The first edition of Complete Idiot's Guide to Bridge
by H. Anthony Medley was the fastest
selling beginning bridge book, going through more than 10 printings.
Second Edition includes some modern advanced bidding systems and
conventions, like Two over One, a system used by many modern
tournament players, Roman Key Card Blackwood, New Minor
Forcing, Reverse Drury, Forcing No Trump, and others.
Also included is a detailed Guide to
Bidsand Responses, along with the most detailed, 12-page
Glossary ever published, as well as examples to make learning the game
even easier. Click book to order.
by Tony Medley
Runtime 121 minutes.
Not for children.
This is not for everyone. Itís a film that
is in no hurry to tell its story. Starting out with Tamara (Irina
Potapenko), a prostitute, making graphic love with her boyfriend, Alex
(Johannes Krisch), there is a substantial amount of nudity in the first
fifteen minutes, causing a few people at my showing (not a screening) to
walk out. That was their loss, because as this film progresses, it gets
deeper and deeper.
Writer-director GŲtz Spielmann doesnít hit
you over the head with what heís trying to say. Instead, you have to pay
attention and grasp the nuance of the story.
The film shows the hopelessness of foreign
prostitutes, who are virtual prisoners in their brothels. Alex wants to
get Tamara out and has a plan to rob a bank and escape. This sets in
motion events that neither could anticipate, and brings depth to the
tale that I certainly wasnít anticipating.
I donít want to give away the story, but
the performance of Ursula Strauss, who plays Susanne, the wife of
policeman Robert (Andreas Lust) is what sets this film apart from the
usual thriller. Spielmann has penned a complex character who, along with
her husband, Robert, turn Alexís life, and his perception of what has
occurred and what he wants to do, completely around. But thereís more to
Susanne than meets the eye and more in this movie than what happened to
The film is marred by the usual lack of
technical expertise that mars most foreign films, the extreme difficulty
in reading subtitles that are the same color as the background. The
dialogue in this movie is extremely important, but often itís such a
strain to try to read same color subtitles that what is said is missed.
Thatís a shame. How can moviemakers have such remarkable special effects
that they can create a black hole on the screen, but canít figure out
how to change the color of subtitles so they contrast enough with the
background to be readable?
That said, kudos to cinematographer Martin
Gschlacht, who diligently strives to uncover any available nipple in the entire movie.
Also, Krisch displays a talent for log-splitting, exhibiting admirable
hand-eye coordination. Iíve split logs and itís not as easy as it looks.
American audiences, weaned on
action-packed, special-effects laden nonsense like the ďSpidermanĒ and
the ďX-MenĒ simplicities which are aimed at an intellect that hasnít yet
achieved high school levels, might find this hard to stomach because it
requires concentration, thought, and reason. But if youíre willing to
actually do these three skills, this is a rewarding movie. (In German