__HOT__ Download Film The Tin Drum

Drum is a 1976 American film based on the 1962 Kyle Onstott novel of the same name.[1] It was released by United Artists and is a sequel to the film Mandingo, released in 1975. The film stars Warren Oates, Pam Grier and Ken Norton, and was directed by Steve Carver.[2]

The film was initially being directed by Burt Kennedy, but he was replaced due to creative differences with the executive producer, Dino De Laurentiis. Carver then took over as director with only four days of preparation, the film's print made use of material filmed by both Kennedy and Carver.[3] According to a 2020 interview with Carver, Burt Kennedy had only shot the opening sequence in Puerto Rico. Embarrassed by the script, Kennedy walked off the picture. Carver stated that "a lot of the actors followed him off of the picture". Carver then had to recast several roles and brought on "Pam Grier, Royal Dano and Brenda Sykes and several others".[4]

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On review aggregator Rotten Tomatoes, the film holds a score of 11% based on nine reviews, with an average rating of 4.5/10.[6] Vincent Canby of The New York Times wrote: "Life on the old plantation was horrendous, I agree, but movies like this are less interested in information than titillation, which, in turn, reflects contemporary obsessions rather more than historical truths."[2]

Drum is a 2004 film based on the life of South African investigative journalist Henry Nxumalo, who worked for Drum magazine, called "the first black lifestyle magazine in Africa".[1] It was director Zola Maseko's first film and deals with the issues of apartheid and the forced removal of residents from Sophiatown. The film was originally to be a six-part television series called Sophiatown Short Stories, but Maseko could not get the funding. The lead roles of Henry Nxumalo and Drum main photographer Jrgen Schadeberg were played by American actors Taye Diggs and Gabriel Mann, while most of the rest of the cast were South African actors.

The film premiered at the Toronto International Film Festival in September 2004, and did the rounds of international film festivals before going on general release in South Africa in July 2006. It was released in Europe, but failed to get a distributor for the USA where it went straight to DVD.

The film was generally well received critically. It was awarded Best South African Film at the Durban International Film Festival, and director Maseko gained the top prize at the Panafrican Film and Television Festival of Ouagadougou (FESPACO).

Nxumalo frequently fights the racism and apartheid that is beginning to creep into his hometown. He tries to tackle stories important to his society's well-being. However, he is no match to the plan to evict residents and ultimately destroy Sophiatown. Constantly harassed by the government, at the end of the film he is stabbed to death. The attacker has never been identified.

Drum is Zola Maseko's first feature film. He originally wanted to tell Sophiatown's story in a six-part television series called Sophiatown Short Stories. Unsuccessful in convincing the "South African Television Company" to pursue such a series, he decided to change the medium to that of film.[2] He secured a large amount of his funding by convincing Taye Diggs to fill the lead role.[3]

American screenwriter Jason Filardi was asked to write the script by production company Armada and subsequently "fell in love" with Drum's plotline. In preparation for this task, he read books on Nxumalo and the history of South Africa, and stayed for a month in Johannesburg.[4] Filardi said that his work on the film was his fondest experience with the medium.[5] Filming began in May 2004[6] and lasted for six weeks.[7]

Drum premiered at the Toronto International Film Festival on 10 September 2004. It was the lead film in the festival's Spotlight on South Africa program.[7] The Sundance Film Festival picked up the film, for its US premiere in January 2005,[9] as did the Cannes Film Festival in May.[4] On 21 June, Drum was screened at the Boston International Film Festival during its first session.[10] The film opened the 2005 Filmfest Mnchen on 25 June.[11]

For his work with Drum, Maseko received the top prize at FESPACO, the Golden Stallion of Yennenga, in addition to a cash prize of 10 million CFA francs (US$20,000) at its closing ceremony in March 2005. He was the first South African to do such.[12] In addition, Drum is only the second English language film to have won the Golden Stallion at FESPACO, the first being Kwaw Ansah's Heritage Africa in 1989.[13]

The film premired in South Africa at the 26th Durban International Film Festival (DIFF) on 17 July 2005 where it won the Best South African Film Award. It was released at 29 South African movie theatres on 22 July. Events to help promote the film included toyi-toyi dances in various South African market places, and the production crew holding a contest in which South African schoolchildren would have to research a lost community and the winners would get to meet the actors.[14]

Outside film festivals, the first release in the USA was at the Olde Mistick Village theater in Filardi's hometown of Mystic, Connecticut, on 22 December 2006. Despite wide releases in Europe, Drum did not obtain one in the US, mostly due to a failure to find distributors. Instead, it went straight to DVD.[5]

Drum was mostly met with favorable reviews. Review aggregate website Rotten Tomatoes reported that 86% percent of seven critics gave the film positive write-ups, a rating that it considered "Fresh".[15]

Sura Wood of The Hollywood Reporter called it "an intelligent, moving film steeped in an authentic sense of time and place."[1] Her sentiments were echoed by Joe Leydon of Variety, who thought Drum was "an intelligent and affecting take on political radicalization in 1950s Johannesburg."[16] According to Film Threat's Jeremy Matthews, Drum was "a solid work of classical storytelling." He observed that it was "heartbreaking in its portrayal of Johannesburg at a time when its rulers had convinced many people that whites were born to command and blacks were born to obey and serve."[17]

Critic David Nussair gave the film 3 out of 4 stars and praised Diggs as "fantastic". The supporting actors also delivered "solid" performances. He believed that the film was anything but superfluous, and it moved at a fast pace. While the screenplay was predictable, Maseko's "steady" direction "ensure[d] Drum's place among better-than-average true-life tales."[18] The Arizona Republic disagreed with Nussair's first point, not thinking Diggs looked like a South African. It called the film "a well-meaning but static look at apartheid in the 1950s."[19]

Shadows on the Wall's Rich Kline noted that the storyline was "compelling and eye-opening" and praised the actors as "excellent" and "committed to getting the truth out." He was impressed with the "lively and fascinating sense of local culture" that dominated the film. Kline, who gave the film 3 out of 5 stars, was mainly concerned with the film's "rather clumsy" direction and screenwriting. Maseko directed with "energy and verve," though his "struggles to capture the human drama" led to the impression that Drum was "a clunky TV movie, with awkward camera angles, wonky editing and clumsy sound recording." Filardi was guilty of a dialogue which "echoes with cliches, while contrived plotting put characters into situations that may be true, but they feel corny and movie-like." Kline also criticised the wide variety of political issues that characterised the film, though added that "maybe this helps us begin to understand what life must have been like under such an oppressive government."[20]

One of the most critical reviews was by Francesca Dinglasan of Boxoffice Magazine. Dinglasan, who gave Drum 2.5 out of 5 stars, was unimpressed by the "unoriginal plotting techniques to convey the story of an investigative journalist attempting to expose racial injustices in a society coming to grips with the newly introduced edicts of apartheid." Although Diggs's acting was "engaging", according to her the film "depends on just a few too many big-screen cliches and predictable plot turns." The "richly designed sets and costumes were not able to overcome the less-than-satisfactory" Drum.[8]

Alex Burke is a photographer from Greeley, Colorado. Using a large format film camera, he captures the majestic beauty of Colorado and the American West from the Great Plains to the wilderness and beyond.

Mouse over to see the differnce between a drum and flatbed scan. This image shows the smoothness of the tonalities and subtle gradients in the sky. Also note the extra color picked up in the highlights on the drum scan. Film is 6x17cm Provia 100f

Are there any at least any semi major films that use jungle/drum and bass as part of the sound track? You would think that it would be used more for car chase sequences instead of the generic techno or orchestrated music.

I'm hoping to have my B&W darkroom set up within the next 6 months. Decades ago, I had a darkroom and I developed my film in a Unicolor Film Drum II on a Uniroller for continuous agitation. Anyone here still using that setup?

Many one-shot concentrate - i.e dilute for use developers - require a minimum amount of concentrate per film to be used, and this somewhat negates the apparent economy of using a rotary tank. In other words there's a risk of underdevelopment if the minimum quantity of solution for the rotary tank is used.

Not many people shoot with film professionally anymore and even less get their photos drum scanned. Most film photographers are perfectly content with scanning on Epson flatbeds, and they should be. For most shots, a V500 or V850 at 2400dpi works great for Instagram, Facebook, and moderate size prints. But for those few magical shots, a little something extra is required. 2351a5e196