Spider Circus (The Shadows Book 1)

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You must be a registered user to use the IMDb rating plugin. Learn more More Like This. Documentary Short. A behind the scenes look at the process of becoming a vampire. Stars: Chris Massoglia, John C. The Hole Adventure Fantasy Thriller. The Protectors Adventure Crime Sci-Fi. Stars: Chris Abbey Jr. The Covenant Action Adventure Fantasy.

John le Carré: a Tinker, Tailor A-Z by William Boyd | Books | The Guardian

Push Action Adventure Crime. The Wolfman Drama Fantasy Horror. The Brothers Grimm Action Adventure Comedy. Dark Shadows Comedy Fantasy Horror. Queen of the Damned The vampire Lestat becomes a rock star whose music wakes up the queen of all vampires. Abraham Lincoln: Vampire Hunter Action Fantasy Horror. Rim of the World Edit Cast Cast overview, first billed only: John C. Crepsley Josh Hutcherson Steve Chris Massoglia Darren Jessica Carlson Rebecca Michael Cerveris Tiny Ray Stevenson Edit Cast Cast overview, first billed only: John C.

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Crepsley Josh Hutcherson Steve Chris Massoglia Darren Jessica Carlson Rebecca Michael Cerveris Tiny Ray Stevenson Murlaugh Patrick Fugit Evra the Snake Boy Morgan Saylor Annie Don McManus Shan Colleen Camp Shan Ken Watanabe Tall Salma Hayek Madame Truska Orlando Jones Alexander Ribs Frankie Faison Rhamus Twobellies Willem Dafoe Edit Storyline Teenager Darren Shan is an excellent student and the pride and joy of his perfect middle-class family, but his best friend is the reckless Steve.

Taglines: Meet Darren. He's sixteen going on immortal. Country: USA. Language: English Spanish French. Color: Color. Edit Did You Know?

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Trivia This film omits the jigsaw puzzle Siamese twins. Later, when Steve is shaking Darren in the coffin obviously before the graveyard , the bruise is there. Quotes [ first lines ] Darren Shan : [ narrating ] You know, sometimes it seems like life is all planned out. There's no choice in the matter. We're all gonna end up in the same place, whether we like it or not. But sometimes things aren't so simple. You can end up hurting the people you love the most; betraying the people you want to come through for. Frequently Asked Questions Q: Who are the freaks in the circus?

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  5. Q: How does the movie end? User Reviews. The screenwriters of this exceptionally fine and sombre new dramatisation of the novel Peter Straughan and the late Bridget O'Connor have perfectly reflected its labyrinthine world of bluff and counter-bluff, of suspicion and paranoia, of corruption and betrayal.

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    Indeed one might claim that, among the few things we British are very good at — cricket, bespoke tailoring, dictionaries — is the spy novel. Possibly this is because we are also very good at betraying our country — our traitors are world-class and numerous, particularly since the second world war. The Cambridge spy ring still haunts the popular imagination. The novel's plot, simply put, is that there is a traitor at the heart of the organisation — a "mole" in the very highest echelons of the service — and George Smiley, recently forcibly retired from the service, is re-recruited to find the man.

    There are five suspects — all identified by characters from the "Tinker, Tailor" jingle. Tinker, tailor, soldier, sailor, rich man, poor man, beggarman, thief. Smiley is himself a suspect — "beggarman" — and his search for the traitor is highly covert. He puts together his own team and, slowly but surely, they narrow the suspects down to one particular individual. It sounds simple but one of the delights of the novel and the film is its entwining complexity. You have to pay attention — only that way will its moments of bafflement be followed by dawning clarity.

    As is well known by now, he was working for the Secret Intelligence Service, known as MI6, when he began to write fiction in the s and was obliged therefore to choose a pseudonym. But, the more one considers it, the more acute it seems. Spying is as old as history itself, but secret intelligence services are fairly recent. Ours was founded in The CIA emerged from the second world war. All its complacencies and signal failures could be marked down to this identification. Fiction is perhaps — paradoxically - the best way of telling the truth about spies and spying, particularly if you happen to have worked for the secret service and have signed the Official Secrets Act.

    The secret service is part of government, a department of the state, its members are civil servants, functionaries — however clandestine. Non-fiction accounts of the secret service are highly interesting but only for obsessives or former operatives, I would suggest, in the way that books about steam engines are fascinating only to train-spotters.

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    Smiley is middle-aged, small, portly, bespectacled, a cuckold and a bibliophile — the very opposite of a James Bond or a Jason Bourne. His extra-literary life has been facilitated by two compelling portrayals of him in adaptations of Tinker, Tailor. The first was by Alec Guinness in the BBC television series and now, in the new film version, we have Gary Oldman in the new film version —, who commendably resists the temptation to channel Guinness and turns in a performance of mesmerising, still intensity.

    Avoid his jargon, is one important piece of advice — make up your own. Ideology — or rather competing ideologies — must be, so reason tells us, at the nexus of all cold war betrayals such as the one depicted in Tinker, Tailor. Whether the double agent is British Philby, Burgess, Maclean, Blunt, Cairncross or a Soviet defector, the motive for betrayal must be a profound dissension from the prevailing ideology capitalism, communism in the country he purportedly serves.

    Sometimes this is true.

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    The other great British double agent of the 50s and 60s, George Blake , genuinely seemed to believe that a world governed by communism would be a better place. My own feeling is that ideology may explain the initial recruitment but that other forces come into play fairly soon thereafter. One of the abiding fascinations in studying the world of traitors and double agents is to try to arrive at a sense of motive — why would you want to betray your own country in the first place? How do you live that double life for years on end?

    Somehow, a belief in the fundamental rightness of the "communist way" doesn't seem a substantial or sustaining enough reason. There is something about the genre that is immensely alluring, particularly to the literary novelist — more appealing, I would argue, than the crime novel. At the core of the serious spy novel is the notion of duplicity and mendacity. All of us know those two abstract nouns intimately and we all employ them constantly in our daily lives, usually — and fortunately — to a minor and insignificant degree: all social life, for example, would grind to a halt without the "white lie", or the "pieux mensonge", as the French have it.

    The spy novel, while seeming to treat a rarified and, by definition, secret and unknown world, actually trades in concepts we all understand, instinctively and immediately.