Mi chiamano ogni 10 minuti dicendo di essere della Tim e dicendo che sono obbligata a mettere la fibra altrimenti mi chiudono la linea... ho chiamato il 119 e mi hanno detto che non sono obbligata a far niente e che senza una mia richiesta scritta non possono chiudere nulla
Truffa clamorosa. L'operatrice dice di essere di TIM e che c'è stato un blocco nell'attivazione. Mi chiede dati per riaprire la pratica con condizioni contrattuali diverse da quelle che avevo sottoscritto. Dice di chiamarsi "Angela Morelli" ma dubito sia vero. Schifo da denuncia
Chiamano con la scusa che ti fanno risparmiare sulla bolletta e cercano di estrapolare i dati personali. Staccato subito. Forte accento dei paesi dell'est.
Trading telefonico. Non rispondere. La chiamata può risultare muta perché usano un sistema automatico per chiamare i numeri e quando non ci sono operatori liberi la chiamata risulta muta
Non rispondono su come hanno avuto il numero. Si rileva che si trata di un call- center che cerca di completare informazione su il tipo di contratto che abbiamo e su chi gestisce le bollette dell'energia elettrica. conviene interrompere immediatamente la telefonata. Non fidarsi.
Chiamano dicendo che devono dare un rimborso sulla bolletta precedente e ti richiedono dati personali... Non sanno nulla sullintestatario e se chiedi spiegazioni nn rispondono.Assolutamente da evitare!!!
Ho ricevuto la chiamata da questo num, gli operatori nn erano italiani e dicevano che cambiando fascia oraria avrei pagato meno in bolletta elettrica....la cosa mi è sembrata strana sia x l'insistenza sia x aver chiamato ne che nn sono intestatario della bolletta! Appena ho chiesto come avessero avuto il mio num mi parlavano di computer etc....nn mi sono fidata ho rifiutato ed interrotto la telefonata
CrewEnam Djam di Jogja (Six Hours in Yogya; 1951) – as screenwriterEmbun (Dewdrop; 1951) – as director and screenwriterDosa Tak Berampun (Unforgivable Sin; 1951) – as screenwriterTerimalah Laguku (Take My Song; 1952) – as directorHarimau Tjampa (Tiger from Tjampa; 1953) – as director and screenwriterPutri dari Medan (Girl From Medan; 1954) – directorMertua Sinting (Insane Parents-in-Law; 1954) – as directorArni (1955) – as directorTjambuk Api (Whips of Fire; 1958) – as directorPak Prawiro (Mr. Prawiro; 1958) – as director and screenwriterPedjuang (Warriors for Freedom; 1960) – as production managerMak Tjomblang (Mrs. Tjomblang; 1960) – as director and screenwriterLahirnja Gatotkatja (Birth of Gatotkatja; 1960) – as director and screenwriterMasa Topan dan Badai (Time of Cyclones and Storms; 1963) – as directorRimba Bergema (Echoing Jungles; 1964) – as directorBimo Kroda (1967) – as directorMalin Kundang (Anak Durhaka) (Malin Kundang [Faithless Child]; 1971) – as directorApi Dibukit Menoreh (Gugurnya Tohpati) (Fire on Mount Menoreh [Death of Tohpati]; 1971) – as directorBang Kojak (Brother Kojak; 1977) – as producer
In 1977 Djajakusuma served on the jury of the Indonesian Film Festival (Festival Film Indonesia, or FFI).[f] While reading the decision, he collapsed and was rushed to the hospital, while Rosihan Anwar completed the reading.[64] Djajakusuma's neighbour and frequent collaborator Taufiq Ismail told reporters that it was not the first time Djajakusuma had collapsed.[65] Djajakusuma continued to suffer from bouts of sudden weakness for the rest of his life,[66] caused by high blood pressure.[14]Despite his rapidly failing health, Djajakusuma remained active in the arts. In 1980 he made his last film appearance, and his only role on the big screen, acting in Ismail Soebardjo's Perempuan dalam Pasungan (Woman in Stocks).[67] He and Sofia WD portrayed parents who regularly put their daughter in stocks to punish her for being disobedient;[68] in an interview with Suara Karya, Soebardjo recalled that, from the time he had written it, he had only considered Djajakusuma for the role.[69] Perempuan dalam Pasungan won the Citra Award for Best Film at the 1981 Indonesian Film Festival,[39] and Djajakusuma expressed an interest in making several further films; this was, however, never realised.[51] In 1983 Djajakusuma served as dean of the Faculty of Arts at IKJ,[70] and in 1984 he went to the Three Continents Festival in Nantes, France, where two of his films were shown to critical acclaim.[32]In early 1987 Djajakusuma's doctor diagnosed him with heart disease, which led Djajakusuma to
In 1954 Djajakusuma directed two comedies, Putri dari Medan (Daughter of Medan) and Mertua Sinting (Insane Parents-in-Law). The first dealt with three young men who resolve to never marry, only for their strength to waver after meeting some women from Medan,[34] while the second followed a man who rejects his son's choice of spouse owing to her lack of noble descent, then unknowingly chooses the same woman to be his son's wife.[35] The following year Djajakusuma helped establish the Indonesian Screen Actors Guild (Persatuan Artis Film Indonesia; PARFI).[4] His only film that year, the drama Arni, told of a man who married another woman while his sick wife went to Padang, Sumatra, for treatment.[36]Djajakusuma studied cinematography in the United States, first at the University of Washington in Seattle, then at the University of Southern California's School of Cinematic Arts, from 1956 to 1957.[4] When he returned to Indonesia, he worked with Ismail and fellow Perfini employee Asrul Sani to establish the National Theatre Academy of Indonesia (Akademi Teater Nasional Indonesia), which promoted realism; the Indonesian dramatist Putu Wijaya described the realism promoted by the Academy as more Indonesian than Western,[37] while Djajakusuma considered inspired by the Italian neorealist movement.[38] Djajakusuma remained a lecturer with the academy until 1970, and his students considered him humorous and easy to approach.[39]Upon his return to Indonesia, Djajakusuma began work o
In preparation for his second film, Enam Djam di Jogja (Six Hours in Yogyakarta), Ismail recalled Djajakusuma to Jakarta. For the film, Djajakusuma helped Ismail adapt the General Assault of 1 March 1949 for the screen. Production was completed on a low budget; Djajakusuma later recalled that their camera had to be powered by a car battery.[24] Despite this and other difficulties, Djajakusuma stayed on after the film's completion, completing another work for Perfini, Dosa Tak Berampun (Unforgivable Sin), later that year. Ismail served as director for this film, about a man who leaves his family after he is transfixed by the smile of a waitress.[25]While Ismail, who remained head of Perfini, went abroad to study cinematography at the School of Theater, Film and Television at the University of California, Los Angeles, Djajakusuma began taking a larger role in Perfini. He made his directorial debut in 1952 with Embun (Dewdrop), which showed the psychological troubles faced by soldiers upon returning to their village after the revolution.[26] The film was shot in Wonosari, at the time in the middle of a drought, to provide a visual metaphor for the barren souls of the warriors.[27] Because of its depiction of traditional superstitions, the film had trouble with both the censorship bureau and critics; superstition was considered incompatible with the new republic's need for modernisation.[28] The release of Embun made Djajakusuma one of four directors to work for Perfini; the ot
Indonesian National RevolutionPresident Sukarno proclaimed Indonesia's independence on 17 August 1945, days after the bombings of Hiroshima and Nagasaki. Expecting the Dutch colonial government to return, Djajakusuma and Ismail helped establish the Independent Artists (Seniman Merdeka) as a form of resistance. The group travelled throughout the city, spreading news of Indonesia's proclaimed independence while performing from an open-air truck. After the arrival of the Netherlands Indies Civil Administration, the group sometimes attempted to spy on the Europeans or hide information which would be considered useful to the returning Dutch forces. Owing to this dangerous work, Djajakusuma began carrying a pistol, and went to Banten to ask a kyai to make him impervious to bullets.[12]In early 1946, with the Dutch colonial forces in control of Jakarta, Djajakusuma fled to the new national capital at Yogyakarta.[13] There, he spent a time with the national news agency Antara[14] before joining the military's educational division, rising to the rank of captain.[15] For the military Djajakusuma edited the weekly Tentara; he also contributed articles to Ismail's cultural magazine Arena.[16] Despite his involvement in the press, he did not abandon the theatre; with Surjo Sumanto, he established a troupe which performed for soldiers and raised morale, sometimes travelling to the frontlines.[17]Djajakusuma was hired by the Ministry of Information in 1947 to teach at a school for the p
Ha chiamato dicendo di essere un operatore telecom e che ci sarebbe stato un aumento delle tariffe di 15 euro in modo unilaterale. Ho chiamato il 187 e mi ha detto che non sapevano niente
Sono in attesa di un trasloco fastweb (uno schifo...ma lasciamo stare...) e questo numero mi ha contattato con la scusa che "l'armadio" dove allacciare la mia linea è saturo e quindi avrei potuto traslocare in tim per risolvere il problema. Si unisce il fatto che fastweb sono effettivamente dei cialtroni, (mi stanno creando mille problemi per questo trasloco, tanto li pago lo stesso no?Fino a fine maledettissimo contratto biennale per non pagare la penale) e la pazienza è al limite. Ovviamente non ho abboccato alla paracula napoletana che mi ha chiamato però mi chiedo, fin dove possono truffare la gente...anche perchè i dipendenti infedeli si passano le notizie che in teoria appartengono alla privacy. Truffaldini e cialtroni. Tutti.
Mi hanno contattato ieri per propormi una nuova tariffa per entrare nel mercato libero con Eni. Nel mio caso sono stati educati e cortesi, mi hanno spiegato la procedura nel dettaglio e mandano l'informativa anche tramite email. Nonostante ho rifiutato sono stati rispettosi. Ps ho chiamato il numero verde Eni e confermano che lavorano per loro, sono sede amministrativa distaccata. Pps purtroppo c'è chi fa il lavoro bene e chi si diverte a non rispondere. Capita
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