Man On A Ledge Might Be Simple, But It Is Engaging!

The Good: Decent story, Good acting
The Bad: Light on character development, Light on DVD bonus features
The Basics: Man On A Ledge is an improbable thriller that has more to it than the trailers revealed!


Every once in a while, I enjoy a real “flight of fantasy” movie. I’m not talking about the type of movie that happens in a mythical setting or involves creatures that do not exist in real life. No, I’m talking about a movie set in the very real world where events progress in an entirely unrealistic way to give us a moment’s escape from the cold, harsh reality of our world. Last night, I discovered that with Man On A Ledge.

Man On A Ledge was a movie I actually actively avoided when it was in the theaters. The previews seemed far too revealing to me (and, objectively, they show far too much of the movie to have left me actually surprised at any point in Man On A Ledge) and that sort of preview is a real pet peeve of mine. So, when I could watch it more casually now that it is out on DVD, I took the opportunity to watch Man On A Ledge and I was pleasantly surprised. Man On A Ledge has a little bit more going on than the trailers let on and despite the utterly fantastic nature of the chain of events, Man On A Ledge is actually an enjoyable, diverting film.

After having his last meal at a hotel in New York City, Nick Cassidy steps out onto a ledge. Moments later, police arrive and he has a single request for them, bring negotiator Lydia Mercer or he will jump. Mercer comes and begins to talk Cassidy down, while he withholds from her who he actually is. A month prior, Nick Cassidy was in prison and his final appeal was denied, so his twenty-five year sentence is going to be upheld. When his father dies, he is granted a furlough to attend the funeral and there he steals the gun from the guard and escapes.

Now, as Nick Cassidy stands out on the hotel ledge, he is acting as a distraction for his brother Joey and Joey’s girlfriend, Angie. Joey and Angie are breaking into the diamond exchange owned by David Englander across the street. Englander, Mercer learns when she identifies Nick, is the man who got Nick locked away, supposedly for stealing a massive diamond, chopping it up and selling it off. As Nick tries to keep the media focus on him, he pleads with Mercer to believe his story, a story that reveals a web of corrupt cops working as Englander’s private security. With Englander and his police closing in on Nick and his team, Mercer follows the clues to learn the truth about Nick’s conviction and Englander’s machinations.

Man On A Ledge is very plot-focused. This is a thriller that focuses very closely on a chain of events, delivering facts as necessary to create a very plot-driven story. Nick Cassidy does not grow or change or develop over the course of the story and Lydia Mercer does not really develop either. Instead, this is intended as a gritty reality-type situation where Nick uses the last tools he has to try to expose David Englander’s deceptions. The film hinges a lot on characters who share a lot of information about events that the viewer is never privy to. In other words, many of the characters are actually motivated by Internal Affairs investigations over events not at all related to Nick Cassidy being on the ledge. And they come up as is convenient.

Given the lack of character development, almost the entire film is about plot; what is happening now, why is it happening, where is the movie going . . . Man On A Ledge does not try to be something deep and smart or clever outside itself. This is a film that is trying simply to tell a story and it is engaging. Well before the end, the viewer becomes invested in Nick Cassidy. Early on in the film it is established that there are really only two ways that Man On A Ledge can end: he comes in voluntarily or he does not. Whether or not Nick Cassidy lives or dies truly becomes interesting to the viewer because of the extreme efforts so many people are going through to save his life. Long before Man On A Ledge ends, the viewer wants to know which way it will go.

I attribute the success of Man On A Ledge to the cast. Sam Worthington is good as Nick Cassidy, easily playing a plausible convict. He has enough screen presence to make it obvious almost from the first moment he steps out onto the ledge that he is not distraught and not actually intending to jump. Sure, the previews all ruined that aspect of the movie, but Worthington sells it now that there is no hype for the movie. Anthony Mackie plays off Worthington very well and it seems entirely plausible in the ease of their performances that their characters could have been partners in the past.

Man On A Ledge might tip its hand by casting the always-amazing William Sadler to the apparently minor role of the valet, but it makes up for it with the perfect casting of Edward Burns, Ed Harris and Titus Welliver. Elizabeth Banks is fine as Lydia Mercer, but having just watched her by going through all of the bonus features on Zack And Miri Make A Porno (reviewed here), it seems like director Asger Leth cast her for the role, but didn’t make her stretch in any way. Banks is good, Mercer is not one of her more memorable roles and it is not at all an unfamiliar performance from her. In other words, she is well-cast, but not acting excessively well in Man On A Ledge.

Ironically, then, it is Elizabeth Banks who delivers the only decent DVD bonus feature on Man On A Ledge. Man On A Ledge comes with exceptionally few bonus features. After a single preview, the main menu comes up and there is a featurette (“The Ledge”) and a second feature where Elizabeth Banks provides commentary for the theatrical trailer to Man On A Ledge. Her commentary consists mostly of gushing over Sam Worthington’s body and admitting that she would tap Ed Harris, with jokes about Genesis Roderiguez not wearing much. She is very funny and she takes the somewhat ridiculous assignment for what it is and delivers an entertaining two minutes that does not quite justify the expense of the DVD.

Ultimately, Man On A Ledge is diverting and worth watching, even if it is not in any fashion, enduringly great.

For other works featuring Sam Worthington, check out my reviews of:
Wrath Of The Titans
Clash Of The Titans
Avatar
Terminator: Salvation

7/10

For other film reviews, be sure to check out my Movie Review Index Page for an organized listing of all my movie reviews!

© 2012 W.L. Swarts. May not be reprinted without permission.
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Outside The Visuals, There Is Nothing Extraordinary (Or Extraordinarily Bad) About Wrath Of The Titans.

The Good: Amazing visual effects
The Bad: Everything else – plot, characters and acting – is homogenously average.
The Basics: An excellent popcorn movie, Wrath Of The Titans is a bit of a letdown for those who look for something more substantive from film.


Sequels tend to take a lot of flack, arguably because they most frequently try to capitalize on the popularity of something that succeeded without actually providing viewers with much that is truly new. So, when a remake of a b-rate fantasy movie succeeds at drawing a new audience, it is unsurprising that it would get a sequel. It is equally unsurprising that the writers, directors, producers and the studio would do all they could to ensure the success of the sequel by mimicking the successful elements of the original. That is exactly what happens with Wrath Of The Titans.

Wrath Of The Titans is the sequel to the 2010 version of Clash Of The Titans (reviewed here!) and features only a handful of the original cast from that movie. Instead, Wrath Of The Titans progresses the story of the decline of the ancient Greek gods. More focused on Perseus, Wrath Of The Titans is very much a continuation of Clash Of The Titans and does not do much beyond what viewers have already seen before. The creatures are different, but they occupy the same essential niches, where the swarm of scorpions is replaced by Makhai, Medusa is replaced by the Cyclops's and instead of the Kraken, now there is Kronos. There is little that feels new in Wrath Of The Titans, even though it looks new and fresh.

The machinations of the gods continue a decade after Perseus slew the Kraken with Zeus and Hades vying for power over the Earth. The people of Earth have mostly given up on the gods; they no longer worship them enough to sustain the full strength of Zeus. As Zeus’s power wanes, Hades sees his opportunity to put an end to his brother’s reign. When Ares and Hades strike up an alliance, they imprison Zeus and set free the denizens of Tartarus.

Perseus, who has been living a quiet life raising his son, is drawn out. In order to save the world, he must stop Ares and fight his way through Tartarus to rescue Zeus. But even the combined might of Zeus, Perseus, Andromeda and weapons forged by the god Hephaestus himself, may not be enough to stop Kronos, Hades and Ares.

Wrath Of The Titans is fun, but it is not really much more than that. Thematically dark, Wrath Of The Titans explores the age old conflict between generations when the younger generation comes to overthrow the older one. In Greek mythology, that takes the form of Kronos being overthrown by Zeus when Kronos tries to eat all of his children. Zeus thwarts him and imprisons him in Tartarus. The idea that Hades is just bastardly enough to break Kronos out of Tartarus is a decent story idea. Hell, I’m just happy to see a movie where the writers were smart enough to know that Hades is the god, Tartarus is the place (i.e. Hades is not hell in Greek Mythology, Tartarus is!).

Beyond that, Wrath Of The Titans is a very straightforward fantasy quest movie and it is nothing viewers have not already seen in terms of plot, character and acting, before. On the plot front, the quest story feels very formulaic, because it is. Perseus gets his mission, assembles a small team of people he hopes can help him – most notably the recast Queen Andromeda -, acquires the tools needed to succeed in his mission and then overcomes obstacles to achieve his goal. It is, in the literal sense, classic. The story feels mundane, but director Jonathan Liebesman keeps Wrath Of The Titans moving at a pace where one does not truly ever stop to consider that fact.

On the character front, Wrath Of The Titans is pretty weak. For obvious reasons, Hades, Ares, and Zeus are archetypes more than well-rounded characters. Perseus is a powerful man whose motivations have more to do with him being a parent than they do with him wanting to be a hero and actually have the world. Andromeda does not quite rise to the level of being an action hero of the Xena: Warrior Princess ilk, though her costume is almost as cool. The result is that most of the movie is spent with the characters running around and the viewer not so much caring about the fate of the characters as they simply enjoy the spectacle.

As for the acting, it is fine, but it is no way extraordinary. Liam Neeson, Ralph Fiennes, and Bill Nighy bring their usual a-games to the roles of Zeus, Hades and Hephaestus, without letting the make-up and costumes they wear overbear their performances. They are good, but when Neeson and Nighy start getting lifetime achievement awards in a few years, it is doubtful that there will be any clips of them from Wrath Of The Titans. Similarly, Sam Worthington proves once again that he has all the makings of an action hero. He does it again with Wrath Of The Titans and while he is good, he is playing within his established range now, as opposed to actually performing in a way that surprises the viewer at all.

As unsurprising as the idea that no one from Wrath Of The Titans will be nominated for an acting Oscar is the fact that the film looks incredible. Wrath Of The Titans is a big, special effects-driven film bursting with monsters that look more real than animated and better than they did in Clash Of The Titans. The 3-D effects are good and when the movie uses the effect, it uses it well, though there are several moments, especially in character interactions, where the 3-D is not truly noticeable. But for the shots designed to be epic 3-D battle shots, they look great, like they are supposed to.

In the end, Wrath Of The Titans is simply That Type Of Movie and I suspect that it was released now to beat the Summer Blockbuster Season rush because so many of the traditional popcorn movies this summer will have the heart, performances and compelling characters that this film lacks.

For other works with Rosamund Pike, be sure to visit my reviews of:
The Big Year
Pride and Prejudice
The Libertine
Die Another Day

5.5/10

For other movie reviews, please visit my Movie Review Index Page for an organized listing of all the films I have reviewed!

© 2012 W.L. Swarts. May not be reprinted without permission.
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A Terminator Without Arnold Is Remarkably Average Action-Adventure: Terminator Salvation.

The Good: Decent acting, Moments of plot
The Bad: Predictable plot, General lack of character development/originality
The Basics: In a VERY weak "recommend," the stiflingly average Terminator Salvation makes for passable entertainment, but nothing to spend much time at all thinking about.


A few years back while on the road for a Star Trek convention, a fan asked Robert Picardo - who played the Emergency Medical Hologram on Star Trek: Voyager - about the candidacy of Arnold Schwarzenegger and Picardo wisely said that his hope for the potential governor would be that (if elected) Schwarzenegger would help restore Hollywood to a moviemaking capital of the world. Picardo's logic was pretty sound; Hollywood built Schwarzenegger as an actor, but in the years since his rise as an actor, taxes and codes had made the studio town the bane of many a production company's existence. Los Angeles was no longer THE place to shoot a movie or television series and instead, places like Vancouver became popular filming locations in the 1990s. One wonders how Picardo would feel about Terminator Salvation being filmed mostly (according to the closing credits) in Albuquerque. Considering that this episode in the Terminator film franchise utilizes the current governor of California minimally, one supposes Schwarzenegger has little to worry about in this regard.

That said, director McG and writers John D. Brancato and Michael Ferris have very little to be excited about with Terminator Salvation either. Having caught a screening of the film, the overwhelming feeling at the end of the film was that it was a startlingly average film. My wife, who had never seen a Terminator film before was unimpressed by this installment and her comment at the end was "I'm glad we didn't pay to see that" and "I'm not going to look up the other three movies now." For its part, Terminator Salvation opens well enough, but quickly devolves into a remarkably average action-adventure film where the most enjoyable moments almost all come as a result of callbacks to past films in the franchise (though none were as extreme as my hoped-for cameo with all of the past actors playing John Connor appearing, say, in a bar . . .). I had prepared for the film by reading the prequel graphic novel Sand In The Gears (reviewed here!) and was a bit disappointed by how little bearing that had on the movie.

In 2018, the bombs have gone off, humanity has been virtually decimated by the SkyNet machines and the few pockets of remaining humans have organized into the Resistance, led by John Connor. The thing is, back in 2003, a killer named Marcus Wright was put to death by lethal injection, after signing his body over to a doctor working for SkyNet. Shortly after an attack on a SkyNet facility - where John Connor is the lone Resistance survivor - Marcus Wright turns up naked on the battlefield, disoriented and wanders to Los Angeles. As John Connor and his Resistance cell organize for a final assault on SkyNet as the result of a shutoff signal that might well stop every single SkyNet machine, Marcus begins a journey of his own.

Wright's journey puts him in the company of Kyle Reese, a man who is supposed to be sent back in time to become John Connor's father. Reese and his ward, Star, find themselves captured by machines shortly after Wright turns up and Marcus's search for answers take him in the direction of SkyNet. On that search, he encounters John Connor and both Connor and Wright learn a terrible secret about the herding of humans by the SkyNet machines . . .

. . . only, it's not much of a secret because all of the final trailers for the film ruin Wright's secret. Seriously, any potential for greatness that Terminator Salvation ever had was completely crushed by the fact that Wright's secret is revealed in the previews. In a movie where the Terminators are exactly where one expects them to be based on framing (i.e. even my wife who had never seen one of these films knew the active Terminator was right behind the one on the assembly line) the subtlety of moments is ruined when the viewer has mere seconds between the intelligent revelation and the explicit reveal. And that the explicit reveal made it into the preview trailers is reprehensible on the part of the advertisers. They gut the emotion of the moment and of the film.

That said, the plot has virtually all of the expected "Terminator" moments. There are fights, car chases, a few catchphrases that pop up. The only innovative cameo is the use of the song "You Could Be Mine" within the film. Outside that, the cameos are surprisingly bland and generally obvious. Strangely, I was the only one in the theater to react to the first mention of Kyle Reese, whose name is first dropped when John Connor is put at the #2 position on SkyNet's most wanted list. Kyle Reese's story is told in The Terminator.

Only, it is also told in this film. Terminator Salvation is essentially the story of three men, past, present and future: Marcus Wright, John Connor, and Kyle Reese. Marcus Wright had his day and is living his second chance, John Connor is living his prophesied potential and Kyle Reese is just coming into his own. Wright's story is interesting, but he was cast far too close to the look of the new John Connor, Christian Bale. Those looking for any deepening of the storyline between John and Kate Connor will have to wait; Kate shows up pregnant, but does almost nothing for the course of the almost two hours.

Worse yet is that Marcus Wright is hardly interesting. He takes the role - in terms of screentime and character arc - that is traditionally held by the adversary (Terminator) and his relationship with Blair is hardly engaging. Instead, they seem to be the most active male and female on the screen, so the camera stays on them. Unfortunately, here is where the film becomes absolutely dumb. Wright enters the Connor Resistance Cell, pretty much begging those there to let him go so he can go to San Francisco to find someone at SkyNet. Neither Connor nor his people bother to ask him who he is searching for or why. At least none of the humans look surprised when Blair breaks Wright out. Connor is at least that smart, fortunately.

The real winner of the film, though, is actor Anton Yelchin as Kyle Reese. Yelchin is having a pretty exceptional month as an actor, whatwith charming audiences as the child prodigy Pavel Chekov in the film Star Trek (reviewed here!) and now picking up the mantle of Kyle Reese in Terminator Salvation. Yelchin earns his chops by perfectly picking up some of the mannerisms and vocal characteristics of Michael Biehn, who originated the role in The Terminator. Yelchin steals the screen often enough from both Bale and Sam Worthington, who plays Wright.

Worthington is a decent-enough heavy, but he only shines when he is on screen opposite Moon Bloodgood (Blair) or on his own. Put beside Yelchin or Bale and he seems far less impressive. In fact, he only has one truly great bit of emoting in the film and to discuss it is to ruin the surprise for the few who have not yet seen the trailers. As for Christian Bale, he does a good job as John Connor. Personally, I enjoyed the prior take on Connor as an unlikely man living in disbelief of his destiny trying to scrape together a life off the grid. Nick Stahl made for a convincing antihero and an unlikely leader of the resistance. Bale is much more obvious, overt and military in his bearing and as a result, he sells the new John Connor just fine.

The problem, as it often is in these type movies, is that Terminator Salvation plays fast and loose with the continuity and the character of John Connor is an awkward constant/inconsistency. But as far as the film on its own merits goes . . . this moves away from being smart or complex science fiction into pretty mindless action-adventure pretty quickly. And for that, it is adequate. But with so many smarter options on the big screen right now, it is hard to get excited about this one. See it free, if possible.

For the other "Terminator" films, please check out my reviews of:
The Terminator
Terminator 2: Judgment Day
Terminator 3: The Rise Of The Machines

5.5/10

For other movie reviews, please visit my index page by clicking here!

© 2011, 2009 W.L. Swarts. May not be reprinted without permission.
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Dances With Wolves Meets Return Of The Jedi Meets The Matrix Meets District 9: Avatar!

The Good: Moments of performance, Moments of effect, Moments of message
The Bad: VERY predictable, Erratic special effects, Long and feels long, Very light on character
The Basics: Sloppy in effects and formulaic in the storytelling and characters, Avatar is a huge disappointment.


About halfway through watching the new science fiction "epic," my wife turned to me and began calling what would come next and she continually got her guesses right. About forty-five minutes from the end of the film, I turned to her and observed "I have absolutely no emotional investment in any of these characters." It was true. It was then that I came up with my title for this review and the truth of it left me dramatically disappointed. Under the heading of "it's all been done before," the longer Avatar went on, the more familiar it seemed and virtually everything that happened in it came from either Dances With Wolves, Return Of The Jedi, The Matrix, or District 9. The result is a surprisingly unsatisfying film.

My wife and I went into Avatar blind; we had each seen a single preview. I actually enjoyed how this was a film I knew almost nothing about from the outset. And having generally enjoyed the works of James Cameron, I was game for something that was truly original. Unfortunately, seasoned fans of cinema and especially science fiction are more likely to be disappointed than impressed in any way with the content and even effects of Avatar.

Taking over for his brainy brother on a project on planet Pandora, Jake Sully, a Marine who has been wheelchair-bound for years, to join the Avatar program. The indigenous evolved lifeform on Pandora, the Na'vi, have resisted Earth's attempts to extract unobtanium from Pandora, so the Company has a two-prong effort going on on Pandora: a Marine commando operation and a scientific-diplomatic effort. The Avatars are genetically-engineered Na'vi/human hybrids which are tailored to suit specific "drivers," essentially Na'vi puppets run by human brains off-site, and Jake quickly is used to bridge the gap between the two human camps working on Pandora. As part of the Avatar program, he is encouraged by Dr. Grace Augustine to learn the ways of the Na'vi and explore the planet and its inhabitant's cultures. But the nefarious Colonel Miles Quaritch enlists the ex-Marine to spy for the military and Jake agrees.

But when lost in the jungles, Jake's avatar is met by the Na'vi woman, Neytiri, who takes him back to the tribe for judgment. On the inside, Jake quickly learns the language, philosophy and survival tactics of the Na'vi. But when Parker Selfridge, the Company's representative, insists on making a move for the unobtanium quickly, Jake finds himself empathizing more with the Na'vi and taking up arms against the human armada intent on wiping out the flora and fauna in the way of their mining expedition.

Avatar is creative, to be sure, but it is a whole string of cliches stolen from other, more engaging movies, that it quickly becomes tired and predictable. As well, there are distinctly campy elements to the story from the obvious naming (Pandora?!, really?!) to the ridiculous: the one element the planet has is called "unobtanium?!" Yes, that's unobtainable anywhere else. Sadly, this is not said tongue-in-cheek in the actual film and as a result, amid a plodding film viewers are expected not to laugh out loud at such ridiculous conceits. My wife, in fact, wanted me to highlight the most ridiculous conceit, the appearance of a knife at the most unexplainable juncture, but because that comes in the last fifteen minutes, I refuse to name this "When All Else Fails, Pull A Knife." My wife is right, though, the movie takes only the most absurd and nonsensical turns when it is not being utterly predictable in the plot and character aspects.

To be fair to James Cameron's Avatar, some of the predictable character elements actually work in the film's favor. When the paraplegic Jake stands on his own two Avatar legs, he is not patient to do the things like run, jump and frolic that he has been missing for years. This is very human and reads as very true for the character. Similarly, Dr. Grace Augustine is a deeply intelligent and spiritual character who quickly overcomes the stereotypical "cold scientist" archetype.

But, the moment Neytiri appeared on screen, everyone knows that she is Jake's romantic interest. The two begin to form a bond as Neytiri is forced to become Jake's tutor, but there is an inorganic attraction between the two that comes solely from her being the first female Na'vi Jake sees and the one who he is proximate the most with. In a similar way, Jake's character arc is almost play by play the archetypal "hero" role with little that defines him as unique. In fact, the plot and character marks are so regular they are cliche: Jake uses the Na'vi for information, but has a change of heart, but is exposed by his own people before he can illustrate that, but goes back to try to warn them, but finds them not wanting his help, until the humans attack and they beg him to become a leader and it's been done before.

So, for those wondering, the four films I selected that I realized this was a combination of . . . here's how that works. Avatar is like Dances With Wolves in that a man from one culture finds himself assimilating with another culture that has a love of the planet and nature and the harmony of individual and ecosystem. Both are long films with a military protagonist, but where Dances With Wolves may be viewed with the hope and expectation that humanity will grow beyond its petty need for conquest to the detriment of other cultures, Avatar simply illustrates that we do not. Avatar is like Return Of The Jedi in that the indigenous people are vastly outgunned and overwhelmed by the technology of their oppressors. But where the Ewoks are pitiable or even stupidly heroic for trying to take on the Imperial machines, the Na'vi seem ridiculous continually shooting arrows at armored flying vehicles, even after they see this has no effect on them.

As for The Matrix, the Avatar suit concept is just an extension of plugging into the Matrix and having virtual experiences. The special effects in that earlier film knock the socks off the ones in Avatar. Herein lies one of the most serious problems with Avatar. Avatar is a live-action film which relies heavily on CG special effects from the tall Na'vi to most of Pandora, which is a lush jungle setting filled with glowing animals and collapsible flora. But there are large sections of the film where there is so much CG that the world is so unreal it LOOKS like a computer-generated animation. There is no reality to it and in some of the battle sequences, the physics of the characters - even in the lower gravity environment of Pandora - are not rendered realistically. The lighting, though, often makes the CG characters and sets look animated and markedly different from the live-action characters, equipment and set pieces that are present. As for District 9, James Cameron takes a serious hit for being the second-to-market with a virtually identical story of assimilation into an alien species. But whereas District 9 made the transformation literal, Avatar has a predictable cultural assimilation as Jake becomes one of the Na'vi. But, also, some of the camerawork is similar to District 9, so Avatar does not look or feel as special as it ought to.

On the acting front, James Cameron gets good use out of Sigourney Weaver (Dr. Augustine), though she performs many of her scenes with a ballsy quality familiar to anyone who liked her portrayal of Ellen Ripley. As well, Zoe Saldana's acting is mostly voice acting as she plays Neytiri, a CG-character. She is adequate in the role, but so much of her material is cliche that it is hard to say this is an outstanding performance by any measure.

It is Sam Worthington who is given the brunt of the acting chores as Jake Sully and while his character's arc is predictable, he is good in the role. He has a wonderful physical presence in his human presentation of Sully when moving in his wheelchair and from his wheelchair to the bunk where he interfaces with the Avatar. As well, Worthington has a good vocal presence in the points where he is playing a virtual character and they work, though so many of his lines are exactly the type of campy lines that make mainstream society cringe at the idea of science fiction.

At the end of the day, though, Avatar is slow and plodding until it becomes exactly the action-adventure film viewers would have expected it to be. It looks like a computer game in the last half and when it fails to track logically, it just goes for big explosions. The saddest part is that there is, throughout, a smart motif of the dangers of overwhelming capitalism and the importance of preserving and respecting the environment. But rather than dealing with the consequences of the most egregious acts the humans perpetrate against Pandora, the film is content to bow out as soon as the bloodshed is done.

For other alien movies, please check out my reviews of:
Battle Los Angeles
The Alien Quadrilogy
Battlefield Earth

4.5/10

For other film reviews, please visit my index page by clicking here!

© 2011, 2009 W.L. Swarts. May not be reprinted without permission.



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