Nest of te Cokoo

A screen adaptation of the novel of the same name by Russian writer Ivan Turgenev. The film portrays the life of Russian landed gentry in the 1840s. After a long travel in Europe, nobleman Lavretsky returns back home. Everything in his estate is so familiar and dear to his heart. On his first visit to his neighbors, the Kalitins, he meets Lisa. He forgets his wife, left in Paris, forgets all his past. He desires only one thing – to always be with Lisa who is so unlike the women he used to know.

Prowling antiques stores for a suitable project for his own living room, Norm encounters Matt Buckley, an appraiser and antiques expert, who shows him an interesting Nest of Tables. Unlike anything else he has built on the show, Norm is intrigued by these three small mahogany tables that store into one another to form a "nest". The example that Matt shows Norm are likely to be English circa 1920 and are derived from the "Chippendale" style. Norm decides to build his own versions from walnut and mahogany and he reproduces the fine inlay details of the original.

OSS 117: Cairo – Nest of Spies constitutes the eighth installment in a long-running series of movies about OSS 117 – a French super-spy and European equivalent of James Bond. The creation of author Jean Bruce, OSS eventually starred in over 265 novels and seven cinematizations through 1970. The first seven film outings were sober and straight-faced; the eighth go-round (the first after a 38-year lapse) does a 180 to shamelessly poke fun of the rules established by the genre. A glib yet intelligent spoof, it joins the ranks of Our Man Flint (1965), Aghaye Hallou (1970), Mad Mission 3: Our Man from Bond Street (1984), and other international pictures that glibly satirize the subgenre made infamous to Americans by Bond; like Mad Mission 3, it even packs in an OSS 117 (Jean Dujardin) with a startling resemblance to Sean Connery. The film's comic conceit involves making OSS 117 arrogant, conceited, culturally insensitive, chauvinistic, and thoroughly moronic; yet the character somehow manages to slide through outrageously dangerous situations unscathed, time and again.