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Cooper Morris
Cooper Morris

Subtitle Sister Act

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subtitle Sister Act

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Audiences can expect comedy, great music, singing dancing and more when 'Sister Act' rolls into the Naples Philharmonic for a six-night run on New Year's Day. The show - with the subtitle 'A Divine Musical Comedy' - is adapted from the 1992 Whoopi Goldberg film of the same name.

She can stand it no longer. When she looks from her window at the two men running up the avenue to tell her that the wedding is over, she throws herself down on the bed, where she lies in a trance, neither hearing nor seeing. Earlier that morning the groom had entered her room and she had removed the ring, which she had been wearing all night, and handed it back to him with a blessing. He had then returned it to her finger, blessing it once more, before leaving for the church to bind himself to another. When she is told by the bride's sister that the newlyweds are coming, she somehow rises from her bed and sends herself flying down the stairs and out the front door, her body moving against her own volition, not stopping until she is in the arms of the groom. Together they cross the threshold of the house, where they wait to greet the bride.

Dorothy Wordsworth's journal entry for October 4, 1802, describes her brother William's marriage to Mary Hutchinson from the perspective of her bedroom at Gallow Hill, the Hutchinsons' Yorkshire farm, where she waited for the couple to return from the local church at Brompton. She was too distraught to attend the ceremony herself. For readers of her journals, Dorothy's account of William's wedding morning comes as a surprise, and not only because of the peculiar early-morning ceremony performed between the brother and the sister and the intensity of her physical response to the event. It strikes a new tone in her writing: after two and a half years of recording what she sees, she now records what she feels about something she has not seen, and it is typical of Dorothy Wordsworth that this long-awaited focus on herself comes just as she is going out of focus, slipping into a semiconscious state as one chapter of her life closes and the next begins.

This is the story of four small notebooks whose contents Dorothy Wordsworth never meant to be published, and which have become known as the Grasmere Journals. In tightly compressed entries that are mostly regular and mostly legible, they describe a routine of mutton and moonscapes, walking and headaches, watching and waiting, pie baking and poem making. Their style, at times pellucid, at times opaque, lies somewhere between the rapture of a love letter and the portentousness of a thriller; the tight, economical form they adopt is that of the lyric, but in the grandness of their emotions they are yearning toward the epic. The quickly scribbled pages catch the sights and sounds that other eyes and ears miss: the dancing and reeling of daffodils by the lakeside, the silence of winter frost on bare trees, and the glitter of light on a sheep's fleece. They record the love between a brother and a sister, and climax with Dorothy's "str'nge fits of passion," to use Wordsworth's enigmatic phrase, on the morning of his wedding.

The Grasmere Journals have taken on a curious status since their publication in full in 1958. They have never been out of print and they are regarded as an English national treasure, but their greatness as literature is agreed upon without anyone's being able to say what they are actually about or what type of woman it was who wrote them. In this sense they resemble Wordsworth's Lucy poems, whose poignancy and profundity are increased by the fact that we cannot agree on what their subject might be. Do Dorothy's journals describe her joy or dejection? Are her reactions, observations, and impressions a metaphor for her interior life, or is she simply documenting what she sees? Is her love for her brother that of a rejected mistress, or sisterly devotion of the kind that is hard for a contemporary reader to understand? Does Dorothy cast herself as the heroine of a tragedy or a comedy? Shakespearean comedies close, after all, on a pastoral wedding that anticipates a harmonious future, while the tragedies culminate in death and a new beginning. The Grasmere Journals offer both conclusions.

Her brother's marriage was to be Dorothy's funeral, but for Wordsworth it heralded a new beginning. The ceremony took place at the start of a day, the start of a week, the start of a month, the start of a century, and coincided with the end of a period of immense creativity. On Monday, October 4, 1802, he exchanged the "unchartered freedom" of his life with Dorothy for his next great concern: homage to duty. We might say that he moved from the state of childhood into adulthood. Wordsworth's marriage would last for nearly five contented and uneventful decades, a fact that astonished his friends. "The most interesting circumstance in this marriage," wrote De Quincey, "the one which perplexed us exceedingly, was the very possibility that it should ever have been brought to bear. For we could not conceive of Wordsworth as submitting his faculties to the humilities and devotion of courtship." He appeared emotionally cold, ascetic, almost holy in his reverence for his poetic calling. Wordsworth was now thirty-two, and his most exciting years had been lived: he had been in France during the early years of the Revolution, had fallen in love with a French Royalist and fathered her child, had suffered a profound crisis of self and belief, had built himself up again with the help of Dorothy; the poetry that would secure his reputation had been written; his days as a radical in both politics and literature were behind him; the intensity of his friendship with Coleridge had begun to wane; and he no longer required the receptiveness and recall of his sister's eyes and ears.

The peak of Dorothy Wordsworth's own life was the time between the Christmas of 1799, when, as she put it, she and William were left to ourselves & had turned our whole hearts to Grasmere, and October 1802, when William married and they were left to themselves no longer. During these years, Dorothy never went farther than a day's journey from Dove Cottage. "A happier life, by far, was hers in youth," recalled De Quincey. "Amongst the loveliest scenes of sylvan England . . . her time fleeted away like some golden age." This period I call her threshold years, the golden age in which she was most happy and most aware of the fleeting temporality of that happiness, when she rested on the threshold between what Wordsworth called the "two natures in me, joy the one / The other melancholy." These were also the years in which, some believe, the relationship between Wordsworth and Dorothy crossed the threshold of brotherly and sisterly love. It was now that Dorothy was most alert to the corrosive effects of time; as William's impending marriage threatened to bring to an end the world they shared, she was positioned uneasily between the realization of paradise and the anticipation of its loss. Here, at the point of change, where one door closes and another opens, we experience life at its most intense, and it is on the threshold between one state and another that we can find Dorothy poised again and again. Whether she is observing the moon sailing along, lying on her bed in stillness, or simply gazing into her sublunary world until she can see no longer, she is endlessly ready to drift over the borders of vision. It was also here that Dorothy discovered that she had what Coleridge calls in The Rime of the Ancient Mariner "strange power of speech" and composed, in the form of her journal, a ballad of her own.

VIDEO and AUDIODisney's catalog Blu-ray output this year has been kind of hit and miss, but you can certainly place both Sister Act movies in the hit column. These two transfers boast great picture quality. The 1.85:1 presentations are clean, sharp, vibrant, and detailed. This is among the best looking 1080p video I've seen for live-action movies from this era. Each movie maintains its filmic look, complete with a tiny bit of grain. The sequel shows a little more grain, with the slightly lacking shots of its inspired end credits forgivable based on their optical nature. On the whole, both are highly satisfying. It's tough to imagine them ever looking better on Blu-ray or needing to.Each film gets a winning 5.1 DTS-HD master audio soundtrack as well, which are both clear improvements over their respective Dolby Surround and 5.1 DVD mixes. While there isn't much in the way of directionality or striking sound effects, musical numbers are lively, especially SA2's rousing All-State performance. Though stripped of their existing French dubs on Blu-ray, the movies are joined by English SDH and Spanish subtitles, which unfortunately stop short of transcribing and translating song lyrics. Why Disney and Disney alone seems to fear legal action over subs that include lyrics, I don't know. I'm no lawyer, but it seems like if characters are singing words that have character and plot implications, the hard of hearing ought to know.The DVDs in this package are the same ones released 11-12 years ago, which means that the films are sadly still non-anamorphic in standard definition. That is a tad unbelievable, but knowing how averted the studio is to reissuing live-action catalog, it's not surprising that the HD masters haven't been deemed worthy of using to author new DVDs.

Another common complaint about dubbing is the mismatch between auditory and visual content. Dubbed lines of a film or show fail to correspond to the lip movements of characters, which some find distracting or unpleasant. Akul Goyal (10), an avid watcher of Bollywood movies, uses subtitles to fill in the gaps between his knowledge of Hindi. Though he acknowledges that subtitles can be challenging to follow, he considers them a better option than dubbing. 041b061a72


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