PalmOne m130 Handheld
from: Palm
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Electronics : PalmOne m130 Handheld |
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Rating: - * Great product ... Fast speedy delivery. I wish there would have been instructions with it, but luckily they are all pretty much the same! It works great I would recommend it to friends. Rating: - * It was pretty cool ... I got this back in 2002, it was one of the first color palms. I did not have a cell phone back in the day, so this was useful for games, organizer, etc... The batter was not replaceable on it. It was pretty cool, I used to put PDF books on it, and I had Sim City, and it would sync web content when I put it into a cradle. Also had pocket office, and a fold out keyboard. Wish my Nokia N75 had that. Rating: - * Just what I ordered! ... The product was just as advertised. I was pleased that the delivery was a stated and on time. The PDA was in excellent repair and replaced the old one I loved so much. Now that cell phones have become so sophisticated, the old PDA's seem to be next to impossible to find. I was very pleased with this experience and will use AMAZON again and again! Thank you!! Rating:  - * The case cracks ... I loved my first m130 which lasted about a year. When the case I cracked I bought two more for my husband and me. Both of ours cracked after about a year plus the OS is not compatible with XP for syncronizing. Plus I had a lot of problems with getting a recharger that would work or last long for the M130. I have since bought the Zire 22 which I have had for more than 2 years and the case is still intact. Rating:  - * Cute toy but..... ... Like many others online I was never able to hotsync this to the computer. As a standalone it is fun and great-but the software is incompatible to XP and NO hotfix really works. Before you buy this do a "google" as to the hotsync problems. Palm makes it very very difficult to join their "customer support" forums (you must use user names and passwords that have one upper case letter, one numeric etc.) so any help available out in cyber space probably would not bother. I tried their new beta OS and it caused catastrophic fatal errors to my computer. (Had to spend two hours 'restoring') If you can find this for a couple of bucks at a garage sale-go for it. |
Three of them date from the '20s and '30s and were produced by Samuel Goldwyn. The 1926 silent The Winning of Barbara Worth gave Western stunt man and bit player Cooper his first featured role (by accident--the actor originally cast didn't report for work!). A cowboy whose visionary surveyor father aims to "redeem the desert and make it one fine garden," Cooper's character is the third corner of a romantic triangle, ordained by the Hollywood caste system to lose lifelong sweetheart Vilma Banky to engineer Ronald Colman. Colman has lots more screen time than Cooper and bears the moral-ethical brunt of the eco-conscious drama; he's also surprisingly persuasive wearing a sweat-stained Stetson and trading gunshots with the bad guys (if this were a sound film, Colman could never have gotten away with it). But the camera and the audience are locked onto Cooper whenever he's on screen. In longshot or vulnerable closeup, he's already one of the gods of the cinema. As for the movie, the quality of the print is excellent, its clarity intensified by bronze, yellow, and moonlit-blue tinting that often seems on the verge of resolving into full color. Director Henry King shows a good eye for action and bold vistas, and a visual adventurousness mostly absent from his later work.
Next up chronologically is The Cowboy and the Lady (1938), and the best thing about this misbegotten movie is Garson Kanin's description, in one of his Hollywood memoirs, of how Leo McCarey sold the idea for it to Sam Goldwyn. McCarey was, of course, a comedic master (recently Oscared for directing The Awful Truth), and his exuberant pitch convinced Goldwyn and his staffers that audiences would "piss" themselves laughing at this romantic comedy about a daughter of privilege (Merle Oberon) who falls for a rodeo rider (Cooper) and learns homespun values. Goldwyn paid McCarey off, assigned some writers to the script, then realized there was no real story--"no there there," as Gertrude Stein might have put it. The resultant unfunny and unromantic endeavor oozes bad faith from every pore, with neck-snapping life changes foisted on the hapless Cooper and Oberon from reel to reel, and excruciating scenes (jitterbugging in a drawing room, playing house back on Cooper's ranch) that strain charmlessly for McCarey's patented brand of fey. H.C. Potter directed, understandably without conviction.
We and Cooper are back on track with The Real Glory (1939). The reliable Henry Hathaway helmed this second cousin to his and Cooper's The Lives of a Bengal Lancer, with Cooper as an Army doctor assigned to the Philippine Constabulary on Mindanao in 1906. The movie was well-received when it came out; encountered in the shadow of the Iraq War, its tale of U.S. occupiers trying to help the local populace "stand up" against a fanatical and murderous insurgency takes on new fascination. There are some amazing passages--two horrendous murders by bolo knife--and the final battle sequence puts the CGI-riddled action films of the present day to shame. But the most impressive element is Cooper, and we can't improve on the verdict of that astute film critic Graham Greene: "Mr. Cooper ... has never acted better.... Watch him inoculate [Andrea King] against cholera--the casual jab of the needle, and the dressing slapped on while he talks, as though a thousand arms had taught him where to stab and he doesn't have to think any more."
For the final film in the set we jump into the '50s--the century's and Cooper's. Vera Cruz (1954) casts him as a former Confederate officer who's ridden into Emperor Maximilian's Mexico, hoping to make a fortune in the new civil war south of the border so that he can rebuild his own devastated homeland. Costar Burt Lancaster (whose company Hecht-Lancaster was producing) plays another mercenary, a real sociopath, and it's fascinating to watch these two stellar icons of very different Hollywood eras make common cause--Lancaster at the height of his grinning-predator mode, Cooper an aging knight whose aim is still true. Director Robert Aldrich keeps finding dynamic uses for the SuperScope format and flavorfully fills it with sublime uglies like Ernest Borgnine, Jack Elam, Charles Horvath, Jack Lambert, and Charles Buchinsky-about-to-become-Bronson. Pieces of this movie found their way into the dreams of Sam Peckinpah and Sergio Leone. --Richard T. Jameson
