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	<title>Screen Savers Movies &#187; The Train</title>
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	<description>40 Remarkable Movies Awaiting Rediscovery</description>
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		<title>The Train (1965)</title>
		<link>http://screensaversmovies.com/the-train-1965</link>
		<comments>http://screensaversmovies.com/the-train-1965#comments</comments>
		<pubDate>Thu, 14 Aug 2008 04:01:31 +0000</pubDate>
		<dc:creator>John DiLeo</dc:creator>
				<category><![CDATA[The Train]]></category>
		<category><![CDATA[Burt Lancaster]]></category>
		<category><![CDATA[Paul Scofield]]></category>

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		<description><![CDATA[The Train tells a humane, disturbing story, yet it leaves the viewer to decide what to make of what transpires. Can inanimate objects, however irreplaceable and valuable and beautiful, bear the cost of human life? How do you ask people to sacrifice their lives for pretty pictures? The French characters in The Train aren’t interested [...]]]></description>
			<content:encoded><![CDATA[<p><strong>The Train </strong>tells a humane, disturbing story, yet it leaves the viewer to decide what to make of what transpires. Can inanimate objects, however irreplaceable and valuable and beautiful, bear the cost of human life? How do you ask people to sacrifice their lives for pretty pictures? The French characters in <strong>The Train</strong> aren’t interested in the paintings’ financial or artistic worth but, rather, in the art’s representation of “the glory of France.” How does one distinguish between French masterpieces and France itself? Don’t, say, Manet and Matisse, define France to its populace and the world? The paintings are symbols of what the French are fighting for: to retain their national identity—their past, their pride, their very soul—from those who would pilfer it. <strong>The Train</strong> grapples with these issues without dispensing pat answers.</p>
<p><img src="http://screensaversmovies.com/wp-content/plugins/flash-video-player/default_video_player.gif" /></p>
<p>Learn more about <a href="http://screensaversmovies.com/the-train-1965-the-art-of-war">The Train</a></p>
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		<title>The Train (1965): The Art of War</title>
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		<comments>http://screensaversmovies.com/the-train-1965-the-art-of-war#comments</comments>
		<pubDate>Sat, 22 Mar 2008 02:01:02 +0000</pubDate>
		<dc:creator>John DiLeo</dc:creator>
				<category><![CDATA[The Train]]></category>

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		<description><![CDATA[The Train tells a humane, disturbing story, yet it leaves the viewer to decide what to make of what transpires. Can inanimate objects, however irreplaceable and valuable and beautiful, bear the cost of human life? How do you ask people to sacrifice their lives for pretty pictures? The French characters in The Train aren’t interested [...]]]></description>
			<content:encoded><![CDATA[<p><em>The Train</em> tells a humane, disturbing story, yet it leaves the viewer to decide what to make of what transpires. Can inanimate objects, however irreplaceable and valuable and beautiful, bear the cost of human life? How do you ask people to sacrifice their lives for pretty pictures? The French characters in <em>The Train</em> aren’t interested in the paintings’ financial or artistic worth but, rather, in the art’s representation of “the glory of France.” How does one distinguish between French masterpieces and France itself? Don’t, say, Manet and Matisse, define France to its populace and the world? The paintings are symbols of what the French are fighting for: to retain their national identity—their past, their pride, their very soul—from those who would pilfer it. <em>The Train</em> grapples with these issues without dispensing pat answers.</p>
<p align="right">excerpted from John DiLeo&#8217;s<br />
<em> Screen Savers: 40 Remarkable Movies Awaiting Rediscovery</em><br />
© 2008 Hansen Publishing Group. All Rights Reserved.</p>
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