Please answer this: Given the below context:  The Stooges are wannabe detectives who inadvertently get their chance to crack a case in Scotland. They manage to stumble on a lead concerning the priceless Punjab diamond being stolen by a crook named Dapper. With dreams of becoming genuine detectives, the trio head for Squid McGuffy's cafe asking for the whereabouts of Dapper. They manage to convince everyone at the restaurant that they are actually police. While searching several rooms above the cafe, the Stooges stumble on Dapper's moll, who hastily hides the Punjab diamond in a candy dish. The boys refuse to leave, suspecting Dapper will eventually show his face. While killing time, Shemp starts to flirt with the moll, and manages to swallow the ice along with some mints from the candy dish. The gal nearly has a nervous breakdown but quickly discovers the Stooges are not actually real detectives. She calls in Dapper and his henchman Muscles and frantically try to pry the diamond out of frazzled Shemp. After all else fails, Dapper decides to cut him open. Moe and Larry are locked in a closet by Muscles while Shemp is tied down on a close by desk-turned-operating table. As luck would have it, there happen to be a bag of tools in the closet, which Moe and Larry use to saw their way out of the closet, and right into a gorilla's cage on the other side of the wall. The gorilla knocks Moe, Larry, Dapper and Muscles cold. The beast, however, befriends Shemp, and helps him cough up the diamond. Moments later, Shemp explains how he managed to swallow the diamond by actually doing so again.  Guess a valid title for it!
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Answer: Hot Ice (1955 film)


Problem: Given the below context:  In his field and day, Wright was certainly eclipsed by his rival the more prolific Lely, to whom he is often compared. One critic, Millar, observes that any comparisons undertaken would "ruthlessly expose Wright's weaknesses and mannerisms" but that positively "they would also demonstrate his remarkable independence, his unfailing integrity and charm, the sources of which must partly lie in his unusual origins, fragmented career and attractive personality". Millar suggests that a particularly useful comparison can be made between Lely and Wright's respective portrayals of the Duchess of Clevland (Barbara Villiers) (above). Whereas Lely portrayed her as a "full-blown and palpably desirable strumpet", the more seriously minded Wright, who was not really in sympathy with the morality of the new court and its courtesans, rendered a more puppet-like figure.However, even if Lely was considered the more masterly and fashionable of the two in seventeenth-century Britain, Wright is generally accepted as portraying the more lively and realistic likenesses of his subjects, a fact that reinforces Pepys's observation that Lely's work was "good but not like". Neither should Wright's realism be confused with a prudishness; as can be seen, for example, in his portrait the lady, thought to be Ann Davis (right). The picture, with the sitter's clothing left undone and her modesty barely preserved by a red drape, has been described as exhibiting a fresh – even risky – reality: erotic by contemporary standards. Whereas Wright's contemporaries might have used the ‘disguise’ of presenting the sitter in the guise of a classical goddess to protect against accusation of  salaciousness, Wright's portrait rather depends on his realism, notably in his flesh tones, and depth.  Guess a valid title for it!

A: John Michael Wright


Q: Given the below context:  As a composer Holst was frequently inspired by literature. He set poetry by Thomas Hardy and Robert Bridges and, a particular influence, Walt Whitman, whose words he set in "Dirge for Two Veterans" and The Mystic Trumpeter (1904). He wrote an orchestral Walt Whitman Overture in 1899. While on tour with the Carl Rosa company Holst had read some of Max Müller's books, which inspired in him a keen interest in Sanskrit texts, particularly the Rig Veda hymns. He found the existing English versions of the texts unconvincing, and decided to make his own translations, despite his lack of skills as a linguist. He enrolled in 1909 at University College, London, to study the language.Imogen commented on his translations: "He was not a poet, and there are occasions when his verses seem naïve. But they never sound vague or slovenly, for he had set himself the task of finding words that would be 'clear and dignified' and that would 'lead the listener into another world'". His settings of translations of Sanskrit texts included Sita (1899–1906), a three-act opera based on an episode in the Ramayana (which he eventually entered for a competition for English opera set by the Milan music publisher Tito Ricordi); Savitri (1908), a chamber opera based on a tale from the Mahabharata; four groups of Hymns from the Rig Veda (1908–14); and two texts originally by Kālidāsa: Two Eastern Pictures (1909–10) and The Cloud Messenger (1913).Towards the end of the nineteenth century, British musical circles had experienced a new interest in national folk music. Some composers, such as Sullivan and Elgar, remained indifferent, but Parry, Stanford, Stainer and Alexander Mackenzie were founding members of the Folk-Song Society. Parry considered that by recovering English folk song, English composers would find an authentic national voice; he commented, "in true folk-songs there is no sham, no got-up glitter, and no vulgarity". Vaughan Williams was an early and enthusiastic convert to this cause, going round the English countryside collecting...  Guess a valid title for it!
A:
Gustav Holst