book "Dark City: The Lost World Of Film Noir," was just published in a new expanded edition. Even if you don't have time to watch the film, his intros are worth tuning in for.Muller has impeccable noir credentials. But for me, when I refer to film noir, I'm talking about an organic artistic movement that took place mostly in Hollywood in the mid-20th century. So that's a big part of the appeal, I think. Everybody gets to argue about what it is, which really isn't the case with Westerns or musicals or anything. It is such a treat to have you back on the show.EDDIE MULLER: I am so happy to be here, Terry.GROSS: So let's talk about what you mean when you say film noir.MULLER: Well, yes, this is - one of the reasons it remains so fresh is because it's debatable. And that was in 1996, after the publication of his book "Grindhouse: The Forbidden World Of 'Adults Only' Cinema."Eddie Muller, welcome back to FRESH AIR. The system does not really work for you particularly. If what Hollywood was always selling was that everything's going to be all right and we're all going to live happily ever after, film noir was the flip side of that coin, saying, you really can't trust anybody. They're generally crime stories, and they present a very dark vision of existence, let's say.MULLER: I also consider film noir to be sort of the anti-myth. Is Brother Control Center Available Code And CouldAnd that required a certain amount of restraint by the artists making these films, which is, I think, one of the great pleasures of the movies - is how the artists worked around the code and could be suggestive and therefore very sensual when they're making these pictures.GROSS: Well, let's hear another clip. Yeah, I think that's one of the reasons the films remain so popular - is because they're very sexy in a way that films aren't sexy today because they were made, you know, during the existence of the production code. But man, it sure is fun watching people fail.GROSS: And as you've pointed out, most film noir combines, like, the sinister and the sensual.MULLER: Absolutely. And these things rarely work out. You know, he wanted that woman, and he's going to get the money, and he's going to do it through devious means. You were anxious to talk to him, weren't you?MACMURRAY: (As Walter Neff) Yeah, I was. Neff, why don't you drop by tomorrow evening around 8:30? He'll be in then.STANWYCK: (As Phyllis Dietrichson) My husband. Barbara Stanwyck starts first.BARBARA STANWYCK: (As Phyllis Dietrichson) Mr. Like, he's done.GROSS: So she puts on some clothes, comes downstairs, and then they talk. And that's it for Walter Neff. The man's not home, but Barbara Stanwyck appears at the top of the stairs in a bath towel. Microsoft excel shortcuts and hotkeys for mac pdfCan you elaborate on that?MULLER: Sure. And it's a perfect example of what makes these films so special because you can't really show anything, but you can certainly sling the double entendres as fast and furiously (laughter) as you can.GROSS: You write that "Double Indemnity" was the first time a Hollywood film explicitly explored the means, motives and opportunity of committing murder. Cain, "Double Indemnity." That one was just for the film. That is a passage that is not in the book by James M. Neff, 45 miles an hour.MACMURRAY: (As Walter Neff) How fast was I going, Officer?STANWYCK: (As Phyllis Dietrichson) I'd say around 90.MACMURRAY: (As Walter Neff) Suppose you get down off your motorcycle and give me a ticket.STANWYCK: (As Phyllis Dietrichson) Suppose I let you off with a warning this time.MACMURRAY: (As Walter Neff) Suppose it doesn't take.STANWYCK: (As Phyllis Dietrichson) Suppose I have to whack you over the knuckles.MACMURRAY: (As Walter Neff) Suppose I bust out crying and put my head on your shoulder.STANWYCK: (As Phyllis Dietrichson) Suppose you try putting it on my husband's shoulder.MACMURRAY: (As Walter Neff) That tears it.GROSS: Another hallmark of film noir is, like, great dialogue.MULLER: Yes, you can't do much better than that, and that's Billy Wilder and Raymond Chandler working together to to write that. ![]() And that's the whole idea of the femme fatale. And she came right on board and gave it her allGROSS: Film noir gave great roles to women in the sense that, you know, there were beautiful, but they were as tough-talking as the men, and they often led the men into crimes that would, of course, backfire. And that was all she had to hear. I thought you were an actress. Set up the scene for us.MULLER: Well, the premise of this movie is that Burt Lancaster has had his heart broken by Yvonne de Carlo. This is a 1949 film directed by Robert Siodmak. And there's a scene from the film "Criss Cross" that you describe as the femme fatale manifesto. ![]() ![]() Papers said you'd be in the hospital for weeks. What do you want me to do? Let him get us both? Would that make you feel happier? Does that make sense to you?LANCASTER: (As Steve) No, that'd be more.DE CARLO: (As Anna) Why did you have to come here in the first place? Why? Why? It was all working out.
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