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| 1 |  |  |  |  |  |  | # -*- encoding: utf-8; indent-tabs-mode: nil -*- | 
| 2 |  |  |  |  |  |  | # | 
| 3 |  |  |  |  |  |  | #     Acme::MetaSyntactic::counting_to_one -- A selection of various movie titles | 
| 4 |  |  |  |  |  |  | # | 
| 5 |  |  |  |  |  |  | #     Copyright (C) 2012 Jean Forget | 
| 6 |  |  |  |  |  |  | # | 
| 7 |  |  |  |  |  |  | #     This program is free software; you can redistribute it and/or modify | 
| 8 |  |  |  |  |  |  | #     it under the same terms as Perl: either the Artistic License, | 
| 9 |  |  |  |  |  |  | #     or the GNU General Public License as published by | 
| 10 |  |  |  |  |  |  | #     the Free Software Foundation; either version 1, or (at your option) | 
| 11 |  |  |  |  |  |  | #     any later version. | 
| 12 |  |  |  |  |  |  | # | 
| 13 |  |  |  |  |  |  | #     This program is distributed in the hope that it will be useful, | 
| 14 |  |  |  |  |  |  | #     but WITHOUT ANY WARRANTY; without even the implied warranty of | 
| 15 |  |  |  |  |  |  | #     MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE.  See the | 
| 16 |  |  |  |  |  |  | #     GNU General Public License for more details. | 
| 17 |  |  |  |  |  |  | # | 
| 18 |  |  |  |  |  |  | #     You should have received a copy of the GNU General Public License and | 
| 19 |  |  |  |  |  |  | #     the Artistic License along with this program; if not, write to the Free | 
| 20 |  |  |  |  |  |  | #     Software Foundation, Inc., 59 Temple Place, Suite 330, Boston, MA | 
| 21 |  |  |  |  |  |  | #     02111-1307, USA for the GNU General Public License. | 
| 22 |  |  |  |  |  |  | # | 
| 23 |  |  |  |  |  |  | #     For the Artistic License, you may refer to http://dev.perl.org/licenses/artistic.html | 
| 24 |  |  |  |  |  |  | # | 
| 25 |  |  |  |  |  |  | package Acme::MetaSyntactic::counting_to_one; | 
| 26 | 1 |  |  | 1 |  | 86022 | use strict; | 
|  | 1 |  |  |  |  | 4 |  | 
|  | 1 |  |  |  |  | 33 |  | 
| 27 | 1 |  |  | 1 |  | 7 | use Acme::MetaSyntactic::List; | 
|  | 1 |  |  |  |  | 1 |  | 
|  | 1 |  |  |  |  | 109 |  | 
| 28 |  |  |  |  |  |  | our @ISA = qw( Acme::MetaSyntactic::List ); | 
| 29 |  |  |  |  |  |  | our $VERSION = '1.000'; | 
| 30 |  |  |  |  |  |  | __PACKAGE__->init(); | 
| 31 |  |  |  |  |  |  | 1; | 
| 32 |  |  |  |  |  |  |  | 
| 33 |  |  |  |  |  |  | =encoding utf8 | 
| 34 |  |  |  |  |  |  |  | 
| 35 |  |  |  |  |  |  | =head1 NAME | 
| 36 |  |  |  |  |  |  |  | 
| 37 |  |  |  |  |  |  | Acme::MetaSyntactic::counting_to_one - The "movies where you count up to one" theme | 
| 38 |  |  |  |  |  |  |  | 
| 39 |  |  |  |  |  |  | =head1 DESCRIPTION | 
| 40 |  |  |  |  |  |  |  | 
| 41 |  |  |  |  |  |  | This list gives the names of some movies | 
| 42 |  |  |  |  |  |  | where you only need to count up to one or, | 
| 43 |  |  |  |  |  |  | in some cases, up to zero. More precisely: | 
| 44 |  |  |  |  |  |  |  | 
| 45 |  |  |  |  |  |  | If you count the number of gunshots in I | 
| 46 |  |  |  |  |  |  | (a Korean-war film), you obtain a count of one. | 
| 47 |  |  |  |  |  |  |  | 
| 48 |  |  |  |  |  |  | The same thing with I (a WWII movie) | 
| 49 |  |  |  |  |  |  | gives a result of zero. | 
| 50 |  |  |  |  |  |  |  | 
| 51 |  |  |  |  |  |  | If you count the number of surviving characters at the end | 
| 52 |  |  |  |  |  |  | of I, you obtain a count of one. | 
| 53 |  |  |  |  |  |  |  | 
| 54 |  |  |  |  |  |  | If you count the number of female characters | 
| 55 |  |  |  |  |  |  | in I, you obtain a count of one. | 
| 56 |  |  |  |  |  |  |  | 
| 57 |  |  |  |  |  |  | On the other hand, if you count the number of male characters | 
| 58 |  |  |  |  |  |  | in I (I), you obtain a count of one. | 
| 59 |  |  |  |  |  |  |  | 
| 60 |  |  |  |  |  |  | If you count the number of times you see John Belushi's | 
| 61 |  |  |  |  |  |  | eyes in I, you obtain a count of one. If you prefer Dan Acroyd's | 
| 62 |  |  |  |  |  |  | or Cab Calloway's eyes, you obtain a count of zero. | 
| 63 |  |  |  |  |  |  |  | 
| 64 |  |  |  |  |  |  | If you count the number of times the word "Mafia" is pronounced | 
| 65 |  |  |  |  |  |  | in I, you obtain a count of zero. | 
| 66 |  |  |  |  |  |  |  | 
| 67 |  |  |  |  |  |  | If you count the number of alphabetic characters in Truffaut's | 
| 68 |  |  |  |  |  |  | I, not taking into account the books | 
| 69 |  |  |  |  |  |  | being burned, you obtain a count of zero. | 
| 70 |  |  |  |  |  |  |  | 
| 71 |  |  |  |  |  |  | If you count the number of scenes which include a horse in | 
| 72 |  |  |  |  |  |  | I, you obtain a count of one. | 
| 73 |  |  |  |  |  |  |  | 
| 74 |  |  |  |  |  |  | At the end of the same movie, if you count the number of names appearing in the final | 
| 75 |  |  |  |  |  |  | credits, you obtain a count of zero. | 
| 76 |  |  |  |  |  |  |  | 
| 77 |  |  |  |  |  |  | If you count the number of words said during | 
| 78 |  |  |  |  |  |  | Mel Brooks' I, you obtain a count of one. | 
| 79 |  |  |  |  |  |  |  | 
| 80 |  |  |  |  |  |  | If you count the number of sexy scenes in I | 
| 81 |  |  |  |  |  |  | (the Errol Flynn and Olivia de Havilland version), you obtain a count of one. | 
| 82 |  |  |  |  |  |  |  | 
| 83 |  |  |  |  |  |  | If you count the number of times Grace Kelly appears naked in | 
| 84 |  |  |  |  |  |  | I, you obtain a count of one. | 
| 85 |  |  |  |  |  |  |  | 
| 86 |  |  |  |  |  |  | If you count the number of times Humphrey Bogart says "Play it again | 
| 87 |  |  |  |  |  |  | Sam" in I, despite what the movie buff lore says, you | 
| 88 |  |  |  |  |  |  | obtain a count of zero. | 
| 89 |  |  |  |  |  |  |  | 
| 90 |  |  |  |  |  |  | If you count the number of sequences in I, | 
| 91 |  |  |  |  |  |  | you obtain a count of one. | 
| 92 |  |  |  |  |  |  |  | 
| 93 |  |  |  |  |  |  | If you watch I to have a look | 
| 94 |  |  |  |  |  |  | at Caroline, you will see her only once. | 
| 95 |  |  |  |  |  |  |  | 
| 96 |  |  |  |  |  |  | In most war movies, | 
| 97 |  |  |  |  |  |  | the delay between the instant you see an explosion and the | 
| 98 |  |  |  |  |  |  | instant you hear it is zero seconds. | 
| 99 |  |  |  |  |  |  |  | 
| 100 |  |  |  |  |  |  | To these movies, we can add several other movies based | 
| 101 |  |  |  |  |  |  | on Tennessee William's plays, which follow the | 
| 102 |  |  |  |  |  |  | classical French theater's I: | 
| 103 |  |  |  |  |  |  | one day, one place, one plot. | 
| 104 |  |  |  |  |  |  |  | 
| 105 |  |  |  |  |  |  | And of course, we can add any Buster Keaton film, | 
| 106 |  |  |  |  |  |  | in which you might count the number of times Buster Keaton smiles, | 
| 107 |  |  |  |  |  |  | as well as any Marx Brothers film, in which you can count the | 
| 108 |  |  |  |  |  |  | number of times Harpo speaks. | 
| 109 |  |  |  |  |  |  |  | 
| 110 |  |  |  |  |  |  | =head2 Explanations | 
| 111 |  |  |  |  |  |  |  | 
| 112 |  |  |  |  |  |  | =over 4 | 
| 113 |  |  |  |  |  |  |  | 
| 114 |  |  |  |  |  |  | =item M*A*S*H | 
| 115 |  |  |  |  |  |  |  | 
| 116 |  |  |  |  |  |  | The gunshot occurs during the football match, to mark the | 
| 117 |  |  |  |  |  |  | end of the first period of the game. | 
| 118 |  |  |  |  |  |  |  | 
| 119 |  |  |  |  |  |  | =item The Man Who Never Was | 
| 120 |  |  |  |  |  |  |  | 
| 121 |  |  |  |  |  |  | This movie is rather a spy movie that takes place during | 
| 122 |  |  |  |  |  |  | World War II. It presents the deception operation prior to | 
| 123 |  |  |  |  |  |  | the landing in Sicily, which consisted in releasing the | 
| 124 |  |  |  |  |  |  | corpse of a so-called "Major Martin", with forged secret | 
| 125 |  |  |  |  |  |  | documents, so this corpse would land in neutral Spain. | 
| 126 |  |  |  |  |  |  | The British hoped that the German agents in Spain would | 
| 127 |  |  |  |  |  |  | have access to the forged documents, believe them genuine | 
| 128 |  |  |  |  |  |  | and report their findings to Berlin. The movie describes | 
| 129 |  |  |  |  |  |  | the preparation of the operation and the mission of a | 
| 130 |  |  |  |  |  |  | German agent in England to check the background of "Major | 
| 131 |  |  |  |  |  |  | Martin". So, this film contains no gunshot, only one | 
| 132 |  |  |  |  |  |  | axis character and one corpse. | 
| 133 |  |  |  |  |  |  |  | 
| 134 |  |  |  |  |  |  | =item The Trench | 
| 135 |  |  |  |  |  |  |  | 
| 136 |  |  |  |  |  |  | This film describes the Somme Attack on 1st July, 1916, which may have | 
| 137 |  |  |  |  |  |  | been the most murderous day since the birth of mankind until the | 
| 138 |  |  |  |  |  |  | bombing of Hamburg in 1943. Therefore you might think that there would | 
| 139 |  |  |  |  |  |  | be no survivor among the main characters (that is, excluding the poge | 
| 140 |  |  |  |  |  |  | colonel and the cinema team). Yet, there is one survivor, the soldier | 
| 141 |  |  |  |  |  |  | who had his jaw smashed by a sniper shot and who was casevac'ed on the | 
| 142 |  |  |  |  |  |  | eve of the Somme attack. | 
| 143 |  |  |  |  |  |  |  | 
| 144 |  |  |  |  |  |  | =item Dr Strangelove | 
| 145 |  |  |  |  |  |  |  | 
| 146 |  |  |  |  |  |  | The female character is Miss "Foreign Affairs", General Turgidson's | 
| 147 |  |  |  |  |  |  | secretary, who appears also in the centerfold of the Playboy issue | 
| 148 |  |  |  |  |  |  | Major Kong is reading. | 
| 149 |  |  |  |  |  |  | See L | 
| 150 |  |  |  |  |  |  |  | 
| 151 |  |  |  |  |  |  | =item The Blues Brothers | 
| 152 |  |  |  |  |  |  |  | 
| 153 |  |  |  |  |  |  | The scene where we can see Jake's eyes is the scene in the sewer tunnel where | 
| 154 |  |  |  |  |  |  | Jake is at last face-to-face with his former wife-to-be, played by | 
| 155 |  |  |  |  |  |  | Carrie Fisher. | 
| 156 |  |  |  |  |  |  |  | 
| 157 |  |  |  |  |  |  | =item Fahrenheit 451 | 
| 158 |  |  |  |  |  |  |  | 
| 159 |  |  |  |  |  |  | Ray Bradbury's book is about a future where books are banished, | 
| 160 |  |  |  |  |  |  | lest they'd be tought-provoking. François Truffaut's film is | 
| 161 |  |  |  |  |  |  | about a future where every single alphabetic character is banished, | 
| 162 |  |  |  |  |  |  | not only the thought-provoking ones inside the books, but also | 
| 163 |  |  |  |  |  |  | the utilitary characters such as "exit", "walk"/"don't walk", | 
| 164 |  |  |  |  |  |  | "in", "out". When a character's personal file is briefly shown, | 
| 165 |  |  |  |  |  |  | we can only see numbers. This goes to such length that the credits | 
| 166 |  |  |  |  |  |  | are not written on the screen, but spoken by a narrator. | 
| 167 |  |  |  |  |  |  | The contributor likes Ray Bradbury's book. | 
| 168 |  |  |  |  |  |  |  | 
| 169 |  |  |  |  |  |  | =item Monty Python's Holy Grail | 
| 170 |  |  |  |  |  |  |  | 
| 171 |  |  |  |  |  |  | The scene with a horse is the scene in which a professor | 
| 172 |  |  |  |  |  |  | is murdered. As for the final credits, there are none. | 
| 173 |  |  |  |  |  |  |  | 
| 174 |  |  |  |  |  |  | =item Silent Movie | 
| 175 |  |  |  |  |  |  |  | 
| 176 |  |  |  |  |  |  | The only word spoken during this film is Mime Marceau's answer | 
| 177 |  |  |  |  |  |  | to Mel Brooks: "No!" | 
| 178 |  |  |  |  |  |  |  | 
| 179 |  |  |  |  |  |  | =item Robin Hood | 
| 180 |  |  |  |  |  |  |  | 
| 181 |  |  |  |  |  |  | In this film, a "normal" scene is a scene where Maid Marian | 
| 182 |  |  |  |  |  |  | wears clothes and headgear covering everything except part of her face, | 
| 183 |  |  |  |  |  |  | from the forehead to the chin. A "sexy" scene is a scene | 
| 184 |  |  |  |  |  |  | in which Maid Marian appears with her whole bare head: | 
| 185 |  |  |  |  |  |  | face, ears, long flowing hear. Yet, from the neck down, | 
| 186 |  |  |  |  |  |  | she is still fully clothed. | 
| 187 |  |  |  |  |  |  |  | 
| 188 |  |  |  |  |  |  | =item The Bridges at Toko-Ri | 
| 189 |  |  |  |  |  |  |  | 
| 190 |  |  |  |  |  |  | This film includes a scene where Brubaker (William Holden), his wife | 
| 191 |  |  |  |  |  |  | (Grace Kelly) and their two girls take a Japanese bath. But don't | 
| 192 |  |  |  |  |  |  | hold your breath, the angles of view and the ripples in the water | 
| 193 |  |  |  |  |  |  | prevent you from seeing more than the Hays Code would permit. | 
| 194 |  |  |  |  |  |  |  | 
| 195 |  |  |  |  |  |  | =item Rope | 
| 196 |  |  |  |  |  |  |  | 
| 197 |  |  |  |  |  |  | This is a movie with five reels, yet with seemingly | 
| 198 |  |  |  |  |  |  | only one camera shot. Actually, from time to time, | 
| 199 |  |  |  |  |  |  | the camera zooms towards a dark object, such as | 
| 200 |  |  |  |  |  |  | James Stewart's suit or the lid of a wooden trunk. | 
| 201 |  |  |  |  |  |  | Then, when the camera zooms out, you notice a slightly | 
| 202 |  |  |  |  |  |  | different rendering of the colors. But it is customary | 
| 203 |  |  |  |  |  |  | to pretend not noticing that and to wonder how Hitchcock | 
| 204 |  |  |  |  |  |  | did this feat. The contributor does not agree. This movie | 
| 205 |  |  |  |  |  |  | is one of the few Hitchcock movies he dislikes. | 
| 206 |  |  |  |  |  |  |  | 
| 207 |  |  |  |  |  |  | =item Le Fils de Caroline Chérie | 
| 208 |  |  |  |  |  |  |  | 
| 209 |  |  |  |  |  |  | Actually, Caroline appears only something like 0.05 times, | 
| 210 |  |  |  |  |  |  | rounded up to one. The entire movie is about her son, | 
| 211 |  |  |  |  |  |  | living in Spain during the Napoleonic War and | 
| 212 |  |  |  |  |  |  | looking for his mother. His quest is fulfilled at | 
| 213 |  |  |  |  |  |  | the very end of the movie and he sees at last | 
| 214 |  |  |  |  |  |  | her mother exiting from a stagecoach. But you | 
| 215 |  |  |  |  |  |  | barely see her foot and ankle and the film | 
| 216 |  |  |  |  |  |  | ends on this picture. By the way, nothing | 
| 217 |  |  |  |  |  |  | ensures that this foot and this ankle are | 
| 218 |  |  |  |  |  |  | Martine Carol's (the actress playing Caroline | 
| 219 |  |  |  |  |  |  | in both other Caroline Chérie movies). | 
| 220 |  |  |  |  |  |  |  | 
| 221 |  |  |  |  |  |  | =back | 
| 222 |  |  |  |  |  |  |  | 
| 223 |  |  |  |  |  |  | =head1 CONTRIBUTOR | 
| 224 |  |  |  |  |  |  |  | 
| 225 |  |  |  |  |  |  | Jean Forget. | 
| 226 |  |  |  |  |  |  |  | 
| 227 |  |  |  |  |  |  | =head1 CHANGES | 
| 228 |  |  |  |  |  |  |  | 
| 229 |  |  |  |  |  |  | =over 4 | 
| 230 |  |  |  |  |  |  |  | 
| 231 |  |  |  |  |  |  | =item * | 
| 232 |  |  |  |  |  |  |  | 
| 233 |  |  |  |  |  |  | 2012-11-19 - v1.000 | 
| 234 |  |  |  |  |  |  |  | 
| 235 |  |  |  |  |  |  | Published as the last theme submitted before | 
| 236 |  |  |  |  |  |  | the release of Acme-MetaSyntactic version 0.99, | 
| 237 |  |  |  |  |  |  | in Acme-MetaSyntactic-Themes version 1.028. | 
| 238 |  |  |  |  |  |  |  | 
| 239 |  |  |  |  |  |  | =item * | 
| 240 |  |  |  |  |  |  |  | 
| 241 |  |  |  |  |  |  | 2012-10-21 | 
| 242 |  |  |  |  |  |  |  | 
| 243 |  |  |  |  |  |  | Jean selected I as the theme name. | 
| 244 |  |  |  |  |  |  |  | 
| 245 |  |  |  |  |  |  | =item * | 
| 246 |  |  |  |  |  |  |  | 
| 247 |  |  |  |  |  |  | 2012-09-25 | 
| 248 |  |  |  |  |  |  |  | 
| 249 |  |  |  |  |  |  | Updated version submitted by Jean Forget. | 
| 250 |  |  |  |  |  |  |  | 
| 251 |  |  |  |  |  |  | =item * | 
| 252 |  |  |  |  |  |  |  | 
| 253 |  |  |  |  |  |  | 2006-07-11 | 
| 254 |  |  |  |  |  |  |  | 
| 255 |  |  |  |  |  |  | Submitted by Jean Forget as the I theme. | 
| 256 |  |  |  |  |  |  |  | 
| 257 |  |  |  |  |  |  | =back | 
| 258 |  |  |  |  |  |  |  | 
| 259 |  |  |  |  |  |  | =head1 SEE ALSO | 
| 260 |  |  |  |  |  |  |  | 
| 261 |  |  |  |  |  |  | L, L. | 
| 262 |  |  |  |  |  |  |  | 
| 263 |  |  |  |  |  |  | =cut | 
| 264 |  |  |  |  |  |  |  | 
| 265 |  |  |  |  |  |  | __DATA__ |