The Treasure Of The Sierra Madre Is A Perfect Vehicle For Bogart's Paranoia

I have a man-crush on Humphrey Bogart the size of Texas, which is why it's so difficult to say that his dramatic performance as paranoid gold prospector, Fred C. Dobbs, in the 1948 film, Treasure of the Sierra Madre is a mite uncomfortable to watch. Even though cinema's all-time leading man has been dead for over half a century, he should consider asking for his money back from whichever acting school taught him those chops.
Unlike a large percentage of men and women currently cavorting across the screen today, the problem was not that Bogie was a bad actor - he's not. Roles like Rick in Casablanca and Philip Marlowe in The Maltese Falcon were tailor-made for his brand of tough guy. Unfortunately, Dobbs was as far from tough as a paranoid, whining, sissy-baby could be, ready to stab his cohorts in the back in an instant to make sure he got what was coming to him.
Unfortunately, Tim Holt, who received second billing as Curtin, actually pulled off a more believable performance in Treasure of the Sierra Madre. Here's the story in a nutshell. Dobbs and Holt, two down and out American drifters, hook up in the Mexican town of Tampico. Before long they've come upon enough money to throw in with an old gold prospector, Howard (Walter Huston, father of movie director John Huston), who leads them into the mountains, where they spend months refining and bagging gold dust. There are the obligatory mine shaft cave-ins, gila monster invasions, and restless nights after they decide to divvy up the treasure as they go, making each man responsible for hiding his own stash from the others.
But then a stranger shows up in camp, with a gang of Mexican banditos not far behind. By this time all three of the gold diggers have got gold fever bad, and become quite deplorable gentlemen, with Bogart leading the way. It's about this time that we get probably the most famous line in the film dropped:
"Badges? We don't need know stinkin' badges!"
The last half hour keeps us busy watching Howard revive an Indian kid who fell in the river with some kind of white devil Boy Scout hocus pocus. Looked to me like all he did was move the youngster's arms back and forth a bit and burp him. Meanwhile Dobbs and Curtin are on the trail to Durango with $105,000 in gold dust on their burros. By this time, Bogie is showing off his incredibly overwrought acting chops with a running internal dialogue that, unfortunately, has become entirely external. After about ten minutes of that hog wash, I'm starting to wish Curtin would shoot him in the back.
Reading this, you might think I hated the Treasure of the sierra Madre. If so, you would be wrong. I loved it! It didn't win three Oscars for no reason, and I defy you to keep your eyes on anyone besides Bogart when he's on the screen. It might be bad acting but it's world class bad acting.
Long live Humphrey Bogart! They don't make 'em like him any more.

Paul (2011)

What Worked?
The combined forces of the Fregg duo deliver a Sci-Fi, swear-packed, alien nerd-fest.Paul, directed by Superbad's Greg Mottola is an interestingly funny road-trip flick. Paul is about two nerds and one alien, and at times is just as dirty as that sounds. Mottola, in Edgar Wright's usual role directing Simon Pegg and Nick Frost, serves the fanboys well enough, and Pegg and Frost still got their guy-love chemistry sparking.
The film is always on-the-go, moving from awkward moments, to gross-out moments, to dry humor and back around again. Mottola is an able-minded director that keeps the pace brisk and steady. The CGI for Paul is done rather-well, as he looks like the classic alien figure, but also feels real enough to not be a glorified cartoon.
Pegg and Frost play the two comic book nerds: Graeme and Clive. Their actions fit their floppy hair and novelty t-shirts, as they are at ease playing authentic geeks. As they have in the past, they click in the bromance department once again. The comedic timing of Pegg and Frost is always sharply on the dot, and they still retain their nerd-boy personas throughout. Seth Rogen, voicing the title character, is a foul-mouthed, pot-smoking, insanely entertaining green little man. Rogen shines as Paul and delivers the vulgar humor on a golden plate. Joining the usual duo of Pegg and Frost is Kristin Wigg, playing the intensely religious Ruth. Wigg is a wonderful addition to the brigade, and adds to the comedy with her lovable awkward cursing and mannerisms.
Paul is like a comedic love-letter to classic Sci-Fi flicks written by some Comic-Con fans that got high off of Mars dust (probably a true story). This is a great addition to the golden vault of kick-back flicks, and contains characters that many would love to share a beer with. The script triggers genuine laughs, and takes some bold moves; for example, it takes humorous shots at intense, born-again Christians. In addition, the film is drenched with cinematic tributes, and almost doubles as a game to find them all. Paul is a fitting buddy, road-trip, alien encounter film that's absurd and funny, making for a pretty good distraction from the drabness and tragedy of the everyday grind.
Potential Drawbacks:
This is not Hot Fuzz or Shaun of the Dead. Those two amazing efforts bring this film down a notch or 10, as it will live in those two titans' shadows for most viewers. The story is all over the place, as most road-trip films are, but there isn't a strong enough main focus to keep viewers completely engaged.
There is also a plethora of cameos and characters and ideas that the film gets bogged down at times. Pegg and Frost are in top form, but aren't utilized to their blazing comedic potential that we know they're capable of. At times you do think that Edgar Wright would've done a better job in the director's chair, as the clashing of crude humor and Brit humor didn't work all the time. The film just works better for viewers that are both fans of Sci-Fi films and Pegg /Frost.

Movie Ticket Prices: One Size Fits All? It's Time to Experiment

The current movie exhibition model is under incredible stress. Although increasing ticket prices have often masked steadily declining movie attendance figures, there has been precious little experimentation to fundamentally address the issue of getting people back into the theater. As Doctor Phil would say, "how's that current model working for ya?" The time has come to experiment and tinker to see what can be done to improve the initial window of movies, the window that drives all downstream revenues that finance the business. C'mon, guys, let's try some new things.
Several recent articles have suggested ways theater operators can increase movie attendance in North America. Putting aside this year, which has been down a disastrous 22% from last year, movie exhibitors have generally kept revenues up slightly from prior years by increasing ticket prices. But attendance, the number of tickets sold, has been declining for years. Aside from relying on Hollywood studios to make better, more broadly entertaining films, are there other techniques to lure people back to theaters more often?
Economists have noted that theater chains have priced their inventory (seats in theaters) in the same simplistic way for decades. Basically there is one price for adults, children, students and seniors, and often a discount for matinee showings. But airlines (also in the business of filling seats) and the hotel industry (filling hotel rooms) have used complex algorithms to minimize the number of empty seats or rooms and maximize revenues from paying customers. In addition, these industries have harnessed the power of the Internet to create an auction marketplace to induce customers to make a purchase. The Internet also allows the creation of massive and valuable databases, which can be mined to analyze consumer behavior and fine tune optimal pricing and timing strategies.
An article by Steven Zeitchik on LAtimes.com examines how variable pricing might be implemented by the movie industry. It concentrates on pricing movies differently according to performance. Poorly performing or less anticipated films could see lower admission prices to lure customers in (although a dog of a movie would probably play to an empty theater even if the ticket price were near zero). Highly anticipated or blockbuster movies might command higher prices (fans of Harry Potter or Batman or Twilight might pay more for the chance to see the movie first).
But this only scratches the surface. There are a number of different ways to implement variable pricing. A few ideas for pricing variables
* Day of week. Rather than having the same price structure across the week, price the highly attended Friday-Sunday period slightly higher and price the poorly attended Monday-Thursday period slightly lower. In this scenario, weekend admissions might rise to $9.50 (from the average $8 ticket price) and weekday admissions might decline to $6.50. See if this $3 spread induces more admissions during the weekday dead period, and see if admissions during the weekend stay relatively constant (when the audience is used to seeing films, when they are more available, and when there is a premium on seeing the film first). Or theater owners might find this a cannibalistic practice (the same number of movie goers simply shifts their "movie nights" despite increased competition from television and weekly activities). The point is, test it and see what happens.
* Time of year. A similar strategy to above. Movie attendance lags from January to April and August to October, while concentrating in the May through July and November to December periods. Price the "popular" periods higher and the less popular times of the year lower.
* Movie life cycle. Price movies in their first or second week higher than movies in their third week. Put a premium on seeing a film before anyone else, a premium that might be tolerable to frequent movie goers who are the opinion leaders and the generators of word of mouth. As a movie starts to wane, the lower price might jolt some life back into attendance, particularly if the movie has any buzz.
* Seating area. Price the very front of the theater slightly lower than seats with better views of the entire screen.
* Movie performance. As noted above in the article, lower the price on less popular movies and increase the price on the stronger titles.
* Some combination of all of the above. All of the above variables can be mixed and matched. No single variable will yield the optimal solution, which is most likely a smart (albeit complex) combination of different strategies. Again, the idea is a pick a few markets and experiment.
Would the audience balk at higher prices on anything? Would they feel gouged? Well, do they feel gouged by inflated prices for popcorn, candy and soda? Concession lines are long (and extremely profitable), and movie goers for the most part accept those prices. And the Arc Light chain in Los Angeles has shown higher prices will be tolerated by serious film fans if a superior experience is delivered.
The Netfilx Model. A fascinating idea is posited in another article by Chris Dorr on TribecaFilm.com: build a relationship with customers by having them join a frequent movie program with utter simplicity, a monthly fee for unlimited movie attendance at a particular chain or set of theaters. The suggested price point ($10 per month) is ridiculously low (frequent movie goers, who drive the business, would continue to see many films a month and their revenue would plummet). But if the price point were something like $25 per month, it might induce occasional film goers to become frequent viewers and drive up concession revenue.
Realistically though, studios would balk at this plan. They see no profits from concessions and anything that might give the very frequent movie goer a "free ride" would probably cut into the revenue of high performing films. (Those are still made, right?). But the plan should not be taken so literally. The main benefit of the plan would be an establishment of a relationship, an online relationship, with the audience. To sign up, consumers would provide the usual zip code, email, and perhaps gender and age. This database would quickly become a marketing gold mine, filled with valuable data on consumer behavior. The pricing mechanisms discussed above could be tested, and high end marketing techniques could be implemented. With 75 million serious film goers (roughly one-quarter of the population), a chain could very easily scale up a database of many millions.
The author's point is that the current system is not working well. And doing nothing in the face of competition from piracy, shorter theatrical windows, and home viewing in HD on a variety of platforms will only make the future more challenging.
By improving the movie experience (taking a page from Arc Light's book or jamming cell phones in theaters to prevent the incredibly rude phone conversations or Internet viewing) and embracing the technological power of the Internet, exhibitors can position themselves for a brighter future. Oh, and better films would help, too.
What do you think? Feel free to comment on what you would do to change the movie exhibition business, or let us know if you think it "ain't broke so don't fix it".

Show Me Love

This gentle, insightful and wonderfully realistic comedy-drama from Sweden gets my vote for best film you've probably never heard of. Amidst a constant stream of banal, exploitative and unconvincing teen movies, Lukas Moodysson's Show Me Love stands out as a testament to the truth of living through that difficult age between twelve and nineteen, especially when one is perceived to be "different" for whatever reason. As the great Roger Ebert said of this beautiful, understated masterpiece, "this film loves teenagers; most teen movies just use them." I rarely quote another critic, but this is so astute, I couldn't resist.
Moodysson's most well-known film is Lilya 4-Ever (2002), a harrowing tale of teen prostitution in Eastern Europe and the conditions that can lead to it, there or elsewhere. The first time I saw Show Me Love, I was not aware it was made by the same director and I had not yet seen any of his other films, which also include Together (2000) and A Hole in My Heart (2004), the latter of which is even more disturbing than Lilya. However, even without prior knowledge of Moodysson's always excellent work, there is a sense of impending doom throughout his first feature, a feeling that something terrible might happen at any moment; this is, in many ways, a perfect representation of what it is like to be a teenager in modern times.
The original Swedish title of this film is F**king Amal (Amal is the name of the town in which the protagonists live, not a person, so the "f**king" part is a disparaging adjective rather than a noun), and this points to the fact that the film is as much about the frustrations of living in a small, boring town as about those of growing up. Our protagonists are Elin Olsson (Alexandra Dahlstrom), a very pretty and popular girl who is too intelligent and searching to be content with her queen-bee status, and Agnes Ahlberg (Rebecca Liljeberg), her polar opposite on the social food chain. Agnes is one of the school's scapegoats, a social pariah whose only friend is Viktoria (Josefin Nyberg), a wheelchair-bound girl who, for this reason, is similarly outcast. Agnes is constantly teased and tormented at school, with persistent rumors circulating that she is a lesbian; the fact that this is actually true, and that she is infatuated with Elin, only makes things more difficult for her.
Agnes and Elin's paths irrevocably cross at a birthday party for Agnes, which Elin attends with her sister, Jessica (Erica Carlson), who convinces Elin to kiss Agnes as a joke, after which the two quickly abandon Agnes for a much livelier and more exclusive party filled with other, more popular teens. Consumed by remorse for the hurt feelings her actions have caused, Elin returns to apologize to Agnes, and the two begin a tentative friendship / courtship constantly in flux due to the many social pressures on both. Elin reluctantly agrees to date Johan Hulth (Mathias Rust), a nave, sweetly clumsy older boy who is friends with Jessica's rather arrogant and obnoxious boyfriend, Markus (Stefan Horberg), in order to divert attention from her own growing attraction to Agnes. Poor Johan genuinely believes himself to be in true love with Elin, in the way only teenagers can, while Markus is a budding macho-misogynist, not so much through his own thoughts and feelings, but as a result of the social pressures all around him.
It is a testament to the film's richness that even relatively minor characters like Markus are so convincingly fleshed out. Moodysson's films are never populated with convenient types or easy answers, and no one in this film is so simplistic as to be completely "good" or "bad." When Agnes takes out her frustrations with her friendless, bottom-rung existence on the social ladder on Viktoria during her failed birthday party (at which, before Elin and Jessica arrive, she is the only guest), it is painful to watch, and in a lesser film such a moment might be used to make the audience dislike her character. However, when she says, "We're just pretend friends because there's no one else to be with," we understand the sad truth of her harangue, as well as the motivation for it; Agnes is unfair to attack such an undeserving target, but we are unable to think less of her for it, for she is really just a confused child trying to make sense of the pain and alienation that surround her. Likewise, Viktoria is no more the helpless victim of Agnes's rage than she is deserving of it, and when she later uses her knowledge of Agnes's true feelings for Elin to try and ingratiate herself with the popular crowd, we cannot feel anything but sympathy for her; her instantly failed maneuver into a social circle of which she will never truly be a part actually only makes her all the more sympathetic, even though it is also an attempt to avenge Agnes's earlier betrayal, for which Agnes has unsuccessfully attempted to apologize.
There are too many rich and heartfelt threads to this story to fully elaborate upon them here, and all are handled with such a unique subtlety and truth that it is pointless to attempt to do so. I have rarely seen a film made up entirely of adult actors with such truthful and convincing performances, and Moodysson's script steadfastly and admirably refuses to rely on cliches or contrivances. With high school bullying and gay rights issues more at the forefront of the collective consciousness than ever, this is still a timely and important film that I think everyone should see. There is not a frame in the entire movie that contains less than complete, uncompromised honesty.

Movie Review: Kung Fu Panda 2 (2011)

Kung Fu Panda 2 capitalizes on the same techniques that made its predecessor successful: a goofy lead character struggling desperately to fit in; comical character designs and playful animation; and an all-star cast of voice actors with such recognizable articulation that they breach the visual barrier of their 3D alter egos. Although the first film defined the characters, their relationships, destinies and the setting of ancient Asia, this second outing has the opportunity to utilize each role purely for action, adventure, comic relief and even a bit of pathos. Just when the sappiness ramps up to the point of unbearable, the script has enough sense to thwart eye-rolls (or tears if the manipulation worked) with sharply contrasting humor.
Po (Jack Black) the overweight panda has been proclaimed the almighty "Dragon Warrior," and oversees the safety of China with his band of capable sidekicks, the Furious Five: Tigress (Angelina Jolie), Mantis (Seth Rogen), Monkey (Jackie Chan), Crane (David Cross) and Viper (Lucy Liu). As he speaks with his patient master Shifu (Dustin Hoffman) about finding inner peace, a gang of wolf bandits pillages a nearby city in search of metal objects, forcing Po to depart for a hasty rescue. As he will soon discover, the banished peacock Lord Shen (Gary Oldman) has forged fire-breathing, metal-spitting cannons to wipe out all who stand in his path to world domination.
It's debatable whether or not the story has grown more entertaining, especially considering the plot is little more than a generic kung fu tale of good vs. evil, like the kind found in just about every live-action martial arts film in the last several decades. While the main conflict is a relentless overlord with an obedient army and destructive weaponry, the underlying discordance is Po's hazy recollection of the past and the desire to know who he is, how he ended up the son of a goose, and what happened to his real parents. Is Po in need of confidence or the drive of revenge? Are his actions provoked by inner peace, as the movie insists on preaching, or by the powerful force that is adrenaline-pumping payback?
Perhaps he's simply trying to succeed at being "hardcore" so that he can measure up to his companions. And if that's the case, it's a shame that so much of his time is spent annoyingly foiling reconnaissance, ambush and rescue missions with his numbing defiance and cack-handed clumsiness. It's funny at times to see how pathetic he is compared to his generally no-nonsense warrior counterparts, but equal parts infuriating that he doesn't have to learn the hard way that there are consequences for his reckless actions. This leads to the invincibility exhibited by all parties, which reduces the urgency and seriousness of every predicament. Po is immune to injuries and haphazardly shields himself from harm with an accidental frying pan, a lucky misstep, or a loose floor plank that swings up (like stepping on a rake) to block an onslaught of throwing knives. Crane similarly avoids danger with spastic flight, and Tigress has no excuses at all - she suffers only singed whiskers after taking a cannonball to the face. Gravity and physics also seem to utterly evade the heroes, playing no part in their unlikely escapes - although it does make the creatively complex chase sequences more intense and spontaneous.

How Does Magic Fool You?

Magic and Illusion has been a popular art form for hundreds of years. It's a love/hate relationship. Audiences love to be fooled, but also don't like to as well. How can magic fool your mind when all your senses are telling your brain NOT to be deceived. Here are some of the finer points of exactly how that happens:

1. Surprise. Magic and illusion is all about the element of surprise. You simply do not know what is coming, and therefore, when it arrives, it often fools you too. Think of it in these terms. If you are sitting in a quiet movie theater waiting for the film to start and someone in the back of the theater yelled really loudly, your instinct to immediately turn around and see who shouted that out is powerful. It's a natural reflex. Magic is a series of surprises that you cannot help but react instinctively to.



2. Choregraphy. Well choreographed illusions lead you down a path of belief and logic. Your brain naturally fills in empty spots with assumptions. As a magician, performing the effect, we do our best to understand what those assumptions will be and continue to allow you to convince yourself what you are seeing is real and true. A great magic illusion has many more ingredients, but this one forms the foundation of creating a amazing effect that fools not only the eyes, but the brain too.



3. Misdirection. Lot's of obvious thought about this mis-used word - misdirection. Does it mean you are looking in the place the magician wants you to look? Or does it mean you are looking somewhere he does not want you to look. Both actually. But it's not that simple. Good misdirection is designed to fool the mind more than the eye. The hand in NOT quicker than the eye as myth has you believe. But if your brain interprets that the magician's hand is naturally empty because of certain factors such as, the relaxed manner, not cramped, not awkward looking and so forth, then naturally your brain tells you "his hand is empty." But imagine his hand is actually hiding something. The magician then has quite the advantage over you, as far as, your acquired knowledge. When an object is then produced, you are fooled because you were certain his hand was empty.



4. Attitude. The disposition and attitude of the magician goes a long way in making you either feel at ease or feel as if something is "fishy." You may not be able to put your finger on what is making you feel this way, as it may be something intangible, but you know not everything is really what it seems. You also do not necessarily believe the story he is telling. If a magician is to be successful at fooling you with an illusion, his/her approach and attitude must relay a sense of rationality. If this approach is undertaken with great thought as to what the demeanor of the magician is and what he or she is trying to tell you in the story of the illusion, then it will be a difficult task for you NOT to be fooled.



5. Human Nature. We tend to believe what we are told. Marketing gurus know this and sprinkle the truth with the lie in their marketing campaigns when they are trying to sell you a product or service. Magicians are no different. We sometimes tell you the truth, we often lie and unfortunately for you, you do not know when we are doing either, therefore, human nature is to lean toward believing all of it. Human nature is a deep well of information that we have only tapped the surface of understanding, but this one factor is something that magicians try to learn more and more about so that we can fool you even more thoroughly with our magic and illusions.

How Does Magic Fool You?

Magic and Illusion has been a popular art form for hundreds of years. It's a love/hate relationship. Audiences love to be fooled, but also don't like to as well. How can magic fool your mind when all your senses are telling your brain NOT to be deceived. Here are some of the finer points of exactly how that happens:

1. Surprise. Magic and illusion is all about the element of surprise. You simply do not know what is coming, and therefore, when it arrives, it often fools you too. Think of it in these terms. If you are sitting in a quiet movie theater waiting for the film to start and someone in the back of the theater yelled really loudly, your instinct to immediately turn around and see who shouted that out is powerful. It's a natural reflex. Magic is a series of surprises that you cannot help but react instinctively to.



2. Choregraphy. Well choreographed illusions lead you down a path of belief and logic. Your brain naturally fills in empty spots with assumptions. As a magician, performing the effect, we do our best to understand what those assumptions will be and continue to allow you to convince yourself what you are seeing is real and true. A great magic illusion has many more ingredients, but this one forms the foundation of creating a amazing effect that fools not only the eyes, but the brain too.



3. Misdirection. Lot's of obvious thought about this mis-used word - misdirection. Does it mean you are looking in the place the magician wants you to look? Or does it mean you are looking somewhere he does not want you to look. Both actually. But it's not that simple. Good misdirection is designed to fool the mind more than the eye. The hand in NOT quicker than the eye as myth has you believe. But if your brain interprets that the magician's hand is naturally empty because of certain factors such as, the relaxed manner, not cramped, not awkward looking and so forth, then naturally your brain tells you "his hand is empty." But imagine his hand is actually hiding something. The magician then has quite the advantage over you, as far as, your acquired knowledge. When an object is then produced, you are fooled because you were certain his hand was empty.



4. Attitude. The disposition and attitude of the magician goes a long way in making you either feel at ease or feel as if something is "fishy." You may not be able to put your finger on what is making you feel this way, as it may be something intangible, but you know not everything is really what it seems. You also do not necessarily believe the story he is telling. If a magician is to be successful at fooling you with an illusion, his/her approach and attitude must relay a sense of rationality. If this approach is undertaken with great thought as to what the demeanor of the magician is and what he or she is trying to tell you in the story of the illusion, then it will be a difficult task for you NOT to be fooled.



5. Human Nature. We tend to believe what we are told. Marketing gurus know this and sprinkle the truth with the lie in their marketing campaigns when they are trying to sell you a product or service. Magicians are no different. We sometimes tell you the truth, we often lie and unfortunately for you, you do not know when we are doing either, therefore, human nature is to lean toward believing all of it. Human nature is a deep well of information that we have only tapped the surface of understanding, but this one factor is something that magicians try to learn more and more about so that we can fool you even more thoroughly with our magic and illusions.

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Tips of Unhooking Bra

Two bands wrap around the form, fixing the back. There are usually three vertical columns of hooks and eyes, every column with 1-4 pairs, depending on the width of the strip. The brackets are fixed in the eyes, small semi-circular piece of metal. How to make a bra, you must remove the brackets in the eye.
If you are back before the woman, you can disassemble the hook by simply dragging the strips, first by undo the other, then at an angle of about 45 degrees. It is fairly easy if you can see how they connect.

If you are in front of women, applies the same principle. You may push the band have to get closer before it's gone from your point of view blocked. This can be a couple of attempts - trying to get an idea of the connection and how to break it.

So if you wear a bra, you have two options: you can reach behind you, or take the straps from her shoulders and turn the first bra, so that the catch in front of you.

If the bra is behind you, your hands behind your back, from bottom to top. Enter a band in each hand. "Cross" the tapes and when you click on the release of the hook eye feel, to separate them.

When you turn the bra in front of you, grasp the band in each hand again, the crosses and split the same way.

Maybe if you shear the latch hook / ring together, the open ends of the hook almost 180 degrees, are rotated, then the elastic will pull the group apart immediately! (This can be done via a pinching of fingers, even through a top, to his surprise.)

For the ultimate surprise, you can get a bra with one hand like this: Confronted with the bra straps and the use of his right hand, pull the upper end of the tape (hook) button on the right side with the index finger and Simultaneously, the lower left. Once the hooks are free from loops, exits and follow the bra is willing to pay. It may be in the direction of the wearer easy to score with the index to move naturally with the curve of the hook. With a little practice this method is faster and easier.

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Tips of Unhooking Bra

Two bands wrap around the form, fixing the back. There are usually three vertical columns of hooks and eyes, every column with 1-4 pairs, depending on the width of the strip. The brackets are fixed in the eyes, small semi-circular piece of metal. How to make a bra, you must remove the brackets in the eye.
If you are back before the woman, you can disassemble the hook by simply dragging the strips, first by undo the other, then at an angle of about 45 degrees. It is fairly easy if you can see how they connect.

If you are in front of women, applies the same principle. You may push the band have to get closer before it's gone from your point of view blocked. This can be a couple of attempts - trying to get an idea of the connection and how to break it.

So if you wear a bra, you have two options: you can reach behind you, or take the straps from her shoulders and turn the first bra, so that the catch in front of you.

If the bra is behind you, your hands behind your back, from bottom to top. Enter a band in each hand. "Cross" the tapes and when you click on the release of the hook eye feel, to separate them.

When you turn the bra in front of you, grasp the band in each hand again, the crosses and split the same way.

Maybe if you shear the latch hook / ring together, the open ends of the hook almost 180 degrees, are rotated, then the elastic will pull the group apart immediately! (This can be done via a pinching of fingers, even through a top, to his surprise.)

For the ultimate surprise, you can get a bra with one hand like this: Confronted with the bra straps and the use of his right hand, pull the upper end of the tape (hook) button on the right side with the index finger and Simultaneously, the lower left. Once the hooks are free from loops, exits and follow the bra is willing to pay. It may be in the direction of the wearer easy to score with the index to move naturally with the curve of the hook. With a little practice this method is faster and easier.