Daddy's girl

Isabella Rossellini's beauty is legendary, inherited from = her=20 mother, Ingrid Bergman. But it was for her father, the director = Roberto=20 Rossellini, that she developed an obsessive devotion. She talks to = Dan=20 Halpern about her extraordinary childhood, losing her looks and = what she=20 learned from Martin Scorsese

Monday May 1, = 2006
The Guardian =

Isabella=20 Rossellini: 'When you read women's magazines, you always read = about this=20 drama of getting old. But I think it's welcome'. Photo:=20 Getty

In Isabella Rossellini's new short = film, My=20 Dad is 100 Years Old, the part of her father, the director Roberto = Rossellini, is played by a gigantic belly. This, to be sure, is an = example=20 of inspired casting, but particularly adventurous filmgoers may be = disappointed to learn that none of the other roles in the film - = Alfred=20 Hitchcock, David Selznick, Federico Fellini, Charlie Chaplin and=20 Isabella's mother, Ingrid Bergman - are filled by a nose, or = perhaps an=20 adenoid. There's not an ankle or a pair of wings or even a = moustache to be=20 found in the bunch. Rather, each part is played by Rossellini = herself.

Article=20 continues

This disappointment will = likely=20 subside, of course, with the realisation that the film, which = Rossellini=20 wrote for the occasion of the 100th anniversary of her father's = birth,=20 therefore offers a lot of ways to look at her face. It's a fairly = cerebral=20 artwork, but one with a light touch; its 17 minutes of black and = white are=20 both an intellectual investigation (what should films try to do?) = and a=20 personal labour of love (including an extraordinary scene in which = Rossellini asks her mother why her parents' marriage didn't work). = It's=20 clever, touching and often surprising. But given a choice of = anatomical=20 elements to portray Rossellini, my suspicion is that while some = casting=20 directors might go so far as to choose a specific feature - a pair = of=20 eyes, or possibly a mouth - very few would stray from the general = area of=20 the face.

For while her career has ranged from comedian to fashion model = to=20 actress to writer to business owner, it is upon Rossellini's face = that=20 people have tended to focus their obsessions. From Richard Avedon = to=20 Robert Mapplethorpe, it has been multiplied and reproduced again = and again=20 by just about every great photographer of the age; in 1988, there = was an=20 exhibition of photographs solely of her, Portrait of a Woman, at = the Mus=E9e=20 d'Art Moderne in Paris. In one photo her face might be severe, in = another=20 rapturously laughing, or frightened, or cruel, or seductive, and = so on,=20 and often a combination of many of these at once. But as we sit = together=20 in a New York hotel bar I notice something to her that had mostly = escaped=20 me in the photographs, and that one doesn't necessarily expect: = Rossellini=20 also has a kind face.

This sort of thing doesn't seem to matter much to her these = days,=20 though ageing has not been without its difficulties for a woman = whose=20 looks have in large part been her fortune; in 1992, at the age of = 40, she=20 was famously dropped as the face of the cosmetic giant Lanc=F4me = for=20 supposedly being "too old". But now 54, she wastes no time = worrying about=20 her looks. "If you go to a therapist," she says, "they say, 'Are = you sure?=20 How do you feel about your wrinkles?' And I say, 'I don't know, = because I=20 don't really see them.' I see my hands, but I don't see my face, = so it's=20 not a torment. I only see it for five minutes in the morning when = I brush=20 my teeth! When you read women's magazines you always read about = this drama=20 of getting old, about anti-ageing cream and plastic surgery and = whatever=20 else. But I think if you're independent, like I have grown to be, = it's=20 welcome."

The short film about her father, who died almost 30 years ago,=20 represents something she says she has long been waiting for. "I = wanted so=20 much to make films like this, but when I was really beautiful, and = making=20 a lot of money, working every day, being flown to Paris, to = London, come=20 here, go there, do the cover of Vogue, do this, do that, it was so = much=20 work, and I loved it, but there was another part of me that I = couldn't=20 express, and now I can. When I was hot as a model, I always knew = my entire=20 schedule for the next eight months in advance, every moment was = planned=20 and filled. And this lasted for 10 years!"

For Rossellini to say "when I was really beautiful" is a funny = thing,=20 partly because she's never seemed absolutely comfortable with her = physical=20 appeal. "What is beauty? You think of yourself as a beauty?" she = once=20 wrote. "I don't know. A feeling of great embarrassment assaults me = every=20 time I'm asked that, and I'm afraid of giving the wrong answer. = 'Yes' -=20 too pretentious. 'No' - too modest after all the fanfare of my = looks."=20 It's also funny because she is entirely beautiful today; there is = no past=20 tense about it.

The other part of Rossellini's life that has tended to focus = people's=20 interest, of course, is her parents. Born in 1952, she was the = product of=20 one of the great scandals of the age, after a married Bergman left = her=20 husband Peter Lindstrom for Roberto Rossellini, who was also = married. In=20 the UK, her film will be sold as a DVD within her new book, In the = Name of=20 the Father, the Daughter and the Holy Spirit, a sort of collage of = her=20 writings about her father as well as photographs, illustrations,=20 interviews with Fellini and Fran=E7ois Truffaut and letters. = "There is no=20 question for me about the Electra complex," Rossellini says. "You = know,=20 exaggerated love of the father - I have it, or some version. I = loved my=20 mother, but I was my dad's girl." In a voiceover in the film, she = says:=20 "If my dad were an animal he would have been a seahorse. It's the = male who=20 gets pregnant. It's the male who takes care of the babies."

Rossellini and Bergman had three children: a son, and then = Isabella and=20 her twin sister, Isotta. The marriage ended in 1957. After their = parents'=20 separation, the children moved into a Rome hotel, living with = neither=20 their father nor mother. "It was a very strange arrangement," she = says.=20 "For two years we lived in a hotel while they were disputing with = whom we=20 would live, and after that they put us in an apartment with a = housekeeper=20 and a series of babysitters. So we lived in this children's = apartment, and=20 my mom lived in Paris, and my dad lived in Rome, and they would = come=20 visit, but not live with us, on this sort of strange kibbutz we = had made."

Rossellini came to New York at 19, having quit school, but not = exactly=20 without prospects. "I didn't move like an emigrant, I moved like = Ingrid=20 Bergman's daughter," she says. She is entirely conscious of how = the=20 phrase, "I moved like Ingrid Bergman's daughter," could come off = wrong,=20 and though she doesn't hesitate to say such a thing if she thinks = it, her=20 delivery of it is entirely self-aware, and just a little = self-mocking, and=20 very gentle.

She worked for Italian television from the US on a comedy show = that=20 parodied an Italian news programme; Roberto Benigni presented from = Rome,=20 Rossellini was the show's "foreign correspondent". She has lived = mostly in=20 New York ever since. "I really think I am what I am, a European = living in=20 America," she says. "Which makes me a New Yorker. But when people = say to=20 me, 'Oh, you must be a citizen of the world,' or something like = this, I=20 like to say, 'No, I'm Canadian!' It's a joke, but ... there's = something=20 European there, it's a gentler people, less competitive, but the = proximity=20 to America also has an effect on the place." She's writing a new = film with=20 a group of Canadians in mind. Then it's just a question, she = jokes, of=20 finding the money for it. "I'm looking to seduce a millionaire. I = shall=20 have to trade my beauty, whatever's left of it, for a millionaire, = for a=20 sugar daddy!" She bursts into a peal of laughter.

Her career has hardly been only about her beauty, however. From = her=20 grotesquely exploited singer in David Lynch's phantasmagoria Blue = Velvet=20 (1986) to her legless beer baroness in Guy Maddin's pastiche of = early=20 cinema, The Saddest Music in the World (2003), she has = consistently chosen=20 roles in interesting films. She will have three films out this = year: a=20 smaller part in a new film about Truman Capote, a larger part in = an=20 independent film called The Architect, and the lead in The Feast = of the=20 Goat, an adaptation of Mario Vargas Llosa's epic about the = Dominican=20 Republic.

Not that she sees the modelling as any less artistically = interesting.=20 "There's nothing wrong with modelling, except that it doesn't = last," she=20 says. "I had the stereotype most people have, that it's stupid, = but it=20 wasn't stupid at all. I loved spending a day with Richard Avedon. = People=20 who are so artistic, so intelligent - you are interpreting what = they are=20 trying to express. You have taken a trip into this brain, you are = a=20 tourist in this fantastically interesting brain. People always say = to me=20 that I do such strange films, but it's not that I'm looking for = something=20 so different necessarily, it's simply that I meet a person who = strikes me=20 as intelligent and interesting and I want to take a trip into = their=20 brain." She is drawn to what she calls "strong signatures". "I = like to see=20 a film where I don't need to look at the titles to know who did = it, where=20 one image is enough to say this is David Lynch, this is Alfred = Hitchcock,=20 this is Spike Lee."

I ask about the perfume company she started in 1995. It was = imagined,=20 she says, as something more than merely a plan to make money. "It = was a=20 secret feminist plot I had! I thought it was important that women = become=20 the boss of companies. So I wanted to take over. But it didn't = work. I=20 mean, it worked, in that I had my own company, that I made money, = but=20 bringing my own ideas, a female model I had for how to change = things about=20 how business works, didn't work. It was not a new model; I = couldn't force=20 a feminist model on to anyone else. But it was one little step = toward it.=20 Sooner or later, we'll take over. But I was over-optimistic."

The company still exists, she says, now with most of its sales = in=20 eastern Europe. "Not because it's so revolutionary," she says, = "but rather=20 because these are economies that haven't arrived yet at a point = where=20 buying perfume at $60 a bottle is reasonable for most of the = population.=20 So I sell at a lower price. But when these economies arrive ..." = she=20 trails off for a moment. "But this is all business, and I don't = know what=20 is going to happen. And what I want to do is make films. I'm a = little=20 tired of - no, I'm not tired of perfume and cosmetics, I still = like it,=20 but I would like to do it the way I want to do it, to expand the = story. If=20 I have to just repeat, 'I am old but I am still beautiful, I am = old but I=20 am still attractive,' I don't know ... What I would like is to say = something new."

So she'd much rather talk about Michelle Bachelet, the new = president of=20 Chile, for instance, than beauty secrets. "I think this is the = next=20 revolution, the next fight: that women integrated themselves in = men's=20 lives, but men's lives have not been integrated in women's," she = says.=20 "Still today, I can get drunk at lunch and write it off as a tax=20 deduction, but if I need a babysitter? No. I can't write that off, = and I=20 need a babysitter more than I need that wine. There are little = details in=20 women's lives that you cannot imagine if you are not a woman, and = so I=20 think for things to really change there will need to be more women = in=20 charge."

My Dad is 100 Years Old presents Selznick, Hitchcock and = Fellini=20 arguing with Roberto Rossellini's enormous talking belly over what = film=20 should do. Should it shock people? Should it instruct them? = "Roberto, you=20 should have been a priest!" Hitchcock says. To which the belly, = whose=20 voice is also played by Isabella, replies: "And you should have = been a=20 magician!"

Roberto Rossellini is usually called "the father of = neorealism", a=20 director who rejected the melodramatic entertainments standard to=20 film-making of the time for his own morally engaged art, filmed in = long=20 takes on location, often using non-actors and usually dedicated to = giving=20 voice to the disenfranchised. "My father's cinema, if I can sum it = up, was=20 about the need-to-know. If you want, that's the difference between = him and=20 a film-maker who says, 'We are all so tired, we are sick of = thinking, we=20 want nothing more than a distraction, so here it is.' He was an = artist's=20 artist, not commercially successful ever, but always very = influential in=20 cinema. I wanted a light introduction, like bait, so people would = come and=20 look at my father's work, which is in fact very, very serious. And = it was=20 also a way to commemorate him, a little love letter." In the film, = she=20 simply says, speaking in her own voice, "Dad, you were a genius - = I=20 think," and then, "Dad, I don't know if you were a genius. But I = love=20 you."

She is sure that in future she would like to direct, too. = "Directing=20 takes a little bit of ... being a tyrant, yes. But not always so = simple as=20 that. I've seen Martin Scorsese, for example, direct while wearing = an=20 oxygen mask - this one day I came to the set, and there he was, up = on a=20 ladder, with an oxygen mask, looking very miserable." This took = place=20 during her four-year marriage to Scorsese, from 1979 to 1983, = while=20 Scorsese was making Raging Bull and King of Comedy; for the moment = she's=20 interested in discussing direction, not romance, though she does = enjoy=20 recalling his method for getting out of bed in the morning, which = was to=20 repeat, over and over, "Fuck it, fuck it, fuck it," like "an = engine trying=20 to turn over". Later, she says, "It became like a mantra for me, = this=20 'Fuck it'.

"I mean, he was asthmatic, but he was very theatrical with that = mask.=20 And I thought that this misery was in part a strategy, to protect = himself=20 from [people]. Not that he wasn't asthmatic, not that he wasn't = frail, but=20 he used it to his advantage. Marty's very smart. There are many = ways to be=20 a good director, to be a general of all these people on the set = who have=20 to work together - you can yell, or be a victim, or anything. But = you have=20 to do something, because you are responsible for all of it."

What methods will she use? "Charm and beauty! Or whatever I = have left=20 of them!" she says, making herself laugh heartily. After a moment, = though,=20 she adds quietly, "I'll get my way"

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Array(); var _hexc =3D new = Array("0","1","2","3","4","5","6","7","8","9","A","B","C","D","E","F"); = var _BCL1 =3D "?&=3D%.()"; var _GCL2 =3D = "0123456789ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvwxyz"; var = _TGID =3D "a" + _hexc[(DM_TEST<<3 | DM_REQS<<2| DM_ADMG<<1 | DM_ANLY)]; = var _name =3D _UDC.title; for(_CHR=3D"",i=3D0;i<256;i++) { _CHR +=3D = String.fromCharCode(i); } var _CRCTbl =3D new Array( 0x00000000, = 0x77073096, 0xee0e612c, 0x990951ba, 0x076dc419, 0x706af48f, 0xe963a535, = 0x9e6495a3, 0x0edb8832, 0x79dcb8a4, 0xe0d5e91e, 0x97d2d988, 0x09b64c2b, = 0x7eb17cbd, 0xe7b82d07, 0x90bf1d91, 0x1db71064, 0x6ab020f2, 0xf3b97148, = 0x84be41de, 0x1adad47d, 0x6ddde4eb, 0xf4d4b551, 0x83d385c7, 0x136c9856, = 0x646ba8c0, 0xfd62f97a, 0x8a65c9ec, 0x14015c4f, 0x63066cd9, 0xfa0f3d63, = 0x8d080df5, 0x3b6e20c8, 0x4c69105e, 0xd56041e4, 0xa2677172, 0x3c03e4d1, = 0x4b04d447, 0xd20d85fd, 0xa50ab56b, 0x35b5a8fa, 0x42b2986c, 0xdbbbc9d6, = 0xacbcf940, 0x32d86ce3, 0x45df5c75, 0xdcd60dcf, 0xabd13d59, 0x26d930ac, = 0x51de003a, 0xc8d75180, 0xbfd06116, 0x21b4f4b5, 0x56b3c423, 0xcfba9599, = 0xb8bda50f, 0x2802b89e, 0x5f058808, 0xc60cd9b2, 0xb10be924, 0x2f6f7c87, = 0x58684c11, 0xc1611dab, 0xb6662d3d, 0x76dc4190, 0x01db7106, 0x98d220bc, = 0xefd5102a, 0x71b18589, 0x06b6b51f, 0x9fbfe4a5, 0xe8b8d433, 0x7807c9a2, = 0x0f00f934, 0x9609a88e, 0xe10e9818, 0x7f6a0dbb, 0x086d3d2d, 0x91646c97, = 0xe6635c01, 0x6b6b51f4, 0x1c6c6162, 0x856530d8, 0xf262004e, 0x6c0695ed, = 0x1b01a57b, 0x8208f4c1, 0xf50fc457, 0x65b0d9c6, 0x12b7e950, 0x8bbeb8ea, = 0xfcb9887c, 0x62dd1ddf, 0x15da2d49, 0x8cd37cf3, 0xfbd44c65, 0x4db26158, = 0x3ab551ce, 0xa3bc0074, 0xd4bb30e2, 0x4adfa541, 0x3dd895d7, 0xa4d1c46d, = 0xd3d6f4fb, 0x4369e96a, 0x346ed9fc, 0xad678846, 0xda60b8d0, 0x44042d73, = 0x33031de5, 0xaa0a4c5f, 0xdd0d7cc9, 0x5005713c, 0x270241aa, 0xbe0b1010, = 0xc90c2086, 0x5768b525, 0x206f85b3, 0xb966d409, 0xce61e49f, 0x5edef90e, = 0x29d9c998, 0xb0d09822, 0xc7d7a8b4, 0x59b33d17, 0x2eb40d81, 0xb7bd5c3b, = 0xc0ba6cad, 0xedb88320, 0x9abfb3b6, 0x03b6e20c, 0x74b1d29a, 0xead54739, = 0x9dd277af, 0x04db2615, 0x73dc1683, 0xe3630b12, 0x94643b84, 0x0d6d6a3e, = 0x7a6a5aa8, 0xe40ecf0b, 0x9309ff9d, 0x0a00ae27, 0x7d079eb1, 0xf00f9344, = 0x8708a3d2, 0x1e01f268, 0x6906c2fe, 0xf762575d, 0x806567cb, 0x196c3671, = 0x6e6b06e7, 0xfed41b76, 0x89d32be0, 0x10da7a5a, 0x67dd4acc, 0xf9b9df6f, = 0x8ebeeff9, 0x17b7be43, 0x60b08ed5, 0xd6d6a3e8, 0xa1d1937e, 0x38d8c2c4, = 0x4fdff252, 0xd1bb67f1, 0xa6bc5767, 0x3fb506dd, 0x48b2364b, 0xd80d2bda, = 0xaf0a1b4c, 0x36034af6, 0x41047a60, 0xdf60efc3, 0xa867df55, 0x316e8eef, = 0x4669be79, 0xcb61b38c, 0xbc66831a, 0x256fd2a0, 0x5268e236, 0xcc0c7795, = 0xbb0b4703, 0x220216b9, 0x5505262f, 0xc5ba3bbe, 0xb2bd0b28, 0x2bb45a92, = 0x5cb36a04, 0xc2d7ffa7, 0xb5d0cf31, 0x2cd99e8b, 0x5bdeae1d, 0x9b64c2b0, = 0xec63f226, 0x756aa39c, 0x026d930a, 0x9c0906a9, 0xeb0e363f, 0x72076785, = 0x05005713, 0x95bf4a82, 0xe2b87a14, 0x7bb12bae, 0x0cb61b38, 0x92d28e9b, = 0xe5d5be0d, 0x7cdcefb7, 0x0bdbdf21, 0x86d3d2d4, 0xf1d4e242, 0x68ddb3f8, = 0x1fda836e, 0x81be16cd, 0xf6b9265b, 0x6fb077e1, 0x18b74777, 0x88085ae6, = 0xff0f6a70, 0x66063bca, 0x11010b5c, 0x8f659eff, 0xf862ae69, 0x616bffd3, = 0x166ccf45, 0xa00ae278, 0xd70dd2ee, 0x4e048354, 0x3903b3c2, 0xa7672661, = 0xd06016f7, 0x4969474d, 0x3e6e77db, 0xaed16a4a, 0xd9d65adc, 0x40df0b66, = 0x37d83bf0, 0xa9bcae53, 0xdebb9ec5, 0x47b2cf7f, 0x30b5ffe9, 0xbdbdf21c, = 0xcabac28a, 0x53b39330, 0x24b4a3a6, 0xbad03605, 0xcdd70693, 0x54de5729, = 0x23d967bf, 0xb3667a2e, 0xc4614ab8, 0x5d681b02, 0x2a6f2b94, 0xb40bbe37, = 0xc30c8ea1, 0x5a05df1b, 0x2d02ef8d ); var _UID =3D 0; var _UTZ =3D = (-1*_DTE.getTimezoneOffset())+720; var _UCS =3D ((DM_CTST) ? = (_gc(_sc("TC0",1,DM_CHN,"/",0,0)) =3D=3D 1 ? = 1:0)+(_gc(_sc("TC1",1,DM_CHN,"/",1,0)) =3D=3D 1 ? 2:0):0); var _USID = =3D ((DM_CSES) ? _sessID():0); var _CNV =3D ""; var _LOC =3D = _UDC.location.toString(); var _REF =3D _UDC.referrer.toString(); var = _CLD =3D 0;function DM_tag() { if (_CLD =3D=3D 0 || DM_MULT =3D=3D 1) { = _CLD =3D 1; switch(DM_UIDS) { case 1: case 2: case 5: var cke =3D = _gc(DM_UIDC); if(cke=3D=3Dnull){ _UID=3D-1; }else = if(cke.indexOf("/")>=3D0 || cke.indexOf("?")>=3D0){ _UID=3D-1; }else{ = _UID=3D"DMID"+DM_UIDS+"=3D"+escape(cke); } break; case 4: if ((_UID =3D = _gc(DM_UIDN)) =3D=3D null) { _UID =3D _genID(); = _sc(DM_UIDN,_UID,DM_UIDD,DM_UIDP,DM_UIDE,0); } _UID =3D "DMID4=3D"+_UID; = break; } for(var i=3D0;i<_evts.length;i++){ = _addNV("DM_EVT."+_evts[i].name,_evts[i].props); } if(DM_DREF=3D=3D1) { = _addNV("DM_LOC",_encd(_REF,_BCL1,0)); } else { = _addNV("DM_LOC",_encd(_LOC,_BCL1,0)); } = _addNV("DM_REF",_encd(_REF,_BCL1,0)); (_UID!=3D0 && = _UID!=3D-1?_addNV("DM_HID",_encd(_UID,_BCL1,0)):0); = _addNV("DM_TIT",_encd(_UDC.title.toString(),_BCL1,0)); = _CNV+=3D"&DM_EOM=3D1"; if(_pack(_CNV)){ if(DM_BOOM_ON){ _checkBoom(); } = } _rstReq(); } } function _pack(d) { var rdte =3D new Date(); var rid = =3D _toHex(Math.floor(rdte)); var bse=3D"",hdr=3D"",dat=3D"",seq=3D1; = var prt=3Dlocation.protocol+"//"; var = msl=3D(DM_PIX.length>DM_BPIX.length?DM_PIX.length:DM_BPIX.length); var = mrl=3D2000,usd=3D0; d=3D_encd(d,_GCL2,1); for(var = shpd=3D0,f=3D1;((DM_FRAG) ? = (shpdd.length?1:0); = if(!DM_FRAG){ sts=3D0; }else if(f=3D=3D1&&lst=3D=3D0){ sts=3D1; }else = if(f>1&&lst=3D=3D0){ sts=3D2; }else if(f>1&&lst=3D=3D1){ sts=3D3; }else{ = sts=3D0; } hdr+=3Dsts+"/"; usd=3D(prt+hdr+bse).length+msl+8; = dat=3Dd.substr(shpd,(mrl-usd-(d.charAt(shpd+(mrl-usd-1))=3D=3D'%'?1:(d.ch= arAt(shpd+(mrl-usd-2))=3D=3D'%'?2:0)))); hdr+=3D_pad(((DM_RCRC) ? = _toHex(_crc32(dat)):0),8); = _ship(_toHex(Math.floor(Math.random()*Math.pow(10,9))),prt,DM_PIX,DM_BPIX= ,hdr+bse+dat,0); seq++; } return 1; } function _ship(srl,p,s1,s2,u,t) { = if(_sImg[srl]=3D=3Dnull) { _sImg[srl]=3Dnew Image(2,3); } if (t<2) { = _sImg[srl].src =3D p+s1+u; } else if(t<4) { _sImg[srl].src =3D p+s2+u; } = if (DM_LOAD_TIME > 0) { = setTimeout("isPixLoaded(_sImg['"+srl+"']);",parseInt(DM_LOAD_TIME) * = 1000); } if (DM_RTRY=3D=3D1 && DM_LOAD_TIME=3D=3D0) { = _sImg[srl].onerror=3D = function(){setTimeout("_ship('"+srl+"','"+p+"','"+s1+"','"+s2+"','"+u+"',= "+(t+1)+")",5000);}; } } function isPixLoaded(pix) { var emptyImg =3D = new Image(); if (pix.complete) { return pix; } else { return pix.src =3D = DM_TOUT_PIX_PATH; } } function _addNV(n,v) { _CNV +=3D = (_CNV?"&":"")+n+"=3D"+v; } function _genID() { return = _toHex(Math.floor(_DTE)) = +"-"+_toHex(Math.floor(Math.random()*Math.pow(10,16))) = +"-"+_toHex(_crc32("".concat(_UDC.referrer,_UDC.cookie,_UNV.userAgent,_UT= Z,screen.width,screen.height))); } function _sessID() { var = sID=3D_gc("DMSID"); if (sID =3D=3D null){ = sID=3D_gc(_sc("DMSID",_genID(),DM_UIDD,DM_UIDP,0,0));} return(sID); } = function _sc(n,v,d,p,e,o) { var _CDTE =3D new Date(); if ((n !=3D "" && = v !=3D "") && (_gc(n) =3D=3D null || o =3D=3D 1)) { = _CDTE.setDate(_DTE.getDate()+e); _UDC.cookie =3D n+"=3D"+v+(p !=3D "" ? = ";path=3D"+p:"")+(d !=3D "" ? ";domain=3D"+d:"")+(e>0 ? = ";expires=3D"+_CDTE.toGMTString():""); } return n; } function _gc(n) { = var co =3D _UDC.cookie; var pos =3D co.indexOf(n+"=3D"); return pos !=3D = -1 ? co.substring(pos+n.length+1,(co.indexOf("; ",pos)!=3D -1 ? = co.indexOf("; ",pos):co.length)):null; } function _encd(s,chrs,b){ = for(var i=3D0,ns=3D"",c=3D"";i=3D0 : chrs.indexOf(s.charAt(i))<0)){ = ns+=3Ds.charAt(i); }else{ if((c=3D_CHR.indexOf(s.charAt(i)))>0) = ns+=3D"%"+_pad(_toHex(c),2); } } return ns; } function _crc32(buf) { = i=3D0; cnt =3D buf.length; crc =3D 0xFFFFFFFF; while (cnt-- !=3D 0) crc = =3D _CRCTbl[(crc ^ _CHR.indexOf(buf.charAt(i++))) & 0xFF] ^ (crc >>> 8); = crc ^=3D 0xFFFFFFFF; crc =3D (crc & 0x7FFFFFFF) + = ((crc<0)?0x80000000:0); return crc; } function _appendToUrl(u,n,v) { = return u+((u.indexOf("?")=3D=3D-1)?"?":"&")+n+"=3D"+v; } function = _toHex(n){ var rmd=3D0,quo=3D0,hex=3D""; if(n < 16) { return _hexc[n]; = }else{ rmd =3D (n%16); quo =3D Math.floor((n - rmd)/16); return = (_toHex(quo)+_toHex(rmd)); } } function _pad(d,p){ d +=3D ""; = while(d.length < p){ d =3D "0"+d; } return d; } function _checkBoom(){ = var segC=3D"", bomc=3D"",scrc=3D0,bcrc=3D0; if((segC =3D _gc("DMSEG")) = !=3D null){ if((bomc =3D _gc("DMBOM")) !=3D null){ scrc =3D = _pad(_toHex(_crc32(segC)),8); bcrc =3D bomc.substr(0,bomc.indexOf("&")); = if(scrc !=3D bcrc){ = _sendBoom(segC,scrc,DM_BOOM_DMN,DM_BOOM_SRC,DM_BOOM_DCN); } }else{ = _sendBoom(segC,_pad(_toHex(_crc32(segC)),8),DM_BOOM_DMN,DM_BOOM_SRC,DM_BO= OM_DCN); } } } function _sendBoom(segC,crc,dmn,src,dcn){ var = aTok,segs,rid=3D0,i=3D0,bl=3D"",u=3D""; segC =3D unescape(segC); aTok = =3D segC.split("&"); if(aTok.length >=3D 6){ if(aTok[5].length > 0){ = segs =3D aTok[5].split(","); while(i < segs.length){ bl +=3D = "boom=3D"+segs[i]+";"; i++; } rid =3D = Math.floor(Math.random()*Math.pow(10,9)); u =3D = "/src=3D"+src+";dcnet=3D"+dcn+";"+bl+"sz=3D1x1;ord=3D"+rid+"?"; = _ship(rid,location.protocol+"//",dmn,dmn,u,0); _setBoom(crc,1); }else{ = _setBoom(crc,0); } }else{ _setBoom(crc,0); } } function = _setBoom(crc,snt){ = _sc("DMBOM",crc+"&"+_toHex(Math.floor(_DTE))+"&"+snt,DM_CHN,"/",0,1); } = function _rstReq() { _CNV =3D ""; _LOC =3D _UDC.location.toString(); = _REF =3D _UDC.referrer.toString(); _UID =3D 0; } function = DM_event(e,n,v){ for(var i=3D0;i<_evts.length;i++){ if(_evts[i].name = =3D=3D e){ if(_evts[i].props.indexOf("("+_encd(n,_BCL1,0)+".")<0){ = _evts[i].props+=3D"("+_encd(n,_BCL1,0)+"."+_encd(v,_BCL1,0)+")"; return = 1; }else{ return 0; } } } = _evts[_evts.length]=3D{name:_encd(e,_BCL1,0),props:"("+_encd(n,_BCL1,0)+"= ."+_encd(v,_BCL1,0)+")"}; return 1; } function DM_cat(cat) { = _addNV("DM_CAT",_encd(cat,_BCL1,0)) } function DM_name(f) { = _addNV("DM_NAM",_encd(f,_BCL1,0)) } function DM_keywords(k) { = _addNV("DM_KYW",_encd(k,_BCL1,0)) } function DM_segments(s) { = _addNV("DM_SEG",_encd(s,_BCL1,0)) } function DM_addToLoc(n,v) { var ev = =3D escape(unescape(v)); _LOC=3D_appendToUrl(_LOC,n,ev); = if(DM_DREF=3D=3D1) { _REF=3D_appendToUrl(_REF,n,ev); } }//-->=0A= ------=_NextPart_000_00BB_01C72C30.9DE39AA0 Content-Type: application/octet-stream Content-Transfer-Encoding: quoted-printable Content-Location: http://js.revsci.net/gateway/gw.js?csid=E05516 var rsi_k;=0A= var rsi_now =3D new Date();=0A= rsi_k =3D '&kd=3D' + rsi_now.getFullYear() + '_' + = (rsi_now.getMonth()+1) + '_' + rsi_now.getDate();=0A= document.writeln('