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When the Department of Veterans Affairs approached the NFB to make a film about the Canadian war dead of the First and Second World Wars, nobody was quite sure how to proceed. Filmmaker Donald Brittain, who had just finished working on the Canada at War series, was assigned to the project. Convinced that just showing cemeteries would be counterproductive, Brittain filmed the sites of famous battles as they appeared in the 1960s, with people having moved on and enjoying their lives. Yet the sacrifices made by Canadians on the battlefields are not forgotten by the people of these countries. Shot on 35 mm, the film would premiere in Ottawa in October 1963 with Governor General Georges Vanier present and play theatrically for the next two years. It would also be broadcast on Remembrance Day 1965 on the full CBC network.

This digital download of Maximum Tolerated Dose includes the full documentary, uncut, in HD; Interview on Animal Voices radio show with Director Karol Orzechowski and host Dr. Lauren Corman; PDF booklet containing \"The Word\", an exclusive essay by Dr. Corman, as well as the \"MTD User Guide\", a scene-by-scene breakdown of the film. *****Subtitles currently available in POLISH, CZECH, GERMAN, RUSSIAN, FINNISH, and ITALIAN.

The DELUXE EDITION digital download of Maximum Tolerated Dose includes the full documentary, uncut in HD; Extended interviews with Lynda Birke (co-author of \"The Sacrifice: How Scientific Experiments Transform Animals and People\") and John Pippin (former research cardiologist); The U.S. military's \"Animals In Rocket Flight,\" a 1953 film about aeromedical experiments on monkeys and rats; Interview on Animal Voices radio show with Director Karol Orzechowski and host Dr. Lauren Corman; PDF booklet containing \"The Word\", an exclusive essay by Dr. Corman, as well as the \"MTD User Guide\", a scene-by-scene breakdown of the film. *****Subtitles currently available in POLISH, CZECH, GERMAN, RUSSIAN, FINNISH, and ITALIAN.

The Fifty Best Catholic Movies of All Time The best religious films, and therefore the best Catholic films, convey the great truths of Christianity implicitly rather than explicitly, not unlike the mystery of incarnation itself, in which the Word became flesh in the person of an obscure carpenter from a hick town in a minor province. In addition, this list consists primarily of films that deal with Catholic characters, Catholic society, and the Bible in ways that are not hostile to the Church. Most of them were made by Catholic directors. It is interesting to note that the three best directors who ever worked in Hollywood, Frank Capra, John Ford, and Alfred Hitchcock, were all practicing Catholics. So much for the detrimental effects in these times of the Church upon art. The Age of Innocence (1993)Directed by Martin Scorcese: Here Scorcese transforms Edith Wharton's satire on New York during the Gilded Age into a compassionate tale of love and sacrifice. It's a woman's film in that the hero (Daniel Day-Lewis) just doesn't get it; he's not morally up to the divorcée (Michelle Pfeiffer) with whom he falls in love, neither does he fully appreciate the wisdom of his seemingly naive wife (Winona Ryder). The women, however, understand all and agree (though they never speak to one another about it) to aid him in keeping his matrimonial vows. The opening at the opera, appropriately Faust, and the following ballroom scene are among the greatest ensemble pieces ever filmed in Hollywood, worthy of Capra and Fellini. Presently underrated, this work is a masterpiece. Angels with Dirty Faces (1938)Directed by Michael Curtiz: Why Curtiz is not more admired remains one of the mysteries of film history. Among his credits one finds Robin Hood, Four Daughters, Yankee Doodle Dandy, and Mildred Pierce. In Angels, good gangster Cagney, at the request of his old pal, the priest Pat O'Brien, pretends he's yellow so as to warn the Dead End Kids against a macho life of crime. Cagney is at his mannered best, and the play of light, the pace, and rhythm of the editing remind us once more of the greatness of the Hollywood studio system. The Assisi Underground (1984) Directed by Alexander Ramati: It is always a pleasure to find a film dealing with the Holocaust that is not hostile to the Church. Shot on location in Assisi, this film shows the work of Father Ruffino (Ben Cross), one of the \"Righteous Gentiles,\" in sheltering Italian Jews and transporting them to safety during the Nazi occupation. Unlike many World War II melodramas, this one rings true because it is true, and its good acting (James Mason is the bishop) and simple direction add to the authenticity. As a sign of the film's charity, Maximilian Schell plays a sympathetic German officer who is also trying to be a Catholic and who deliberately interferes with the atrocious work of the SS. Au Revoir, Les Enfants (1987) Directed by Louis Malle: Based on Malle's own experience of Pere Jacques Bunel's school, Au Revoir tells the story of several Jewish boys being hidden in a French Catholic boarding school during World War II. The opposite of sentimental, it shows not only the arrogance of the boys but the harshness of the prevailing class system. It is a school employee, a lower-class lackey ridiculed by the wealthier students, who turns informer. Conscious of the ironies that wars produce, the film in one scene has a German officer protecting an upper-class Jew from being hassled by the French police. But it is just this honesty and complexity, as opposed to a simplistic good guys vs. bad guys scenario, that give the film its punch when the priests and the Jewish boys are led off to the camps. The Awful Truth (1936) Directed by leo McCarey: \"Screwball comedies\" resulted in part from Hollywood's Production Code Administration, a form of censorship blamed somewhat unjustly on Catholics alone. By transforming romantic couples into married couples in the process of being reconciled, writers and directors could treat the more \"adult\" subjects of intimacy and divorce with greater freedom. The result: a group of comedies that rank with Shakespeare and Congreve not only for their wit and invention, but also for their profundity in dramatizing what makes relationships endure. The Awful Truth stands at the top of a list that includes The Philadelphia Story and Adam's Rib. Its final scene alone would ensure its canonization. Babette's Feast (1987)Directed by Gabriel Axel: The delightful story of two Danish spinsters who hire a French cook (Stephane Audran). Though bearing their unjust suspicions, Audran decides to reward them with her love and goes about preparing, at her own expense, a sumptuous banquet. As the film develops, we realize this is nothing less than a eucharistic celebration, consisting of an enormous sacrifice for those unworthy of the price. Bachelor Mother (1939) Directed by Garson Kanin: Among the great comedies of the '30s, Bachelor Mother should be better known. In it Ginger Rogers is mistakenly assumed to be the mother of an abandoned baby, and accepts this role in order to keep her job. In one of the niftiest comic scripts ever written, David Niven, the playboy heir to the department store where Ginger works, begins by preaching to the \"fallen\" Ginger, only later to assume the fatherhood of the child. While promoting male responsibility, the film also serves as a wonderful antidote to the pro-choice ethic of \"reproductive rights.\" Bicycle Thieves (1947) Directed by Vittorio de Sica: Perhaps the greatest of all \"Neo-realist\" films, it tells the all-too-human story of a family, particularly a father and his young son, who suffer unemployment in postwar Italy. When on the first day of his new job his bike is stolen, the bike on which the job depends, he in turn steals another and is caught. A simple story, yet so movingly told that it evokes, even from the most hard-hearted of us, the sympathy for others that the Church and our Lord desire. Blue (1992) Directed by Krzysztof Kieslowski: This film is part of a trilogy, the other two being White and Red. Beautifully photographed and supremely intelligent, it tells of a woman (Juliette Binoche) who, after losing her husband and child, attempts to withdraw from life. But suffering and truth bring her back, with greater understanding, to a more meaningful existence. Casablanca (1942) Directed by Michael Curtiz: Let's be honest. Although this is a typical studio work, reluctantly acted, improvised as it went along, it's one of the most enjoyable pictures ever made. It's not just Bogie at his best, Ingrid Bergman at her most appealing and vulnerable, and Claude Rains at his wittiest; it's not just Peter Lorre, Sidney Greenstreet, and a superb cast; it's not even World War II and \"As Time Goes By.\" No, what makes Casablanca a great film is that all of these contribute to a story of conversion and sacrifice, in which the big, cynical ego of Rick surrenders itself to a higher cause. In any roundup of suspects for great cinema, Casablanca must be included. Ben Hur (1959) Directed by William Wyler: My favorite scene: As Jesus gives water to the enslaved Ben Hur (Charlton Heston), a Roman guard starts to say, \"Who do you think you. . . .\" and looking into the face of God cannot finish his sentence. The Champ(1931) Directed by King Vidor: If City Lights fails to make you cry, The Champ certainly will. An over-the-hill, drunken prizefighter (Wallace Beery) deliberately alienates his loving son (Jackie Cooper) so that the kid will have a better life with his upper-class mother, then wins his last fight for the boy, knowing his own life is at risk. Not unlike the theme of Vidor's later Stella Dallas, this film, while remaining positive, captures the ambivalence and problems in parent-child relationships. Many '30s films take on these Dickensian subjects, not the least of which are the early ones starring Shirley Temple. Chariots of Fire (1981) Directed by Hugh Hudson: In the spirit of Ut Unum Si