fredag den 30. december 2011
torsdag den 29. december 2011
tirsdag den 27. december 2011
mandag den 26. december 2011
Red-Headed Woman (1932)
Might be underrating this. Every scene with Charles Boyer is basically hilarious, but there are just too few of them.
søndag den 25. december 2011
fredag den 23. december 2011
torsdag den 22. december 2011
onsdag den 21. december 2011
mandag den 19. december 2011
søndag den 18. december 2011
lørdag den 17. december 2011
,torsdag den 15. december 2011
onsdag den 14. december 2011
tirsdag den 13. december 2011
Story of the Eye (1928)
"We were perfectly calm, all three of us, and that was the most hopeless part of it. Any boredom in the world is linked, for me, to that moment and, above all, to an obstacle as ridiculous as death. But that won’t prevent me from thinking back to that time with no revulsion and even with a sense of complicity. Basically, the lack of excitement made everything far more absurd, and thus Marcelle was closer to me dead than in her lifetime, inasmuch as absurd existence, so I imagine, has all the prerogatives."
mandag den 12. december 2011
Tender is the Night (1934)
"'Why do you want to fight the Soviets?' McKisco said. 'The greatest experiment ever made by humanity? And the Riff? It seems to me it would be more heroic to fight on the just side.'
'How do you find out which it is?' asked Barban dryly.
'Why - usually everybody intelligent knows.'
'Are you a Communist?'
'I'm a Socialist, said McKisco, 'I sympathize with Russia.'
'Well, I'm a soldier,' Barban answered pleasantly. 'My business is to kill people. I fought against the Riff because I'm a European, and I have fought the Communists because they want to my property from me.'
'Of all the narrow-minded excuses,' McKisco looked around to establish a derisive liasion with some one else, but without success."
'How do you find out which it is?' asked Barban dryly.
'Why - usually everybody intelligent knows.'
'Are you a Communist?'
'I'm a Socialist, said McKisco, 'I sympathize with Russia.'
'Well, I'm a soldier,' Barban answered pleasantly. 'My business is to kill people. I fought against the Riff because I'm a European, and I have fought the Communists because they want to my property from me.'
'Of all the narrow-minded excuses,' McKisco looked around to establish a derisive liasion with some one else, but without success."
søndag den 11. december 2011
lørdag den 10. december 2011
tirsdag den 6. december 2011
mandag den 5. december 2011
søndag den 4. december 2011
lørdag den 3. december 2011
torsdag den 1. december 2011
mandag den 28. november 2011
søndag den 27. november 2011
I Like It Here (1958)
"After a moment Gomes said: 'I'm afraid I've been letting myself go. Do forgive me for talking so endlessly. It's a great fault of mine, I know.' The Bowens' protestations failed to stem a prolonged flood of eloquent and documented self-deprecation. He defended himself tentatively by suggesting that it was good for English people to hear what he had to say. Far outdoing him in the vigour, the Bowens aided this defence. He got up in the middle of it, put some money on the table and said abruptly; 'I hope you'll enjoy your stay in Portugal. For the tourist there are many attractions; for the residents, not quite so many.' He softened this rather cinematic apophthegm with a cordial handshake and a warmer version of his smile. His final wave, delivered from the driving seat of the most unnecessarily large of all the unnecessarily large cars on view, was also cordial.
As Gomes drove violently away he seemed to be leaving behind him the impression that his audience had failed him in some way. Not having a couple of armoured divisions (with sea and air support) to place at Gomes' disposal, Bowen could not see how this could have been avoided in large part. Still, a penumbra of trivial insularity had been pretty effectively cast over British domestic squabbles about housing policy or the next round of wage claims. This endemic drabness would no doubt be dissipated, Bowen reckoned, if Tories could actually be witnessed in the course of jubilation over something or other to do with capital gains, if Labour could arrange to televise a bona fide very fat man occupied in watering the workers' beer. But as things were, Gomes seemed to have provided yet another excuse for people like Bowen to be politically apathetic at home."
As Gomes drove violently away he seemed to be leaving behind him the impression that his audience had failed him in some way. Not having a couple of armoured divisions (with sea and air support) to place at Gomes' disposal, Bowen could not see how this could have been avoided in large part. Still, a penumbra of trivial insularity had been pretty effectively cast over British domestic squabbles about housing policy or the next round of wage claims. This endemic drabness would no doubt be dissipated, Bowen reckoned, if Tories could actually be witnessed in the course of jubilation over something or other to do with capital gains, if Labour could arrange to televise a bona fide very fat man occupied in watering the workers' beer. But as things were, Gomes seemed to have provided yet another excuse for people like Bowen to be politically apathetic at home."
lørdag den 26. november 2011
onsdag den 23. november 2011
tirsdag den 22. november 2011
søndag den 20. november 2011
fredag den 18. november 2011
torsdag den 17. november 2011
onsdag den 16. november 2011
tirsdag den 15. november 2011
lørdag den 12. november 2011
torsdag den 10. november 2011
127 Hours (2010)
onsdag den 9. november 2011
tirsdag den 8. november 2011
mandag den 7. november 2011
This Side of Paradise (1920)
"So Amory declaimed "The Ode to a Nightingale" to the bushes they passed.
"I'll never be a poet," said Amory as he finished. "I'm not enough of´a sensualist really; there are only a few obvious things that I notice as primarily beautiful: women, spring evenings, music at night, the sea; I don't catch the subtle things like 'silver-snarling trumpets.' I may turn out an intellectual, but I'll never write anything but mediocre poetry."
"I'll never be a poet," said Amory as he finished. "I'm not enough of´a sensualist really; there are only a few obvious things that I notice as primarily beautiful: women, spring evenings, music at night, the sea; I don't catch the subtle things like 'silver-snarling trumpets.' I may turn out an intellectual, but I'll never write anything but mediocre poetry."
fredag den 4. november 2011
torsdag den 3. november 2011
onsdag den 2. november 2011
That Uncertain Feeling (1955)
"I said carefully: 'Come on, now, Gareth, what about listening to the facts? You haven't answered them, you know.'
'Oh, facts,' Probert said scornfully. 'Fellows like you always trot out facts of one sort or another. You're so bogged down in your facts you've forgotten how to think.'
There's nothing to beat an attack on facts for making me angry. With a sort of expanding lightness in my chest, I said: 'Yes, I know, you prefer feelings, don't you? All right then, here's a feeling for you, boy. I feel you ought to stuff your...'"
'Oh, facts,' Probert said scornfully. 'Fellows like you always trot out facts of one sort or another. You're so bogged down in your facts you've forgotten how to think.'
There's nothing to beat an attack on facts for making me angry. With a sort of expanding lightness in my chest, I said: 'Yes, I know, you prefer feelings, don't you? All right then, here's a feeling for you, boy. I feel you ought to stuff your...'"
tirsdag den 1. november 2011
søndag den 30. oktober 2011
lørdag den 29. oktober 2011
fredag den 28. oktober 2011
tirsdag den 25. oktober 2011
mandag den 24. oktober 2011
søndag den 23. oktober 2011
Lucky Jim (1954)
“Are you in love with him?”
“I don’t much care for that word,” she said, as if rebuking a foul-mouthed tradesman.
“Why not?”
“Because I don’t know what it means.”
He gave a quiet yell. “Oh, don’t say that; no, don’t say that. It’s a word you must have come across in conversation and literature. Are you going to tell me it sends you flying to the dictionary each time? Of course you’re not. I suppose you mean it’s purely personal – sorry, got to get the jargon right – purely subjective?”
“Well, it is, isn’t it?”
“Yes, that’s right. You talk as if it’s the only thing that is. If you can tell me whether you like greengages or not, you can tell whether you’re in love with Bertrand or not, if you want to tell me, that is.”
“You’re still making it much too simple. All I can really say is that I’m pretty sure I was in love with Bertrand a little while ago, and now I’m less sure. That up-and-down business doesn’t happen with greengages; that’s the difference.”
“Not with greengages agreed. But what about rhubarb, eh? What about rhubarb? Ever since my mother stopped forcing me to eat it, rhubarb and I have been conducting a relationship that can swing between love and hate every time we meet.”
“That’s all very well, Jim. The trouble with love is it gets you in such a state you can’t look at your own feelings dispassionately .”
“That would be a good thing if you could do it, would it?”
“Why, of course.”
He gave another quiet yell, this time some distance above a middle C. “You’ve got a long way to go, if you don’t mind me saying so, even though you are nice. By all means view your own feelings dispassionately, if you feel you ought to, but that’s nothing to with deciding whether (Christ) you’re in love. Deciding that’s no more difficult than the greengages business. What is difficult, and the time you really need this dispassionate rubbish, is deciding what to do about being in love if you are, whether you can stick the person you love enough to marry them, and so on.”
“Why, that’s exactly what I’ve been saying, in different words.”
“Words change the thing, and anyway the whole procedure’s different. People get themselves all steamed up about whether they’re in love or not, and can’t work it out, and their decisions go all to pot. It’s happening every day. They ought to realize that the love part’s perfectly easy; the hard part is the working-out, not about love, but about what they’re going to do. The difference is that they can get their brains going on that, instead of taking the sound of the word ‘love’ as a signal to switching them off. They can get somewhere, instead of indulging in a sort of orgy of emotional self-catechising about how you know you’e in love, and what love is anyway, and all the rest of it. You don’t ask yourself what greengages are, or how you know whether you like them or not, do you? Right?”
lørdag den 22. oktober 2011
fredag den 21. oktober 2011
This Business of Living (1935-1950)
"4th March 1947
To me, a friend no longer means fellowskip, a way of living, but a pastime, an alternative to the cinema. Why? I no longer believe that work can be shared. I work alone and then I seek distraction. In the days when I believed in friends, I did no work."
- Translated by John Taylor.
To me, a friend no longer means fellowskip, a way of living, but a pastime, an alternative to the cinema. Why? I no longer believe that work can be shared. I work alone and then I seek distraction. In the days when I believed in friends, I did no work."
- Translated by John Taylor.
torsdag den 20. oktober 2011
onsdag den 19. oktober 2011
tirsdag den 18. oktober 2011
mandag den 17. oktober 2011
søndag den 16. oktober 2011
lørdag den 15. oktober 2011
fredag den 14. oktober 2011
torsdag den 13. oktober 2011
The Pat Hobby Stories (1962)
"'Could you write me a pass?' Pat pleaded. 'Just a word on your card?'
'I'll look into it.' said Mr Marcus. 'Just now I've got things on my mind. I'm going to a luncheon.' He sighed profoundly. 'They wan't I should meet this new Orson Welles that's in Hollywood.'
Pat's heart winced. There it was again - that name, sinister and remorseless, spreading like a dark cloud over all his skies.
'Mr Marcus,' he said so sincerely that his voice trembled, 'I wouldn't be surprised if Orson Welles is the biggest menace that's come to Hollywood for years. He gets a hundred and fifty grand a picture and I wouldn't be surprised if he was so radical that you had to have all new equipment and start all over again like you did with sound in 1928.'
'Oh my God!' groaned Mr Marcus.
'And me,' said Pat, 'all I wan't is a pass and no money - to leave this as they are.'
Mr Marcus reaced for his card case."
- Pat Hobby and Orson Welles (1940)
'I'll look into it.' said Mr Marcus. 'Just now I've got things on my mind. I'm going to a luncheon.' He sighed profoundly. 'They wan't I should meet this new Orson Welles that's in Hollywood.'
Pat's heart winced. There it was again - that name, sinister and remorseless, spreading like a dark cloud over all his skies.
'Mr Marcus,' he said so sincerely that his voice trembled, 'I wouldn't be surprised if Orson Welles is the biggest menace that's come to Hollywood for years. He gets a hundred and fifty grand a picture and I wouldn't be surprised if he was so radical that you had to have all new equipment and start all over again like you did with sound in 1928.'
'Oh my God!' groaned Mr Marcus.
'And me,' said Pat, 'all I wan't is a pass and no money - to leave this as they are.'
Mr Marcus reaced for his card case."
- Pat Hobby and Orson Welles (1940)
tirsdag den 11. oktober 2011
mandag den 10. oktober 2011
søndag den 9. oktober 2011
lørdag den 8. oktober 2011
fredag den 7. oktober 2011
onsdag den 5. oktober 2011
mandag den 3. oktober 2011
søndag den 2. oktober 2011
lørdag den 1. oktober 2011
torsdag den 29. september 2011
mandag den 26. september 2011
søndag den 25. september 2011
lørdag den 24. september 2011
fredag den 23. september 2011
torsdag den 22. september 2011
onsdag den 21. september 2011
Films and Feelings (1971)
"Jannings allowed himself to stray as far from “realism” as comedians do — one can speak of “slow” expressionism, like Jannings’, and ‘fast’ expressionism, like Chaplin’s (or Jerry Lewis’). The middle term between them is exemplified by Catherine Hessling in Jean Renoir’s Nana (1926), where she gives what is both the best and worst performance in the history of the French cinema. With her petal-light limbs flung out into Napoleonic postures, her bee-sting mouth pouting in her heart-shaped face, her eyes narrowed till the pupils disappear under a palisade of lashes, her fluttering precocity and jagged stances, this awkward blend of Chaplinesque, quicksilver and marionette fixity comes, if only the spectator will adapt his response, to make at least as much sense as modern “Method”-ism."
tirsdag den 20. september 2011
Express Yourself (1989)
Nothing particular interesting despite/because of the Metropolis connection.
mandag den 19. september 2011
Drive (2005)
"Worry about that later.
He looked back at the open door. Maybe that’s it, Driver thought. Maybe, for now, three bodies are enough."
...
"By the next day’s end, with nothing on paper, no treatment, not a single word of script, nary a spreadsheet or projection in sight, they had it together. Contingent commitments from investors, a distributor, the whole nine yards. Their lawyer was looking into rights and permissions."
søndag den 18. september 2011
lørdag den 17. september 2011
fredag den 16. september 2011
onsdag den 14. september 2011
tirsdag den 13. september 2011
mandag den 12. september 2011
søndag den 11. september 2011
lørdag den 10. september 2011
fredag den 9. september 2011
torsdag den 8. september 2011
onsdag den 7. september 2011
søndag den 4. september 2011
onsdag den 31. august 2011
Metropolis (1927)
With live accompaniment, original intertitles, unsubbed. My German is still pretty good.
mandag den 29. august 2011
fredag den 26. august 2011
torsdag den 25. august 2011
mandag den 22. august 2011
lørdag den 20. august 2011
fredag den 19. august 2011
Legally Blonde (2001)
It's fine. The sort of thing I can easily watch, when it's on TV at my brother's and I don't have any Ruiz with me.
torsdag den 18. august 2011
onsdag den 17. august 2011
tirsdag den 16. august 2011
McCain's Promise (2006)
- Originally published as "Up, Simba" in the collection "Consider the Lobster" (2005), appeared heavily edited in Rolling Stone in 2000.
mandag den 15. august 2011
søndag den 14. august 2011
lørdag den 13. august 2011
fredag den 12. august 2011
torsdag den 11. august 2011
onsdag den 10. august 2011
søndag den 7. august 2011
fredag den 5. august 2011
tirsdag den 2. august 2011
søndag den 31. juli 2011
lørdag den 30. juli 2011
Delicatessen (1991)
fredag den 29. juli 2011
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