From the Archives: Around the World in 80 Days (1956)

 
David Niven and Cantiflas as Phileas Fogg and Passepartout pose for a photograph before embarking on their extraordinary adventure around the world in this scene from Around the World in 80 Days (1956). 

From the Archives is our latest series of posts where we share photos from the Silverbanks Pictures collection. Some of these may have been sold in the past, and others may still be available for purchase at our eBay store: http://stores.ebay.com/Silverbanks-Pictures

Candleshoe ( 1977 )

Michael Innes, who is best known for his novels featuring detective Sir John Appleby, was a prolific author for over fifty years ( 1930s-1980s ). In 1953, he penned a little book entitled "Christmas at Candleshoe" which Walt Disney Studios subsequently produced as a family motion picture in 1977. Like many book-to-film adaptations, the film barely resembles its source; but, judging from Goodreads reader's comments about the original book, this is to its credit. 

Candleshoe is the name of a beautiful Elizabethan estate in England. Its owner, Lady St. Edmund ( Helen Hayes ), has been searching for her long-lost granddaughter Margaret for many years and has had a number of imposters come forward claiming to be this girl, the heir to Candleshoe. 

Con-artist Harry Bundage ( Leo McKern ) discovers Casey ( Jodie Foster ), a tough-talking wayward teenager in Los Angeles who has all of Margaret's birthmarks in their proper places and sees in her his ticket to a fortune. Unlike other cons, his primary intention is not to collect any reward for "finding" Margaret, but rather to use Casey as an agent inside Candleshoe to hunt for the real treasure - Captain Joshua St. Edmund's buried pirate treasure. 

Candleshoe is a fun family film that combines a Disney-esque Jolly Ol' England charm with Hollywood's fascination for a good treasure yarn. Helen Hayes is delightful as the prim and proper Lady St. Edmund...one almost forgets that she is an American playing an Englishwoman. Yet, it is Sir David Niven who is given the juiciest role, that of Priory, the faithful butler. He has known for many years of Candleshoe's thread-bare financial situation and, being the loyal sort that he is, decides to keep this information from Lady St. Edmund and takes over all of the duties of the house singlehandedly. Using multiple disguises, he becomes the chauffeur, cook, gardener, and Lady St. Edmund's dear friend "the major" as well. 

Director Norman Tokar ( Leave it to Beaver ) had thirteen other Disney feature films under his belt by the time he made Candleshoe. He was excellent working with children and brought out great performances from Jodie Foster and the other child actors ( Veronica Quilligan, Ian Sharrock, Sarah Tamakuni, David Samuels ). The character of Casey was tomboyish and thoroughly selfish, and yet Jodie Foster still managed to make her quite likable. Through her experience at Candleshoe, Casey learns that by being self-reliant and skeptical of others during her youth, she missed out on the nurturing environment of a stable home life. She sees in Lady St. Edmund a surrogate grandmother and, in a tear-inducing finale, confesses that having others to love and care for is indeed better than looking out solely for oneself. 

Candleshoe was filmed on location in England in the beautiful town of Hambleden in Buckinghamshire where two personal favorites, Chitty Chitty Bang Bang ( 1968 ) and Murder Is Easy ( 1981 ) were also filmed. It is such a charming village and its proximity to Pinewood studios - where many Disney films were shot - made it ideal for location filming. 

Also in the cast is Vivian Pickles, John Alderson, Michael Balfour, and Sydney Bromley. 

Around the World in 80 Days ( 1956 )

In 1872 London, Phileas Fogg ( David Niven ), a methodical Englishman of independent means, makes a wager with fellow gentlemen at the private Reform Club that he can circumnavigate the globe within 80 days. His skeptical comrades think that with all of the unforeseen delays that could happen en route - typhoons, shipwrecks, missed trains - it is impossible. But with £20,000 at stake, Fogg is determined to prove them wrong. 

"An Englishman never jokes about a wager, sir."

Joining him on his expedition is his faithful manservant Passepartout ( Cantiflas ), Princess Aouda ( Shirley MacLaine ) whom they rescue in India, and, following along behind, the unshakable Inspector Fix ( Robert Newton ) who believes Fogg to be the recent robber of the Bank of England. 

Around the World in 80 Days is a three-hour epic to behold. It doesn't play out like your usual big dramatic blockbuster spectacle ( as perhaps some critics may have expected ) but more like a mega travelogue sans the voice of Fitzpatrick. In fact, this is exactly the way it was supposed to play because it is not a regular movie and was not intended to be one. It was a filmed event. Producer Mike Todd stressed this when promoting Around the World in 80 Days to distributors: "Do not refer to Around the World in 80 Days as a movie. It's not a movie. Movies are something you can see in your neighborhood theatre and eat popcorn while you're watching them....Show Around the World in 80 Days almost exactly as you would present a Broadway show in your theatre."

Mike Todd, who earned his household-name status through his 1957 marriage to Elizabeth Taylor, had always enjoyed the novels of Jules Verne and long dreamed of putting this story into production as a live show. In 1946, he invested $40,000 to co-produce with Orson Welles (!) a Cole Porter musical adaptation of "Around the World in 80 Days" but pulled out after one glance at the unusable script. Eight years later, he once again felt ready to attempt an adaptation of Verne's classic tale of adventure, this time making sure that he remained in full control of every aspect of the film. 

"Crisis or no, nothing should interfere with tea!" 

Filming began in August 1955 and quickly wrapped within 75 days. Todd, a Broadway impresario, had never made a motion-picture before but he knew what he wanted and knew how to get things done. He was involved in every aspect of the production, down to the most minute detail. He personally visited every country to keep an eye on filming ( with 33 assistant directors employed there was a lot to keep an eye on ) and to cast all of the characters. The King of Thailand, a friend of his, loaned him his 165-foot royal barge for a 15-second sequence; he persuaded the Nawab of Pritam Pasha in Pakistan to loan him his private elephant herd; bribed Ronald Colman to make a cameo appearance by gifting him a yellow Cadillac for a half day's work; and most impressive...he convinced the entire population of the city of Chinchon, Spain ( 6,500 people ), to appear as extras in the bullfight sequence! 

Todd assembled a huge cast that was comprised of the four principal players, over ninety featured players, and guest appearances, or "cameos" as Todd christened them, by 40 top actors from around the world. These included Marlene Dietrich, Cesar Romero, Noel Coward, Frank Sinatra, Red Skeleton, Beatrice Lillie, Trevor Howard, Evelyn Keyes, John Gielgud, Victor McLaglen, Joe E. Brown, Peter Lorre, Charles Coburn, Hermoine Gingold, and Robert Morley, to name just a few. 

With the "extra" players, the cast amounted to 68,894 people, the largest ever assembled for a film ( not counting the 7,959 animals employed! ). Of course, these actors needed to be costumed as well, and so 74,685 costumes were created. 

It was one of the most expensive productions in history ( $6 million ) but grossed seven times its cost in box-office receipts. The all-star international cast, exotic locales, and the lure of Todd-AO ( the latest 65mm widescreen process that Todd helped create ), made Around the World in 80 Days the attraction of the year. 

Critic reception, however, was mixed. Some felt that the voyage around the world was unendurable ( "about two hours too long" ) while others enjoyed every step of the journey. While it is true that the film's script is about as exciting as a game of whist, the location scenery, the fun of spotting the celebrities, and the impressive cinematography more than make up for its occasional moments of boredom. 

At the Academy Awards, Around the World in 80 Days was nominated for eight Oscars, walking away with five of the little statuettes, including the coveted Best Picture award.  Some viewers feel that it was the film's sheer "spectacularness" that earned it the Best Picture Oscar, but looking at the other nominees that year ( The Ten Commandments, The King and I, Giant, Friendly Persuasion ) it was a race against equally spectacular productions, so I feel it justly earned its place in the Best Picture winner's circle for its grandeur....even though Giant was definitely the better picture in terms of acting and directing. 

The Films of Powell and Pressburger

The films of Michael Powell and Emeric Pressburger have developed a cult following in recent decades due to the increased exposure of their work through revival showings and the Criterion DVD and Blu-ray releases. Powell and Pressburger societies,fan clubs, tribute blogs and other websites devoted to their films are now in abundance. 

What makes the Powell and Pressburger films so endearing? Their unique style for one thing. Just as a Hitchcock film is instantly recognizable, so are Powell and Pressburger's movies in spite of the completely different subject matters they tackled. They created mesmerizing films that were different than any being made by their contemporaries; different in subject matter, set design, cinematography, and dialogue. Color was their forte and they were pioneers in the use of the new medium. Some of these productions ( Black Narcissus, The Life and Death of Colonel Blimp ) still rank among the most beautiful ever filmed. Each was of superior quality and well ahead of its time. Together this team utilized cinema to its maximum potential and elevated the art to new standards.  

THE ARCHERS 


Michael Powell was working as director on the WWI drama The Spy in Black ( 1939 ) for British film magnate Alexander Korda when he met with screenwriter Emeric Pressburger, a Jewish immigrant from Hungary, who was asked to do some rewrites for the film. There was an instant kinship and they were once again working hand in hand for Contraband and The 49th Parallel, two anti-Nazi propaganda thrillers released through Korda. The pair adopted a joint writer-director-producer credit for their next production One of Our Aircraft is Missing before they broke from the reigns of studio production companies and incorporated their own company under the banner of The Archers, utilizing an archery target as their logo. 

"He knows what I am going to say even before I say it - maybe even before I have thought it - and that is very rare. You are lucky if you meet someone like that once in your life." - Pressburger on Powell

The team would collaborate on 13 films before the disbandment of The Archers in 1957, but the string of work made back to back between 1943 and 1950 ( notably I Know Where I'm Going, Black Narcissus, A Matter of Life and Death, The Red Shoes ) remain their greatest contributions to world cinema.

While Pressburger is generally credited for writing the screenplays and Powell for directing, they often stepped into each other's realms and contributed ideas for the betterment of each film in its whole. Pressburger produced the pictures and also enjoyed being closely involved in the final edit, especially in the way music was being used since he was a musician himself. 

SUBTLE AND NOT SO SUBTLE 

"...Every single foot in our films is our own responsibility and nobody else's. We refuse to be guided or coerced by any influence but our own judgement," Pressburger wrote in a letter to Deborah Kerr explaining why she should join them for The Life and Death of Colonel Blimp. 

In the era of the studio systems, creative freedom was something all directors longed for and this was a driving force in their decision to create their own production company. With full control of their output they were free to imagine and develop stories that gave their audiences food for thought in an entertaining and aesthetically unique manner. 

A simple but strong message was the cornerstone of each film, although many had numerous subtexts woven into its script. The Powell and Pressburger films were never about artificial characters, instead each film focused on the common laborer and touched on issues that the audience would relate to - love, friendship, ambition, hatred, war, death. 

"No artist believes in escapism. And we secretly believe that no audience does. We have proved, at any rate, that they will pay to see the truth, for other reasons than her nakedness." - Emeric Pressburger

Their films were always out of step with mainstream British cinema...much to their credit. If they had a message that they desired to tell, they went ahead and wrote a film to tell it, regardless of how it would be accepted by the public. When The Life and Death of Colonel Blimp was released at the height of World War II, it was heavily attacked by critics and audiences for its sympathetic portrayal of a German soldier. Powell and Pressburger most likely foresaw that this would happen when they were developing their script but went ahead with the film anyway - they had the creative freedom to do so and a message to convey: the English were not at war with Germans merely in flesh, but in attitudes and ideals. Today, when we look back on other World War II films of the era we see patriotic flagwavers, films dealing with the folk on the homefront, and escapist musicals and comedies, but The Life and Death of Colonel Blimp stands out for its forthright message that this was a different war England was fighting and a different enemy, though it was still Germany. 

Often the messages they desired to tell were not as clear-cut as those that appeared in Colonel Blimp. In A Canterbury Tale ( 1944 ), a young woman and two soldiers journey to Canterbury for various reasons but are side-tracked by an incident in a small village involving a vandal. This inconsequential incident gives Powell and Pressburger an excuse to tarry around Britain's countryside and explore the values for which they believe the war was being fought. The soldiers held that their furlough was wasted hunting down a silly "glue man", but, instead, they come to realize that they had taken a personal journey further then any had anticipated and, upon eventually reaching Canterbury, find their desires fulfilled. 

The exact opposite of this premise was explored in I Know Where I'm Going! ( 1945 ), one of The Archers few black and white productions ( color film was in short supply in wartime Britain ). In this film we see a young ambitious woman determined to take a boat to the isle of Kiloran to wed her rich fiancee who awaits her, in spite of the fierce wind that is barraging the coast. She is a woman set on a path and determined to have her way, but Fate intervenes in the personage of a handsome lieutenant who sweeps her off her feet. Ambition has no power whatsoever over Love. 

As an author weaves his own viewpoints and personal passions into each book he writes, Powell shared his very soul with his audience through his directing. Powell had a deep love for film-making and desired to hold an unspoken communication with his audience. In Powell's own words : "I've had this said to me - 'There's things going on in your films, particularly in this sequence, which I didn't understand but it fascinated me' and I didn't say anything - what it is, is the direct contact with the audience with the director." 

Like many auteur directors, he had his favorite actors which he employed in numerous films, these included Anton Walbrook, Marius Goring, Roger Livesay, Finlay Currie, David Farrar, and Eric Portman. Powell had his particular favorites among the actresses too. Deborah Kerr, whom he was having an affair with during the mid-1940s, starred in two films for The Archers and was Powell's original choice for the role of Joan in I Know Where I'm Going ( 1945 ). Kathleen Byron and Pamela Brown were also special favorites ( and women whom Powell also had affairs with ). 

Many of their contemporary critics, even modern-day viewers, have questioned their taste and the motivations behind some their films, but what was running through Powell and Pressburger's minds when they made these films is inconsequential. They are cinematic works of art. A painting need not have a story or a moral behind it to remain beautiful. The Archer films would be captivating if they had no plot at all and were simply a tableau of imagery. You could spend a year picking out favorite scenes from the Powell and Pressburger films because there are just that many to choose from. Even when viewed out of context from the original film they are dramatic gems of visual splendor.

Most of this splendor can be accredited to one member of The Archers in particular - Jack Cardiff, the brilliant cinematographer on the majority of the Powell and Pressburger films. He used color and shadow not only for mere beauty's sake but to represent emotion and drive the story forward. Black Narcissus features some of his most stunning work. Witness this particular scene of Sister Ruth at her prayers. If Cardiff had used different lighting to create this scene he could have made her a devote woman but instead she appears to be wickedness in disguise, a nun with sinister intentions with her bold red lipstick and the light of the sunset upon her.

In one particular scene in A Canterbury Tale, Peter Gibbs remarks to Mr. Colpeper that "I'll believe that when I see a halo around my head" at which point shafts of sunlight beam through the window casting a glow around Gibb's head. A halo indeed. It was subtle techniques like this that Cardiff employed that raised the standard of The Archers' films. 

Michael Powell claimed in his autobiography "I had made the British film industry after my own image, and I gloried in it" a humorous - and quite egotistical - comment on the effect the team had upon British cinema. In spite of our praise of their films, we wouldn't be counted among the blind admirers of any work turned out by The Archers. A few of their films are suitable for mere tasting only and we would not be revisiting them for several years. Nevertheless, numerous filmmakers have been influenced by their works and have in turn passed on what they learned from these films unto their own. Directors David Lean, Carol Reed, Martin Scorsese and Francis Ford Coppola all claim that they were influenced by the films of Powell and Pressburger. 


THE FILMS 

Contraband ( 1940 )

A Danish sea captain and a girl in wartime London expose a gang of spies. A delightful light thriller that moves along at a brisk pace. Conrad Veidt, Valerie Hobson, Esmond Knight. 

The 49th Parallel ( 1941 )

Five survivors from a destroyed U-Boat that made its way into Canadian waters, journey through the country in an attempt to cross the 49th parallel into the United States. En route, they encounter people who demonstrate their love for freedom. This is a stirring drama written to entice Americans to enter the war to help fight the Nazis. Ralph Vaughan Williams' score is a highlight.  Eric Portman, Anton Walbrook, Laurence Olivier, Niall MacGinnis, Raymond Massey. 

One of Our Aircraft is Missing ( 1942 )

After a bomber is crashed in a raid, members of the Danish resistance bring aid to its crew. This picture has its charm but is shot in more documentary-style realism and is languidly paced. Godfrey Teale, Eric Portman, Hugh Williams, Bernard Miles. 

The Life and Death of Colonel Blimp ( 1943 )

A colonel looks back on his life in the army, the woman that eluded him, and the friendship he forged with a German. What he comes to realize is his military tactics are outdated in the new warfront. The Lawrence of Arabia for Powell and Pressburger - an epic film spanning three decades of a man's life...and a highly entertaining life it is. Roger Livesay, Deborah Kerr, Anton Walbrook, Ursula Jeans. 

A Canterbury Tale ( 1944 )

Two soldiers and a young woman journey to Canterbury unmasking a batty magistrate en route. A gentle lyrical film that is gloriously original and unclassifiable. Old England never looked as rosy as it does here. Eric Portman, Sheila Sim, John Sweet, Dennis Price, Edmond Knight.

I Know Where I'm Going! ( 1945 )

A woman is determined to marry her rich fiance but finds herself falling in love with a naval officer when she is delayed by foul weather for three days.  A delightful movie which captures in spirit a slice of the Hebrides which so many of us long to visit. Even today there are IKWIG tours to the locations used in this film. Wendy Hiller, Roger Livesay, Pamela Brown, Finlay Currie.

A Matter of Life and Death ( 1946 )

Set during WWII, a British pilot miraculously survives a crash due to an error in heaven. A messenger is sent to fetch him 24 hours later, but in the interval he falls in love with a young woman and decides to plea for his life before the heavenly court. This fantasy film remains one of the team's most popular works. David Niven, Kim Hunter, Roger Livesay, Marius Goring, Raymond Massey. 

Black Narcissus ( 1947 )

A group of Anglo-Catholic nuns inhabit a remote Himalayan palace as their convent and find the culture and climate of the region stir tumultuous emotions within themselves. A striking drama and one of cinema's most beautiful films. Jack Cardiff carried away the Best Cinematography Academy Award for his brilliant Technicolor work. Deborah Kerr, Flora Robson, David Farrar, Kathleen Byron, Sabu. 

The Red Shoes ( 1948 )

A young ballet student rises to become a star but must then decide between her career or her lover. A splendid production giving viewers a glimpse at life behind the curtain at a ballet. Nominated for five Academy Awards. Moira Shearer, Anton Walbrook, Marius Goring, Robert Helpmann.

The Small Back Room  ( 1949 )

A lame scientist takes to drinking to drown his frustration of his handicap. He gets a chance to redeem himself to his long-suffering girlfriend and prove his heroism when he risks his life to disarm an unexploded German bomb. One of Powell and Pressburger's most underrated gems and one of the few suspense thrillers they made. David Farrar, Kathleen Byron, Jack Hawkins, Leslie Banks. 

The Elusive Pimpernel ( 1950 )

A remake of The Scarlet Pimpernel which fails to entertain in spite of its great cast and almost gaudy Technicolor. David Niven, Margaret Leighton, Cyril Cusack, Jack Hawkins.

Gone to Earth ( 1950 )

Set during the 1890s, a wild Shropshire gypsy girl is desired by the local squire. Powell and Pressburger' seemed to be striving to recapture the splendor of their films of the 1940s, but it comes off as rather humorous instead. It features some beautiful location scenery of England however. Jennifer Jones, David Farrar, Cyril Cusack

Tales of Hoffman ( 1951 )

The poet Hoffman, in three adventures, is fated to enter a series of doomed love affairs with supernatural overtones. This overwhelming mixture of opera and ballet and fantastic art direction was pegged by critic Gavin Muir when he claimed "[its] the most spectacular failure yet acheived by P&P, who seem increasingly to dissipate their gifts in a welter of aimless ingenuity". Robert Rounesville, Robert Helpmann, Moira Shearer, Pamela Brown.

Oh, Rosalinda!! ( 1955 )

In post-war Vienna, a playboy performs a practical joke on an officer ( and their wives ) from each of the four ruling powers. An attempt to modernize "Die Fledermaus", which unfortunately falls flat. Anton Walbrook, Michael Redgrave, Mel Ferrer, Dennis Price, Anthony Quayle.

The Battle of the River Plate ( 1956 )

A semi-documentary account of the German pocket battleship Graf Spee which was trapped in Montevideo Harbour in 1939. A stellar cast cannot make this film rise above being just a routine battle epic. John Gregson, Anthony Quayle, Peter Finch, Bernard Lee. 

Ill Met By Moonlight ( 1957 )

A group of British officers land on the island of Crete to capture a Nazi commander. The last film released under The Archers banner, it bore very few marks of being a Powell and Pressburger production but was very popular at the box-office upon its release. Dirk Bogarde, Marius Goring, David Oxley, Cyril Cusack 

The Boy Who Turned Yellow ( 1972 )

A boy dreams that he and all the passengers on a subway turn yellow. Powell and Pressburger's last film together. This one is a bizarre one-hour children's story made for the Children's Film Foundation. Patrick Gowers, David Vorhaus. 

This post is our contribution to the Criterion Blogathon being hosted by Criterion Blues, Speakeasy and Silver Screenings. To view the impressive line-up of film articles visit any one of these blogs for a complete list. 

The Dawn Patrol ( 1938 )

They roared through the dawn...with death on their wings!

Yes indeedee, rip-roaring action abounds in The Dawn Patrol. Where Errol Flynn walks, how can adventure help but follow? 

It's 1915. In central France the 39th Aerial Squadron of the British Royal Flying Corps is losing men like flies to enemy fire. Major Brand's ( Basil Rathbone ) nerves are shattered as he receives orders each day to send mere boys to the skies to face their death.

Amateur aviators fresh out of school, all eager to soar into the heavens to shoot down a Gerry, come to the squadron regularly. Naive, and blindly brave, they boast of what they'd do if they receive their flying orders. But the "old hands" Captain Courtney and Lt. Scott ( Errol Flynn, David Niven ) know better. It's no easy game. With a well-trained enemy on your tail at every moment it's a face-off to the death. 

They eye Major Brand with hatred burning in their hearts, knowing any one of these boys might be sent next, and without sufficient aerial combat experience what chance had they of surviving? They blame him for sending them to the slaughterhouse of the skies. 

"You know what this place is? It's a slaughterhouse, and I'm the butcher!" 
                                                                                                                Major Brand 

Brand realizes this too, and hates himself even though he is simply doing his duty. However, when Brand gets promoted to wing commander, and Courtney gets selected as his replacement, Courtney finds what it feels like to be in the Major's boots : very dirty. And those who were once his friends, are now giving him the evil eye as well. 

The Dawn Patrol was released in 1938 to critical acclaim for it's strong focus on the men who fought the hawk-like battles in the air. John Monk Saunder's Oscar-winning original story was first put to film in 1930 by director Howard Hawks, featuring Richard Barthelmess and Douglas Fairbanks Jr. in the lead roles. Hawks captured some outstanding aerial footage of dogfight scenes and many of these shots were reused in the 1938 remake, interspersed with scenes of Flynn in the pilot seat. 

The aerial scenes were not entirely old footage - Warner Brothers Studios reconditioned nearly two dozen vintage Nieuport and Fokker bi-planes which were used for additional dogfight footage as well as close-up scenes at the headquarters. The famous stunt flier Douglas "Wrong Way" Corrigan was asked to fly some of these Nieuports but Corrigan wanted $100,000 to appear in the film. That was one stunt where he did indeed go the wrong way - the studio was not willing to pay such an amount and nixed him from the production. 

Basil Rathbone is excellent as Major Brand, and Errol Flynn is as powerful and charismatic as ever as Captain Courtney. Flynn thoroughly enjoyed working with friends and the comradery between him and David Niven seen on film was true to life - Niven was one of his best chums. Keep a sharp eye out for Rodion Rathbone, Basil's son, who was making his film debut as "Russell" one of the inexperienced fliers. 

The Dawn Patrol remains one of Flynn's most memorable pictures and it's message of the senseless brutality of war packs a punch over a half century later. Commanding officers of the armed forces today go through the same agony when they must carry out orders from "higher up" knowing the steep price it costs on human lives...lives they personally know. 

Film critic Llewellyn Miller made an accurate prediction in his 1938 review of The Dawn Patrol : 

"A few...a very few pictures are timeless in their appeal. A very few pictures may be revived year after year without seeming quaint or out-dated or downright silly. The Dawn Patrol is one of the very few films which will survive this year and next and as many years to come as there are people who remember wars. I wish it might be included in every course in American history in every school in the land. I hope that it is revived every year, so long as bullets are being cast and battleships are being made, because, like every great war film that the motion picture industry has produced, it says 'Where is the glory, where is the great adventure, where is there anything but criminal waste in such insanity?'" 

This post is our contribution to Classic Movie Blog Association's Planes, Trains, and Automobiles Blogathon running from Oct. 19 - Oct. 24th. Be sure to head on over to CMBA's blog to find links to all the great articles on your favorite modes of transportation.