Gerber Guardian 2 Serial Numbers

GERBER Mark II™ PRODUCTION DATE INFORMATION Date or production tables relate Gerber Mark II serial numbers to the years they were manufactured. Nine major and several minor tables/lists exist. However there are some discrepancies between them.

Remember, that in the early years, Gerber did not keep careful records. It was nearly 14 years later in 1981 that a table was compiled by Mr. Doug Hutchens, Survival Knife Historian at Gerber. I have attempted to use information from the lists to resolve some of the discrepancies, correct a few errors and insert more detail into the table.

However there are several serial range differences that I could not resolve. The following tables/lists were used to formulate my date table: • 1981 Hutchens Table - Mr. Doug Hutchens held several managerial positions at Gerber and was the Survival Knife Historian.

• 1982 American Historical Foundation Table - Probably done by Robert Buerlein • 1984 Pete Gerber Desk List - List found in Pete Gerber Sr.' S desk • 1986 Unknown Origin Table - Table of unknown origin • 1997 Levine List - Published in Bernard Levine's Guide to Knives and Their Values IV. Also found at (Over half way down page) • 199?

Read the latest Life & Style News and Reviews from Daily Life, including Fashion, Celebrity, Beauty, Wellbeing and Home & Style.

Trzaska Table - Gerber_Numbers.jpg - Found at Frank Trzaska's site at (Over half way down page) • 199? Gerberguy Table - 'GERBERGuy's GERBER LEGENDARY BLADES Collector's Website' originally found at and archived at • 199? Frost Matrix - 'Gerber Mark II Production History Matrix' by Robert Frost originally found at and archived at • 200? List - Info sheet by Donda Burnett, Gerber Consumer Affairs • 2008 Sarasota Info - • 2/10/09 Sarasota Table - http://simplysarasota.com/knifecollector/Gerber-MkII-Production-Chart.html.

• France • Italy Budget $4–9 million Box office $5.5 million (North American rentals) 878,015 admissions (France) Barbarella is a 1968, directed by and based on the. The film stars as Barbarella: a 41st-century representative of the sent to find scientist Durand Durand, whose positronic ray could destroy humanity. Producer bought the comic's film rights. Vadim, who had been a fan of the comics, wanted to adapt one of them to film. He attempted to cast several actors in the title role (including, and ) before choosing his then wife, Jane Fonda. A friend of Vadim's,, wrote the screenplay. The screenplay was changed considerably during filming and several other writers are credited with having written it.

The film was particularly popular in the United Kingdom, where it was the year's second-highest-grossing film (after ). Contemporary film critics praised Barbarella 's visuals and cinematography, but found its storyline weak after the first few scenes.

Although several attempts at sequels, remakes and other adaptations have been planned, none have entered production. Contents • • • • • • • • • • • • • • • • • • • Plot [ ] In an unspecified future, Barbarella is assigned by the president of Earth to retrieve Dr. Durand Durand from the planetary system. Durand is the inventor of the positronic ray, a weapon which Earth leaders fear will fall into the wrong hands. Barbarella crash-lands on Tau Ceti's 16th planet, and is knocked unconscious by two women.

They bring her into the wreckage of a spaceship, where she is bound and several dolls with razor-sharp teeth attack her. Barbarella is rescued by Mark Hand, the Catchman, who patrols the ice looking for errant children. Hand tells her that Durand is in the city of Sogo, and she expresses her appreciation by having sex with him in the old-fashioned way (which was replaced on Earth long ago by exaltation-transference pills).

Barbarella leaves the planet and crashes into a labyrinth inhabited by outcasts from Sogo. She is found by Pygar, a blind angel who has lost the will to fly. Pygar introduces her to Professor Ping, who offers to repair Barbarella's ship. Pygar flies her to Sogo after she restores his will to fly with more old-fashioned sex. When they arrive, Pygar and Barbarella are captured by Sogo's Black Queen and her concierge. The concierge describes the Matmos: living energy in liquid form, powered by evil thoughts and used as an energy source in Sogo. Pygar endures a mock crucifixion and Barbarella is placed in a cage, where hundreds of birds prepare to attack her.

She is rescued by Dildano, leader of the local underground, who joins in her pursuit of Durand. Dildano offers her an invisible key to a chamber of dreams where the Queen sleeps, and sends her back to Sogo. Barbarella is promptly recaptured by the concierge; he places her in an excessive-pleasure machine, which induces fatal sexual pleasure.

She outlasts the machine, which shuts down. The concierge, shocked at its destruction, is revealed as Durand (who has aged 30 years due to the Matmos). He wants to become Sogo's new leader and overthrow the Black Queen, which requires his positronic ray and access to the chamber of dreams. Durand takes Barbarella to the chamber, locking her inside with the invisible key. She meets the Queen, who says that if two people are in the chamber the Matmos will devour them. Durand seizes control of Sogo, as Dildano and his rebels begin their attack on the city.

The Black Queen retaliates, releasing the Matmos to destroy Sogo. Protected by what the Black Queen calls Barbarella's innocence, they escape the Matmos and find Pygar; the angel clutches them in his arms and flies off. When Barbarella asks Pygar why he saved a tyrant, he replies: 'An angel has no memory.' Fonda as Barbarella in the excessive-pleasure machine • as Barbarella • as Mark Hand • (dubbed by ) as the Black Queen • as Durand Durand / Concierge • as Professor Ping • as President Dianthus of Earth • as Dildano • as Pygar • as Captain Sun • as the tree woman • (uncredited; last known film appearance) Production [ ] Development [ ] bought 's film rights.

The comic had been published amidst publicity; unlike previous, it was published by Belgian-French publisher in his. De Laurentiis secured a distribution deal in the United States between France's Marianne Productions and. He planned to film, a less-expensive feature, to help cover production costs. In 1966 expressed an admiration for comics (particularly ), saying that he liked 'the wild humor and impossible exaggeration of comic strips' and wanted to 'do something in that style myself in my next film, Barbarella.' Vadim saw the film as a chance to 'depict a new futuristic morality. Barbarella has [no] guilt about her body.

I want to make something beautiful out of eroticism.' His wife, actress, noted that Vadim was a fan of science fiction; according to the director, 'In science fiction, technology is everything. The characters are so boring—they have no psychology. I want to do this film as though I had arrived on a strange planet with my camera directly on my shoulder—as though I was a reporter doing a newsreel.' After finished writing ' dialogue for, he flew to Paris to meet Vadim and Fonda. Southern, who had known Vadim in Paris during the early 1950s, saw writing a science-fiction comedy based on a comic book as a new challenge.

He enjoyed writing the script, particularly the opening striptease and the scenes with tiny robotic toys pursuing Barbarella to bite her. Southern felt that the film was his, and enjoyed working with Vadim and Fonda; however, he found that De Laurentiis wanted to make a cheap film rather than a good one. Southern said later, 'Vadim wasn't particularly interested in the script, but he was a lot of fun, with a discerning eye for the erotic, grotesque, and the absurd. And Jane Fonda was super in all regards.'

Southern was surprised to see his screenplay credited to Vadim and several Italian screenwriters in addition to himself. Credited screenwriters included,,,, and. Later said that he had done uncredited work on the script; the production team 'hired fourteen other writers' after Southern 'before they got to me. I didn't get credit because I was the last one.' According to Griffith, he 'rewrote about a quarter of the film that was shot, then re-shot, and I added the concept that there had been thousands of years since violence existed, so that Barbarella was very clumsy all through the picture.

She shoots herself in the foot and everything. It was pretty ludicrous.

The stuff with Claude Dauphin and the suicide room were also part of my contribution to the film.' Preproduction [ ]. Director Roger Vadim in 1971 Several actresses were approached before was cast as Barbarella. De Laurentiis' first choice was; his second was, who was not interested in a sexualized role. His third choice was, who was pregnant and felt that she would not fit the role. Fonda was uncertain about the film, but Vadim convinced her by saying that science fiction was a rapidly-evolving genre. Before filming Barbarella, she was the subject of two sex scandals: the first when her nude body was displayed across an eight-story billboard promoting the premiere of in 1965, and the second when several candid nude photos from Vadim's closed set for were sold to the following year.

According to biographer, the billboard incident made her a sex symbol in the United States. Vadim said that he did not want the actress to play Barbarella 'tongue in cheek', and he saw the character as 'just a lovely, average girl with a terrific space record and a lovely body. I am not going to intellectualise her. Although there is going to be a bit of satire about our morals and our ethics, the picture is going to be more of a spectacle than a cerebral exercise for a few way out intellectuals.' Fonda felt that her first priority for Barbarella was to 'keep her innocent'; the character 'is not a vamp and her sexuality is not measured by the rules of our society. She is not being promiscuous, but she follows the natural reaction of another type of upbringing.

She is not a so-called 'sexually liberated woman' either. That would mean rebellion against something.

She is different. She was born free.' French mime had his first speaking role in the film as Professor Ping. Comparing his character to Bip the Clown and, he said that he did not 'forget the lines, but I have trouble organising them. It's a different way of making what's inside come out. It goes from the brain to the vocal chords, and not directly to the body.' Corel Draw X6 Portable English Free Download.

It was popularly believed that fashion designer was responsible for Fonda's costumes. Recent fashion scholarship has demonstrated that Rabanne was only involved in the production of Fonda's final green outfit. All costumes in the film, including Fonda's, were designed by French costume designer Jacques Fonteray and manufactured by Sartoria Farani. Barbarella's outfits were Jacques Fonteray's interpretation of Jean-Claude Forest's vision, combining orientalist and medieval aesthetics with samurai amours. 's creator, Jean-Claude Forest, also worked on the production's design. In a 1985 interview, he said that during production he did not care about his original comic strip and was more interested in the film industry: 'The Italian artists were incredible; they could build anything in an extremely short time. I saw all the daily rushes, an incredible amount of film.

The choices that were made for the final cut from those images were not the ones I would have liked, but I was not the director. It wasn't my affair.'

Filming [ ], who appeared in and Danger: Diabolik, said that after production finished on Danger: Diabolik (on 18 June 1967) shooting began on Barbarella. Sets such as Valmont's night club in Danger: Diabolik were used in both films. Barbarella was shot at in Rome. To film its striptease introduction, Fonda said that the set was turned upward to face the ceiling of the soundstage. A pane of thick glass was laid across the opening of the set, with the camera hung from the rafters above it.

Fonda then climbed onto the glass to perform the scene. The actress later described her discomfort on the film's set.

In her autobiography, Fonda said that Vadim began drinking during lunch; his words slurred, and 'his decisions about how to shoot scenes often seemed ill-considered.' Fonda was and, at the time, was 'a young woman who hated her body.

Playing a scantily-clad, sometimes-naked sexual heroine.' Photographer echoed Fonda, noting that she was insecure about her appearance during the production's photo shoots. The actress took sick days so the film's insurance policy would cover the cost of a shutdown while the script was edited.

Post-production [ ] was commissioned to record a score for Barbarella, which was discarded. The film's soundtrack, completed by composer-producers and, has been described as. Crewe was known for composing 1960s popular songs such as ' '. Some of the music is credited to the Bob Crewe Generation, a group of who contributed to the soundtrack.

Crewe invited the New York-based group the Glitterhouse, whom he knew through his production work, to provide vocals for the songs. He reflected on the soundtrack in his autobiography, saying that it 'clearly needed to have a fun and futuristic approach to it, with sixties-music sensibility.' Was Barbarella 's film editor. Mercanton worked with Vadim on several of his previous films, from 1956's to 1966's.

Release [ ] Barbarella opened in New York on 11 October 1968, and earned $2.5 million in North American theatre rentals that year. It was the second-most-popular film in general release in the United Kingdom in 1968, after. The film was shown in Paris that month, and was released in Italy on 18 October. It was released on 25 October throughout France, where it was distributed by Paramount. The film was re-released theatrically in 1977 without its nude scenes as Barbarella: Queen of the Galaxy. Barbarella received a 'condemned' rating from the, which called the film a 'sick, heavy-handed fantasy with nudity and graphic representations of sadism' and criticized the for approving it. Cavalleria Rusticana Midi Files. Home video [ ] In 1994, the film's laser disc showed it in for the first time on home video.

It was released on DVD on 22 June 1999, and on in July 2012 with the 1968 theatrical trailer the disc's only bonus feature. According to, home-video releases of the film before the Blu-ray version were 'murky'. And Video Librarian called Barbarella 's Blu-ray transfer 'breathtaking' and 'superb-looking', respectively. Reviews [ ] Contemporary [ ] Contemporary publications including and with the, New York Times and, reported that the film's first scenes were enjoyable, but its quality declined thereafter. According to the Globe & Mail review, after the striptease scene 'we are plunged back into the mundane, not to say inane world, of the spy thriller with a dreary overlay of futuristic science-fiction' and it 'just lies there, with all its psychedelic plastic settings.' Barbarella 's script and humor were criticized; noted a 'flat script' with only 'a few silly-funny lines of dialog' for a 'cast that is not particularly adept at comedy'. A reviewer wrote that 'sharp satiric moments.

Are welcome and refreshing but are rather infrequent', and the New York Times noted that 'there is the assumption that just mentioning a thing (sex, politics, religion) makes it funny.' Critics praised the film's design and cinematography. Variety 's mainly-negative review noted 'a certain amount of production dash and polish' and, according to, 'Claude Renoir's limpid colour photography and August Lohman's eye-catching special effects are what save the movie time and again.'

A Monthly Film Bulletin reviewer wrote that Barbarella 's decor is 'remarkably faithful to Jean-Claude Forest's originals', noting a 'major contribution of Claude Renoir as director of photography' and 'Jacques Fonterary's and Paco Rabanne's fantastic costumes'. Sight & Sound agreed, citing 'the inventiveness of the decors and the richness of Claude Renoir's photography.' The Guardian and the New York Times criticized Barbarella 's nature, themes and tone, with The Guardian calling it a 'nasty kind of film', 'modish to the core' and 'essentially just a shrewd piece of exploitation.' According to the New York Times, the film's humor was 'not jokes, but hard-breathing, sadistic thrashings, mainly at the expense of Barbarella, and of women.' A reviewer called it 'pure sub-adolescent junk' and 'bereft of redeeming social or artistic importance.'

The Globe & Mail praised Barbarella as part of 'the first female sci-fi.' Its shaggy gold rugs, paintings and spaceship were 'unquestionably female in design compared with any of today's projectiles;' Barbarella is 'no man-challenging superwoman, but a sweet soft creature who's always willing to please a man who's king to her.' According to Sight & Sound, 'There is a real fascination in its basic idea, which is a happy belief in the survival of sexuality. The idea fascinates, but the execution somehow disappoints (how often one has to say that about Vadim).'

The Film Quarterly review concluded, 'In the year that and finally elevated the science-fiction movie beyond the abyss of the kiddie show, Roger Vadim has knocked it right back down.' Retrospective [ ] Retrospective reviews in the New York Times, and Video Librarian discussed Barbarella 's plot and design. According to the A.V. Club, 'Mario Garbuglia keeps throwing inventive visuals and remarkable sets at the heroine' but 'the journey itself is an unrelenting trudge.'

A Video Librarian reviewer called Barbarella 'set design and wild color triumphing over story and character.' The New York Times noted a lack of 'plot impetus', suggesting that Vadim may have been 'preoccupied with the special effects, though they are (and were) rather cheesy.' Gave Barbarella three stars out of five in, calling the film 'literally episodic' and writing that the episodes spend 'more time on the art direction, the costuming and the psychedelic music track than the plot'. About its sexual elements, Brian J.

Dillard of wrote that the film's gender roles were not 'particularly progressive, especially given the running gag about Barbarella getting her first few tastes of physical copulation after a lifetime of 'advanced' virtual sex.' Club found the film 'a missed opportunity,' noting that the source material was part of 'an emerging wave of European comics for adults' which 'Vadim film[ed] indifferently.' Of the found the film 'ugly' on several levels, particularly its 'human values.' Kim Newman summarized the film as 'cheerful, kitsch and camp', with 'a succession of truly amazing fashion creations with all the confidence of a generation that thought sex was, above all, fun.' Newman compared the film to Kubrick's 2001 and Star Wars, writing that Barbarella makes them seem 'stuffy' by comparison.

Noted that Barbarella suffers when described as a 'camp classic,' since there was 'so much to like about Fonda's work here and the movie as a whole'; 'Fonda brings naivete and sweetness to a part that requires a certain level of comfort going bare onscreen, while the hostile planet Lythion is a parade of inventive and odd ways to imperil our heroine.' Aftermath and influence [ ] According to the, Barbarella may seem 'quaint' to modern audiences but its 'imagery has echoed for years in pop culture.' Lisa Eisner of The New York Times called Barbarella 'the most iconic sex goddess of the '60s.' The film's costumes influenced 's designs in, and Gaultier noted 's metallic dress which was worn by Fonda. Barbarella was later called a.

Author Jerry Lembcke noted the film's popularity; it was available in small video stores, and was familiar beyond the film-buff community. According to Lembcke, any 'doubt about its cult status was dispelled when Entertainment Weekly ranked it number 40 on its list of top 50 cult movies' in 2003.

He cited the film's popularity on the internet, with ranging from a Barbarella festival in Sweden to memorabilia sales and reviews. Lembcke writes that the websites focus on the character of Barbarella. Barbarella has influenced popular music, with taking its name from the film's antagonist. The group later released a concert film,, with reprising his role in Barbarella. Proposed sequel, remake and TV series [ ] A sequel to Barbarella was planned in November 1968. Producer said that its working title would be Barbarella Goes Down, with the character having undersea adventures. Terry Southern said that he was contacted by de Laurentiis in 1990 to write a sequel 'on the cheap.

But with plenty of action and plenty of sex,' and possibly starring Fonda's daughter. A new version of Barbarella was proposed in the 2000s, and director was interested in developing a version after the release of. Planned to produce the film, with playing Barbarella. Dino and Martha De Laurentiis signed on with writers, who had worked on.

When the film's budget exceeded $80 million, Universal withdrew. According to Rodriguez, he did not want his film to look like Vadim's.

He searched for alternate financing when Universal did not meet his budget, and found a studio in Germany which would provide a $70 million budget. Rodriguez eventually left the project, since using that studio would require a long separation from his family.

Was then approached to write a screenplay, with directing and Dino and Martha De Laurentiis still credited as producers. In January 2014, announced a pilot for a TV series based on the film. The pilot would be written by Purvis and Wade, and directed. The thriller-action series would be set in Asia. See also [ ] • • • • References [ ] Footnotes [ ]. • Bartkowiak, Matthew J.; Kiuchi, Yuya (2015). The Music of Counterculture Cinema: A Critical Study of 1960s and 1970s Soundtracks.

• Bosworth, Patricia (2011). Jane Fonda: The Private Life of a Public Woman. Houghton Mifflin Harcourt.. • Curti, Roberto (2016). Diabolika: Supercriminals, Superheroes and the Comic Book Universe in Italian Cinema. Midnight Marquee Press..

• Lembcke, Jerry (2010). Hanoi Jane: War, Sex, & Fantasies of Betrayal... • Gerber, Gail; Lisanti, Gail (2014). Trippin' with Terry Southern: What I Think I Remember. • Lisanti, Tom (1 January 2003).. • McGilligan, Patrick (1997). Backstory 3: Interviews with Screenwriters of the 60s...

• Parks, Lisa (1999). 'Bringing Barbarella Down to Earth'. In Radner, Hilary; Luckett, Moya. Swinging Single: Representing Sexuality in the 1960s... • Spencer, Kristopher.

Film and Television Scores, 1950-1979: A Critical Survey by Genre. Wild Boy: My Life in Duran Duran.

Grand Central Publishing.. • Willis, Donald, ed. Variety's Complete Science Fiction Reviews. Garland Publishing Inc..

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