philosophy in film

He’s got issues. Serious psychological issues. But serious psychological issues can, for all practical purposes, mean anything. Also, how do you hold someone with serious psychological issues responsible for what they do? How do you reason with them? How do you separate the part about nature from the part about nurture?

And how serious? As in, for example, dangerous…life threatening?

Then you get to this part: What’s it all mean? Only here as one reviewer put it, “it’s one of those movies that you need to think about and even by thinking about it you may still not be able to understand it.”

Let’s just say that, as with so many things relating to complex psychological interactions between and among complex human beings, it’s all open to interpretation. And [apparently] it helps to have a familiarity with Ancient Greek mythology. Iphigenia and Agamemnon in particular.

Or, as another reviewer put it:

This primitive drama involves a heart surgeon Steven Murphy and his ophthalmologist wife Anna. That is, the elemental force erupts in the seat of modern science, rationalism, humanity. The professional curers are profoundly afflicted. Their reason is helpless, irrelevant, once the old pagan gods have been stirred to ire.

I liked this film in particular because it revolves around a subject that I am rather obsessed with myself: moral ambiguity in a [presumably] No God world: birthmoviesdeath.com/2017/10/29/ … acred-deer

Only here it is all intertwined in a world in which “the Gods” are ever hovering up there or out there somewhere.

Be sure to click on the special feature: An Impossible Conundrum

And let’s not forget that this from the director of The Lobster above.

IMDb

[b]Heart surgery scenes in the film are real. They were filmed during an operation on a real patient who was undergoing quadruple bypass surgery which Colin Farrell attended.

The film’s title comes from the ending of the tragedy Iphigenia in Aulis by Euripides.

When Steven is at the school for the parent teacher conference, the principal tells him that Kim wrote a paper on Iphigenia for which she got an A, and that was read aloud to the class. Iphigenia, in Greek mythology, is the daughter of Agamemnon. She who was to be sacrificed for the sins of her father.[/b]

trivia at IMDb: imdb.com/title/tt5715874/tri … =ttqu_sa_1
at wiki: en.wikipedia.org/wiki/The_Killi … acred_Deer
trailer: youtu.be/CQFdGfwChtw

THE KILLING OF A SACRED DEER [2017]
Written in part and directed by Yorgos Lanthimos

[b]Steven [speaking to an audience]: A full 40 years have passed since the German cardiologist Andreas Gruentzig performed the first coronary angioplasty, on September 16th, 1977. Today, that first patient is still alive and well. Doctor Gruentzig, however, had an unfortunate accident and met with an untimely end. In short, he is one of those rare cases where we can say, the operation was a success, but unfortunately the doctor didn’t make it.

Bob: Have you got hair under your arms yet?
Martin: Yes.
Kim: I just got my first period.

Martin [to Kim]: I’d prefer if it was just the two of us. I get nervous around dogs in case they get into a fight with another dog. The idea of separating dogs fighting scares me.

Anna [Martin’s mother to Steven]: Can I take a closer look at your hands?

Anna: Don’t worry, he’s definitely asleep. There’s nothing to be afraid of. In any case, he wants this as much as I do.
Steven: I have to go.
Anna: I’m sorry if I made you feel awkward, I didn’t mean to. But I won’t let you leave until you’ve tried my tart.

Martin: My chest, it hurts. My heart. I’m worried.
Steven: There’s no need for you to be worried.
Martin: I’m worried because it’s hereditary.
Steve: You’re too young to be worried.
Martin: That’s what you said about my father. He didn’t smoke. He ate a very healthy diet. He went swimming almost every day. He should have come out of that surgery alive, but he died.[/b]

We can see where this is going.

[b]Martin [to Steven]: Okay, you do have more hair than I do but not three times more. Me and my mom thought it would be nice if you came by for dinner tonight. We could watch the rest of the movie. Does eight sound good for you?

Martin: Can I tell you a secret? But don’t tell her I told you. I think she, I think she likes you. I mean, she’s attracted to you. But she says that’s not true, but it is, I’m sure. And, to be honest, I think you’re perfect for each other. You’d make a great couple. She’s got a great body. You’ve seen it for yourself. She lost weight and she has a really great figure.
Steven: Your mother is very beautiful, but the idea that she and I could ever be together is ludicrous. Let me remind you, I’m a married man. And I love my wife very much and my kids, and that we are very happy together.[/b]

Too little, too late.

[b]Matthew [a colleague]: I forgot to tell you, I saw that boy yesterday. Your daughter’s schoolmate.
Steven: Martin?
Matthew: Yes, right, Martin. Couldn’t remember his name. He was hanging around your car. It looked like he was waiting for you. I tried to say hello but he pretended not to see me.
Steven: That’s impossible. Can’t have been him.
Matthew: I could be wrong but it looked a lot like him.

Kim: Dad, do you know who I saw today?
Steven: Who, darling?
Kim: Martin.
Steven: Martin who?
Kim: Martin, that boy who came over here the other day. The son of your ex-patient. He brought me back from choir practice on his friend’s motorcycle. He’s really funny. I laughed so hard my ribs hurt.

Steven: Robert, do you have any idea what time it is? Get up and get dressed.
Bob: I can’t get up.
Steven: You have 10 minutes to get washed, dressed and eat your breakfast. I’m not going to drive you to school and neither is your mother.
Bob: I can’t get up.
Steven: Bob, get up and get dressed and stop messing around.
Bob: Dad. My legs. They’re numb. I can’t move them. I can’t stand up.

Martin [whispering in Steven’s ear]: Come to the cafeteria upstairs. Come whenever you can.
Steven: I don’t think I’ll have time today, as you might imagine. We’ll talk some other time. Martin: No, today, to the cafeteria. Just for 10 minutes, don’t stand me up like the last time.

Martin: I won’t keep you much longer, even though you have been devoting less and less time to me lately. I wanted to say one more thing, I’m really sorry about Bob.
Steven: It’s nothing serious.
Martin: No, it is. That critical moment we both knew would come some day? Here it is. That time is now. You know what I mean.
Steven: No, I don’t. Listen, Martin, I don’t have time for this.
Martin: Okay, I’m gonna explain this very quickly so that I don’t hold you up. Yes, it’s exactly what you think. Just like you killed a member of my family, now you’ve gotta kill a member of your family to balance things out, understand? I can’t tell you who to kill, of course. That’s for you to decide, but if you don’t do it, they will all get sick and die. Bob will die, Kim will die, your wife will die. They will all get sick and die. One, paralysis of the limbs. Two, refusal of food to the point of starvation. Three, bleeding from the eyes, four, death. One, two, three, four. Don’t worry, you won’t get sick. You just gotta stay calm, that’s all. There, I said it, as quickly as I could. I hope I haven’t kept you too long. One more thing. I’ll be very quick. You only have a few days to decide who to kill. Once stage three kicks in…You remember what stage three is? It’s bleeding from the eyes, that’s stage three. Once the bleeding happens, it’s only a matter of hours before they die. Okay, there, I have nothing more to say. Unless you’ve, unless you’ve any questions?

Steven: Anna, if Bob was near-sighted, or had a cataract or glaucoma then your opinion really would be valuable. But, thankfully, Bob’s eyesight is perfect. And I can honestly say that if he ever needed glasses you’d be the first person I’d consult. But right now the boy can’t eat and he’s paralyzed in both legs, so, I’m sorry, I’m not remotely interested in your medical opinion.

Steven: I’ll tell you a secret, something I’ve never told you before. Then you’ll tell me one. And whoever tells the best secret wins, okay? When I was your age I’d only just started masturbating. And I’d only just started ejaculating. Only a little, barely a drop. I was worried that I had some kind of a problem because at school I’d heard all sorts of stories. Then one day, when my father had had a lot to drink and my brothers were out and he was sleeping in the bedroom, I crept inside, put my hand on his penis and started stroking it until he ejaculated. The sheets were covered in sperm. I got scared and ran out. I’ve never told anyone that before. Now it’s your turn to tell me a secret.

Steven: Bob, if all this is just an act, you should know that if you tell me now, I won’t punish you. And neither will your mother. We won’t be angry with you either.
Bob: It’s not an act.
Steven: But if it is an act and you don’t stop this stupid joke right now, your punishment won’t just be no TV for two months. I will take my electric razor and I will shave your head and make you eat your hair. I mean it, I will literally make you eat your hair. I’m not kidding.
Bob: It’s not an act.

Steven [pounding on the door]: I know you’re in there! Open the door or I will smash it down! Martin! Open the door or I will smash it down and I will fuck you and your mother just the way you wanted! If anything happens to my kids or my wife, you’ll die in prison! Do you know that? You’ll die in prison!

Anna: Had you been drinking when you operated on his father?
Steven: Only a little. That had nothing to do with the outcome. A surgeon never kills a patient. An anesthesiologist can kill a patient but a surgeon never can.

Kim: Don’t be scared, Mom. Don’t get hysterical. It’s not that tragic. Sometimes your body hurts from not moving and you can’t sleep. That’s all. The important thing is to make sure that everything you need is within reach. That’s all. You’ll see. You won’t be able to move either. But you’ll get used to it.

Anna: If my husband made a mistake, if out of negligence or, I don’t know what, he caused this tragic thing to happen, I don’t understand why I should have to pay the price. Why my children should have to pay the price.
Martin: You know, not long after my dad died, someone told me that I eat spaghetti the exact same way he did. They said what an extraordinary impression this fact had made on them. Look at the boy, look how he eats spaghetti. Exactly the same way his father did. He sticks his fork in. He twirls it around, around, around, around, around. Then he sticks it in his mouth. At that time, I thought I was the only one who ate spaghetti that way. Me and my dad. Later, of course, I found out that everyone eats spaghetti the exact same way. Exact same way, exact same way. This made me very upset. Very upset. Maybe even, um, more upset than when they told me he was dead. My dad. I don’t know if what is happening is fair, but it’s the only thing I can think of that’s close to justice.

Anna [giving him a hand job]: Had Steven been drinking?
Matthew: Yes.
Anna: Can it be considered his mistake?
Matthew: Yes. It wasn’t mine, that’s for sure. You know an anesthesiologist is never to blame for the bad outcome of an operation. The surgeon is always responsible.

Steven: This meat is delicious. You were right, after all. The children are much better here. I was even thinking I might take them to the beach house, for a few days. A little fresh air and a change of scenery might do us all good. Do you know what I’ve been craving? Mashed potato. Why don’t you make some tomorrow?
Anna: You have beautiful hands. I never noticed before. Everyone’s been telling me lately what beautiful hands you have and now I can see for myself, nice and clean. But so what if they’re beautiful? They’re lifeless. Sometimes Steven, you’re just an incompetent man who goes on and on saying stupid things like, “Let’s do a scan. Let’s do an ultrasound. Let’s wear brown socks. Let’s make mashed potatoes. Let’s go to the beach house.”
Steven: Excuse me?
Anna: Our two children are dying in the other room, but yes, I can make you mashed potatoes tomorrow.
Steven: Please don’t talk to me that way.
Anna: If you don’t like it, why don’t you go and live with Martin’s mother? I’ll bet she’ll talk to you better.
Steven: You wanted the kids to come home and they came home. What else you want me to do?
Anna: Something to put an end to all of this. That’s what I want. Can you do that? You do realize Steven, we’re in this situation because of you.
Steven: So what do you suggest? Tell me. Oh wait, I know. I’ve got it. There’s a way we can put a stop to all of this. All we need to do is find the tooth of a baby crocodile, the blood of a pigeon and the pubes of a virgin. And then we just have to burn them all before sunset. Let me see, do we have any spare teeth lying around? Let me see, do we have any spare teeth lying around? Teeth, pubes? Nope, nothin’ here. There’s nothing in here either. Let me see, nothing here. Pubes, teeth? Nothing in this box either. Where are they? I’m sure they were here earlier, I put them here myself. Who’s been moving things around? It’s unbelievable. I don’t suppose you’ve got any pubes I can have, by any chance? Oh, I forgot, you don’t have any left. We don’t have any of the things we need.

Steven [to Anna motioning to Martin, beaten up and tied to a chair in the basement]: You remember Martin, don’t you? He came by for a play-date. I told him the kids were feeling a little unwell and he’ll have to stay here until they get better.

Steven: Do you think your mother is proud of you, Martin? Do you think she is happy that her beloved son is a murderer?

Martin: Don’t you understand that you’re wasting time? And you don’t have much time left.
Steven: I said stop talking.
Martin: Steven, it’s gonna be better once it’s done. Start over, clean slate. Don’t you get it? Sometimes I think you’re naive but you can’t be naive. You’re a man of science, you can’t be an idiot. But, if I’d only just met you, I would seriously question your depth of judgment.
[Steven punches him in the face]
Martin: I just want, want to show you an example, that’s all. Just one little example to show you what I mean.

Steven [pointing a rifle at Martin]: Now, Martin, you’ll know what it’s like to die. What it’s like when your head cracks open and your brains blow out.
Anna: Don’t shoot him.
Martin: And then? Shoot me, then what? Answer.
Steven: I’ll bury you in the yard! And you’ll rot, that’s what.
Martin: You won’t be able to explain it. You won’t understand how it could have happened. You’ll say, “But I only killed one person. How come four people are dead? I only shot one.” So if you’re gonna dig a hole in the yard, better make it a big one.[/b]

Now things really get surreal. Cue Euripides.

[b]Kim: Bob, something terrible happened yesterday. I lost the MP player that Martin gave me. I don’t know what’s wrong with me. I’ve lost two MP players in the last 10 days. So I’d like to ask you a favor. Can I have your MP player when you’re dead?

School principal: The boy’s very good at math and physics. Kim, on the other hand, apart from her natural aptitude for music, is very good at literature and history, areas in which Bob lags behind. She wrote a brilliant essay on the tragedy of Iphigenia which she read out in class. She received an A plus.
Steven: What about their behavior in class?
Principal: They’re both a little restless, I’d say. Equally so. I mean, I’ve had the occasional complaint from their teachers about some minor misdemeanors but they’ve never been rude to any of the staff. In any case, if they had ever acted out, we would have told you about it.
Steven: Do you especially like one of them more than the other? If you had to choose between them, which would say is the best?
Principal: That’s a difficult question. I’m not sure I can give you an answer. I don’t know. I don’t know what to tell you.

Martin: Anna, if you’re gonna do something, you’d better be fast. The boy is about to die.

Anna [to Steven]: I believe the most logical thing, no matter how harsh this may sound, is to kill a child. Because we can have another child. I still can and you can. And if you can’t, we can try IVF, but I’m sure we can.

Kim [to her parents]: I’m sorry for what I did tonight. I don’t know what I was thinking. I was only thinking about myself and no one else. That was wrong of me. I was frightened. I shouldn’t have been. Let me be the one who atones for your sins, Dad. Kill me right here in front of your eyes so that you can be sure that I die, in case some fate spares me at the last moment. Kill me right here in front of you and leave me with the ultimate joy of saving my own mother and beloved brother from certain death. Mom, tell him. Dad, please. I would do anything for you. I would even die for you and here’s my chance to prove it.

Anna: I let him go.
Steven: What are you talking about?
Anna: He’s not downstairs. I let him go.
Steven: Why would you do that? Why did you let him go? Answer me!
Anna: Are you a complete idiot? It’s not gonna make any difference, Steven. It’s not gonna solve anything, we both know that.

Kim: Do your legs hurt, Mom, do they feel numb? Does your back hurt, has it started yet?

Kim: Dad! Quick. Bob’s dying! Dad! Bob’s dying!!

Steven: Bob’s eyes are bleeding. Come to the living room.
Anna: Now?
Steven: Yes. Now.
Anna: Steven, where are the children?
Steven: They’re already there.
Anna: I think I’m gonna wear that black dress that you like.
Steven: Wear whatever you want. Just hurry.[/b]

How many of us are likely to make reference to Mom as “Mother!” What does Mom have to do to warrant an exclamation mark?

Does your mom?

Then the main characters: Mother. Him. Man. Woman. And all the other characters fare no better.

Let’s call it, say, a hyper-postmodern production.

In other words, somehow all of this is to be related to whatever you think it might mean as a reflection on the characters that you have become in your own postmodern production. You can’t really not understand it however or you miss the point. Whatever that is. Even if you don’t isolate yourself from the world in a…sanctuary?

On the other hand, if you have managed to sequester yourself [and I certainly have] what happens when the embodiment of all that is “other” intrudes? Things will either change or they won’t. And who really is to say for the better or the worse. As one reviewer put it, “Aronofsky juggles many concepts and critiques about life itself. Motherhood, paranoia, fame, claustrophobia, selfishness, lust, rage, war, peace, religion, gender, history. Mother! is whatever you want it to be and more.”

For me though it’s mostly about those who have – for any number of reasons – created a truly unique world apart from others. A world [call it a sanctuary if you will] that is now threatened by them.

For one thing, they have absolutely no understanding of your world. And now they are putting cracks in it. Great big cracks. Cracks that are quite simply out of this world.

One of these films: “The film received both boos and a standing ovation during its premiere at the Venice Film Festival.”

IMDb

[b]I imagine people may ask why the film has such a dark vision. Hubert Selby Jr., the author of Requiem for a Dream (2000), taught me that through staring into the darkest parts of ourselves is where we find the light. “Mother!” begins as a chamber story about a marriage. At the center is a woman who is asked to give and give and give until she can give nothing more. Eventually, the chamber story can’t contain the pressure boiling inside. It becomes something else which is hard to explain or describe. I can’t fully pinpoint where this film all came from. Some came from the headlines we face every second of every day, some came from the endless buzzing of notifications on our smartphones, some came from living through the blackout of Hurricane Sandy in downtown Manhattan, some came from my heart, some from my gut. Collectively it’s a recipe I won’t ever be able to reproduce, but I do know this serving is best drunk as a single dose in a shot glass. Knock it back. Salute!"

Jennifer Lawrence met with Darren Aronofsky to hear his ideas before there was a script. After she read the script, she said she was so shaken by it that she threw it across the room.

Michelle Pfeiffer admitted not understanding the script the first time she read it, describing it as “esoteric.” However, the actress committed to the project after becoming excited by the character she would be playing.

Jennifer Lawrence got so much into her character that during the climactic scenes, she started hyperventilating and even cracked a rib. [/b]

trivia at IMDb: imdb.com/title/tt5109784/tr … =ttqu_sa_1
at wiki: en.wikipedia.org/wiki/Mother!
trailer: youtu.be/yZG20KXAwn4

MOTHER! [2017]
Written and directed by Darren Aronofsky

[b]Mother: Baby?

Him: Perfect. You didn’t need to do all of this.
Mother: I wanted to. You’ve been working so hard.
Him [sarcastically]: Yeah, right.

Mother: And what brings you to us?
Man: Well they told me I could find a room here.
Him: He thought we were a bed and breakfast.

Mother: We don’t know him.
Him: He’s a doctor.
Mother: He’s a stranger. We’re just going to let him sleep in our house?
Him: You want me to ask him to leave?

Him [holding a crystal]: When I was younger, I lost everything in a fire.
Man: I’m sorry.
Him: It’s hard to imagine what that means. Losing everything. Your memories, your work, even your dirty toothbrush. I didn’t even know if I could ever create again. Until, I found this in the ashes. Isn’t that remarkable? It gave me the strength to start again. And then I met her…

Mother: What happened last night?
Him: I couldn’t sleep. I got so excited.
Mother: From what?
Him: His stories. I love the man’s mind. It is so inspiring speaking with someone who really appreciates the work.
Mother: I love your work.
Him [matter of factly]: Of course you do, I know that.

Woman: You have kids?
Him: Not yet. But we want them.
Mother [looking at Him with shock? alarm?]: Really?
Woman: Well what are you waiting for? Why not finish breakfast and get to it…
Mother: Well, I want to finish the house. And he’s working on a new piece…

Woman: Why don’t you want kids?
Mother: Excuse me?
Woman: I saw how you reacted earlier. I know what’s it’s like when you’re just starting out and you think you have all the time in the world. But you know, you’re not going to be so young forever. Have kids. Then you’ll be creating something together, that’s what keeps a marriage going. This…the house…is all just setting.
[she note Mother’s reaction]
Woman: Oh, you do want them…Is it him?

Woman [holding up a pair of Mother’s boring panties]: So that’s the problem.
Mother: What?
Woman: You’re going to have to try harder than that. Believe me, when they get older, you gotta keep it interesting.
Mother: He’s not that old.
Woman: How’s it going in that department?
Mother: I don’t feel comfortable talking about that stuff.
Woman: I’m just trying to help. I mean, look at you. If he’s not all over you, it’s either because of his age, or…
Mother: Or what?
Woman: You know what, forget it. It’s none of my business.
Mother: No. It’s okay. Say what you were going to say.
Woman: No, seriously. Obviously he still loves you.

Mother: He has one of those pictures of you in his luggage.
Him: What were you doing in their luggage?
Mother: That’s not the point. He didn’t just “stumble” on us. He’s a crazy fan.
Him: I know.
Mother: Excuse me?
Him: That’s what he told me on our walk. He’s dying. That’s why he came here. He wanted to meet me before he’s gone.

Son: Oh, hey. Hey, who’re you?
Mother: Who are you? What are you doing here?
Son: What are any of us doing here, right? Where’s my mother?

Mother: What happened at the hospital?
Him: I was holding the boy’s hand when he died. [/b]

Cue the invasion. Dozens of them. Hordes of them!

[b]Him [with his hand on the Man’s shoulder]: How can one begin to understand your pain? The sacrifice of a parent? All those years of worry. Years in days. Days in hours. Hours in seconds. But in each second, an infinite amount of love. And now, suddenly it seems there is nothing to love. Just a vast and silent darkness. But fear not, from inside it, there’s a voice crying out to be heard, loud and strong. Just listen…Do you hear that? Do you hear that? That is the sound of life, that is the sound of humanity. That is your son’s voice. His cry of love. His love for you.

Mother: I can’t imagine how…
Woman: No. You can’t imagine what it feels like if you don’t have a child. You give and you give and you give and it’s just never enough.
Mother: I understand.
Woman [lashing out]: Do you? Why don’t you at least put on something decent?

Mother: All these people.
Him: I know. They’re just letting off steam.
Mother: They’re painting our house!

Mother: Get OUT! GET OUT! All of you!!
Him: What happened?
Mother: THEY WON’T LISTEN!!!

Him: You don’t need to…
Mother: Do what? Clean up their mess?
Him: We did a good thing. They needed a place to celebrate life. They needed us tonight. Mother: What about what I needed? A boy died here today! I mopped up his blood. And you abandoned me.
Him: No. I didn’t abandon you. They just lost a son, they lost two sons. I was helping them. This is not about us, it’s about them.
Mother: No, it’s not about them, it’s about you. It’s always about you and your work. You think that’s gonna help you write? Nothing does. I re-built this entire house, wall to wall, you haven’t written a word!!
Him: All I’m trying to do is bring life into this house. Open the door to new people. New ideas. You think you can’t breathe? I’m the one who’s suffocating here. While you pretend that nothing is wrong. “Everything will be all right.” “Everything will be good.” “You’ll be fine.” You know what? Life doesn’t always work out the way you want it to.
Mother: You’re right. Mine certainly didn’t.
Him: Excuse me?
Mother: You talk about wanting kids, but you can’t even fuck me.

Mother: What are you doing?
Him: I’m writing. Last night. Those people, their pain. Their love behind the pain. And then, you. Us. And now [pointing to her belly]…Life. It’s come to me. I know what to say, I have to find the words. That’s all.
Mother: Amazing. I don’t want to interrupt, I’ll just get started on the apocalypse. [/b]

Again: Cue the hordes!! Only this it seems like thousands of them.

[b]Mother: What are you doing? Who are they?
Him: I don’t know.
Mother: What do they want?
Him: I don’t know. They’ve come here to see me!

Him: They love my book. They understand all of it, but it effects every one in a different way. It is remarkable. Come, they want to meet you. Come.
Mother: No. I don’t want to. I don’t want to. Come inside.
Him: But they’ve come from so far…
Mother: Look at me! I’m about to have our baby. Why is that not enough for you?

Mother: Hey! Sir!
Drunkard: I’m just going to lay down for a bit. I don’t feel so good.
Mother: No, no. You cannot lie down here.
Drunkard: Why? Are you staying in here?
Mother: I live here. This is my house.
Drunkard [laughing to himself]: “My house”. “My house”. The poet says it’s everyone’s house!

Mother: They’re ruining everything.
Him: Those are just things. They can be replaced. Don’t worry.

Penitent: It’s him, the poet! He hasn’t forsaken us after all! We need money! We need to eat! Please!

Mother: What are they doing?
Him: They’re just waiting.
Mother: Waiting for what?
Him: I don’t know.

Mother: Make them go. Please. Please make them.
Him [reluctantly]: Okay, okay.

Mother: Are they leaving?
Him: What? No, they just want to see him.
Mother: No. Make. Them. Go!
Him: I can’t.
Mother [pleading]: Yes you can. They adore you. They would listen to you.
[he doesn’t respond]
Mother: Why won’t you!?
Him [finally being honest]: I don’t want them to go.

Him: He’s beautiful. Let me hold him.
Mother: No.
Him: Let me hold him.
[Mother shakes her head]
Him: Let me hold my baby.
Mother: No.
Him [more insistently]: Let me hold him.
Mother: NO!
Him: I’m his father.
Mother: I’m his MOTHER!

Mother [hysterically]: Where’s my baby?!
Zealot: He’s not dead. A voice still cries out to be heard, loud and strong. Listen… Can you hear that?
[she pushes past him. On the altar, lies the remnants of her child. Meat has been picked from the child’s bones]
Zealot: Do you hear that? That’s the sound of life, the sound of humanity. His cry of love. His love for you.

Mother: They killed my baby. You killed him. You killed him.
Him: I am so sorry. They just wanted to see him, they just wanted to touch him, and then they… It’s horrible. I’m sorry. I’m so sorry…But we can’t let him die for nothing. We can’t. Maybe what happened can change everything, everyone.
Mother: What are you talking about?
Him: We have to find a way to forgive them.
Mother: They butchered our son!
Him: I know. I know.
Mother: You’re insane!
Him: Listen to them. They are so sorry. They are truly sorry. Please have faith in me. We need to forgive them. We need to forgive them. We need to forgive them.

Mother [at everyone]: Murderers! [to Him] Murderer! It’s time to get the fuck out of my house!!!

Him: I love you.
Mother: You never loved me. You just loved how much I loved you. I gave you everything! You gave it all away.[/b]

Cue Hell itself.

[b]Mother: What are you?
Him: Me? I am I. You? You were home.
Mother: Where are you taking me?
Him: The beginning. It won’t hurt much longer.
Mother: What hurts me the most is that I wasn’t enough.
Him: It’s not your fault. Nothing is ever enough. I couldn’t create if it was. And I have to. That’s what I do. That’s what I am. And now I must try it all again.
Mother: No. Just let me go.
Him: I need one last thing.
Mother: I have nothing left to give.
Him: Your love. It’s still there, isn’t it?
Mother: Go ahead. Take it.

New Woman: Baby?[/b]

Now at the age of 87, Alejandro Jodorowsky has written and directed another fim. I have already included on this thread such titles as The Dance Of Reality, Sante Sangre, The Holy Mountain, and El Topo.

On the other hand, "[t]his is the second of the five memoirs Alejandro Jodorowsky plans to shoot, the first one being The Dance of Reality.

More to come apparently.

His films are often described as both “dramas” and “fantacies”. In other words, you are able to recognize the world that we live in…but sometimes just barely. It is as though he is relating to us the life that he has lived from a first person subjunctive point of view. Here he wants to connect the dots between the here and the now [whatever that means to him] and the there and the then [however he remembers it]. How the past configures the present, and how the present reconfigures the past into a new rendition of the present.

So, what seems surreally true more or less than what is truly surreal.

He returns to his youth. He tries to convey the experiences, the forces, the epiphanies that allowed him to “free himself from the limits of his youth.” And, really, how many of us can say the same? It is as though some are destined to be artists, but not all are destined to be bold enough to break the molds [and the barriers] that “society” and “family” impose on each new generation.

Still, you are never quite sure if this film is an homage to that, or a mockery of that. You in this case meaning me.

All of us are forced to create a narrative between the world around us and, in the course of actually living our lives out in one particular world, the thoughts and the feelings that come into existence “in our heads”. How to make sense of it? How to attach “meaning” to it. And what to do when we bump into others who do not seem to have made the same connections.

What really is true in the end?

If nothing else prepare yourself for a visual feast.

at wiki: en.wikipedia.org/wiki/Endless_Poetry
trailer: youtu.be/suyruCTA2I4

ENDLESS POETRY [Poesía Sin Fin] 2016
Written and directed by Alejandro Jodorowsky

[b]Father [to Alejandro as a boy]: Look, these lousy folk look harmless, but they’re thieves. Point if you see them stealing.

Father: Garcia Lorca! He speaks of love, but he is a faggot! Like all poets, all painters, all dancers, all actors! If you read this filth, you’ll end up like him!

Drunk [to Alejandro as a boy] : Don’t worry, young man. A naked virgin will illuminate your path with a blazing butterfly.

Alejandro [to himself as a boy]: That drunk, whom wine had made a prohet, pulled me out of the abyss with a single sentence.[/b]

Cue the typewriter

[b]Alejandro: Poetry, you shall illuminate my life like a blazing butterfly!

Father [to Alejandro after an earthquake]: See, it was nothing. Let’s count the money.

Alejandro: Family! Fucking family! You shits!!

Ricardo: Alejandro, your rebellious act was worthy of a poet. Without saying a word, you said it all…I’ll take you to the Cerecada sisters.

Ricardo: This is where my friends live, Carmen abbd Veronica Cerecada. I’ve never seen their parents. I don’t know if they’re orphans or millionaires. All I know is that they love art above all things.

Ricardo: I want to live without a mask. But I’m Naum’s son. I have to be an architect, get married, have two children.
Carmen: Dare, Ricardo!
Ricardo: He’d die. The scandal would kill him.
Carmen: Take off your mask. Be bold. Be bold!

Alejandro [aloud to himself after Ricardo kisses him]: I felt noithing! I’m not a faggot! I told you so, Papa![/b]

What to make of that?

[b]Carmen [to all of the artists]: The miracle we call chance has sent us this poet. Alejandro Jodorowsky. Let us welcome him!

Sella [the poetess]: You people are nothing!

Alejandro: Yes, I’m following you.
Stella: Open your eyes.
Alejandro: They say you write poems. I do too. May I read yours?
Stella: You’re only interested in my poems? Not my ass or breasts?

Stella: Wait. Tell me, what is poetry to you?
Alejandro: It’s the luminius excrement of a toad that’s swallowed a firefly.
Stella: My dear little friend, I’m too big a firefly for your mouth.
Alejandro: I don’t need to swallow you. You are my soul.[/b]

Get it? No? Fortunately, that doesn’t matter.

[b]Stella: Shit! My kingdom for a beer!

Alejandro [looking up at Ricardo hanging from a streetlight]: Ricardo!
Stella: What? Did you know him?
Alejandro: He was my cousin.
Stella: What a thought, to commit suicide in front of the University of Chile!
Alejandro: He didn’t want to become an archetect.
Stella: “Like a bird, like the enthralls of a tree, you reached the end of a quest, defeated and doomed for having silenced the soul you concealed.”

Stella: Alejandro, there is nothing you can do for him.
Alejandro: But there is something I need to do for myself. Stella, I don’t know who I am anymore. I’ve turned into a mirror that only reflects your image. I no longer want to live in the chaos you create!

Alejandro: I beg you, let me recover. Give me a few days of solitude.
Stella [backing away from him]: We’ll meet at Cafe Iris at midnight sharp in forty days time.

Veronica: Eat, Alejandro. You’ve been shut away for forty days, making puppets without setting foot outside. Why?
Alejandro: I feel empty. I sculpt faces because I’ve lost mine. I haven’t found myself. Perhaps tonight at midnight I’ll become the mirror of that awful woman again.

Alejandro [to his collection of humanity]: If daily life seems like hell, if it can be summed up in two words, “permanent impermanence” we must listen to the Bible: “There is nothing better for man than to eat, drink, and have his soul rejoice!”[/b]

You know, given that daily life really can seem like a hell.

[b]Enrique “If life is nothing but madness…”
Alejandro: Who is the poet behind a mirror?"
Veronica: He’s Enrique Lihn.
Enrique: “Such is my poetry: sighted darkness/I am but my own absence/behind a broken mirror”

Alejandro: Even poetry written on the floor. This wonderful work will all be lost.
Enrique: Everything will vanish. Our souls will disappear. It doesn’t matter. Dreams vanish too, and little by little we dissolve. Poetry, like the shadow of a flying eagle, leaves no trace on land. A poem reaches perfection when it burns.

Alejandro [to himself as a young man]: I am the man you will be. You are the man I was. You devoted yourself to poetry and I do not regret it.
Alejandro [as a yound man]: What will I achieve?
Alejandro: You will learn to die in happiness.
Alejandro [as a young man]: I am afraid to die.
Alejandro: You’re afraid of living.
Alejandro [as a young man]: I’m afraid of disappointing others.
Alejandro: You are not guilty of living as you do. You’d be guilty if you lived as others want you to live.
Alejandro [as a young man]: What is the meaning of life?
Alejandro: Life! The brain asks questions, the heart gives the answers. Life does not have meaning, you must live it. Live! Live! Live![/b]

Meaning what exactly? Though point taken. But then just when you thought things could not possibly become more surreal…

[b]Alejandro: Wake up poet.
Enrique: Better to be asleep than awake. Better to be dead. Better to not have been born.
Alejandro: Enough, Enrique! You’re destroying yourself. We won’t let you kill yourself.
Enrique: Nothingness is everything. You’re wasting your time.
Alejandro: Life is everything. It isn’t you suffering. It’s the image you’ve made of yourself. You’re a poet! Perceive reality differently.

Father: The house burned down. Your home. The furniture, clothes, beds!
Alejandro: My writing and books?
Father: Your writing and books? I don’t give a fuck about them! How can you ask such a stupid thing? The money burned!

Alejandro [staring at himself in a mirror]: And you? Who are you? What is the purpose of your existence? Why are you alive?
His reflection: I have never been alive. I was born dead. Another dead man among the dead.
Alejandro [after walking away from the mirror]: Another dead man among the dead. I will grow old, die, rot. Nothingness will swallow my memory, my words, my consciousness. Everything that is mine in the dark depths of oblivion. These streets will disappear too. My friends, the city, the planet! The Moon, the Sun, the stars! The entire universe. Damned reflection. What do I do with this anguish you’ve injected in me?!

Alejandro [to himself as a young man…and to the camera]: Old age is not a humliiation. You detach yourself from everything. From sex, from fortune, from fame. You detach yourself from yourself. You turn into a butterfly…a radiant butterfly. A being of pure light.[/b]

Trust me: Not all of us.

Nicanor: As you can see, your favorite poet is now a maths teacher in this engineering school. What brings you here?
Alejandro: Well, since I’ve distanced myself from my father, I’d like your advice. I want to devote my body and soul to poetry.
Nicanor: Are you mad?! Nobody pays for books any more, even less for poetry. What you have to do is study, get a degree, and work as a teacher, like me. Don’t burn your bridges.
Alejandro: A butterfly mustn’t turn into flies. Nor poets into teachers.
Nicanor: I’m a teacher and have turned into a fly. The world is what it is, you won’t change it.
Alejandro: I can’t change the world, but I can start to change it.
Nicanor: Really? How?
Alejandro: By changing myself. I will burn my bridges, Mr. Parra. Adios.

Cue Ibanez and the fascists. Later, Allende and Pinochet.

[b]Father: Not saying goodbye to your father? Your friend Veronica told me you were leaving Chile with empty pockets, and that I need to help you. But I cannot and will not finance such a stupid decision. You don’t speak a word of French! What will you live on? Your little poems? Come back to the shop. I need a helper.
Aleandro: What you need is a slave! You’re not a father! You never hugged me or spoke affectionaitely.
Father: Men don’t touch each other, or say sweet things to one another.
Alejandro: When I vomited bitter tears, begging for a bit of affection, a bit of attention, you let me cry for hours.
Father: I comfort no one. You’ve become such a faggot!
Aleandro [enraged]: I’m not a faggot. I’m not like you. I have the heart of a poet. A heart capable of loving the entire world!
Father: Listen to me. You’ll starve in the gutter!
Alejandro: You’ll die surrounded by knickers and stockings stained with the blood of the workers!

Father: I didn’t know. I always had good intentions. Don’t leave without shaking my hand.
[Alejandro shakes his hand…then Alexandro of the present intervenes]
Alejandro [beckoning them to hug]: No. Like this.
[He looks to Alejandro as a young man]
Alejandro: You went to France and never saw him again. When he died you didn’t shed a tear. But beneath your indifference your heart was saying, "Father, by giving me nothing, you gave me everything. By not loving me you taught me love is absolutely necessary. By denying God you taught me to value life.
Alejandro [of the present]: I forgive you father. You gave him the strength to bear this world, in which poetry no longer exists. Recognize your father. Remove his mask.[/b]

The wild, wild West. So, sure, why not cannibals?

But cave-dwellers?

Of course back then the law was particularly problematic. Especially when confronting savage brutes who see the world as entirely revolving around their own base [bestial] needs. No sense in trying to reason with them, much less persuading them to reason with you.

Not only that but “idiots” abound here. And, if you happen not to be an idiot yourself, then one way or another you have to accomodate yourself to them.

And then the part where you are on either one side or the the other of what back then they called “manifest destiny”. Destiny, however, that is manifested more or less in a might makes right world.

Ultimately, this is a film about “characters”. You’ll react to them only insofar are you construe yourself to be a character too. Then you can measure them against that. While making an adjustment to the fact that the world they live in is one that you don’t really have a clue regarding. On the other hand, characters such as these may well be reflections of what those who create them imagine characters like them must have been like. But they themselves often get this from the characters they have observd up on one or another silver screen. Or maybe it’s just an exercise in making a point about the “human condition”. Back then and here and now.

One that is rather grim.

Anyway, you find yourself wondering from time to time if it was even possible that this might have been based on a true story.

As for this…

At Fantastic Fest, S. Craig Zahler said that he wanted much of the film’s mysticism to remain ambiguous and debatable.

…I missed it altogether.

IMDb

After reading S. Craig Zahler’s second novel called “Wraiths of the Broken Land”, Kurt Russell stated that “Zahler’s a fabulous story teller whose style catapults his reader into the turn of the century West with a ferocious sense of authenticity”. The phrase is written on the back cover of the book.

trivia at IMDb imdb.com/title/tt2494362/tr … =ttqu_sa_1
at wiki: en.wikipedia.org/wiki/Bone_Tomahawk
trailer: youtu.be/0ZbwtHi-KSE

BONE TOMAHAWK [2015]
Written and directed by S. Craig Zahler

[b]Purvis: Why do they always wet themselves?

Buddy: There are 16 major veins in the neck and you have to cut through 'em all.
Purvis: There ain’t 16.
Buddy: My uncle had an acquaintance with a man who used to be a doctor and that’s what he said.

Purvis: Is this some kind of sign? “Keep Out” or something.
Buddy [holding up his gun]: We got permission.

Buddy: That’s where we’re goin’. Straight through this place and deeper in.
Purvis: Maybe we shouldn’t be going some place that looks like a burial ground.
Buddy: To a bunch of godless savages. Ain’t no concern of the civilized man.

Franklin [the sheriff to Samantha]: Do what you can for him. Very likely he’s gonna get hanged but it’d be nice if the families of the people he bushwhacked could come to town and watch him go purple on the rope.
Chicory: Well, that should inspire her.

Wallington: Sheriff Hunt, what do you intend to do about my horses?
Franklin: They are not my priority right now.
Wallington: Those are my finest…
Franklin: Quiet! Ask about horses again I’ll slap you red!

Franklin: You know who did this?
The Professor: Only one group that hunts with these.
Franklin: Who?
The Professor: They don’t have a name.
Franklin: What kind of tribe doesn’t have a name?
The Professor: One that doesn’t have a language. Cave dwellers.

Arthur: You’re afraid of your own kind?
The Professor: They’re not my kind. They are a spoiled bloodline of inbred animals who rape and eat their own mothers.
Arthur: Well, what are they?
The Professor: Troglodytes.

Franklin: Why would they tear that stable boy up leave him but take the others away?
The Professor: They don’t eat Negroes.

Gizzard: Does anybody know how to spell “Troglodytes”?..For the telegram.

Arthur: You’ll hear it soon.

Chicory: You watch how you speak to the law the sheriff especially. You aren’t the captain.
Brooder: No. But I’m the most intelligent man here and I intend to keep us alive.
Chicory: You’re the most intelligent here. Is that a fact?
Brooder: It is. Sheriff Hunt has a wife, so does Mr. O’Dwyer. And you’re a widower.
Chicory: Yeah, what does that got to do with anything?
Brooder: Smart men don’t get married.

Chicory: You know, sheriff, I know the world’s supposed to be round, but I’m not so sure about this part.

Chicory: He’s all the way empty.
Franklin: You think that infection could turn to gangrene?
Chocory: It could go either way.
Franklin: Have you ever performed an amputation?
Chocory: Yeah. In the war. But even done correctly chances aren’t good.
Franklin: That seems like an especially miserable way to spend your final days.
Chicory: The worst.

Brooder: We need to pack up and make a cold camp somewhere else some place defensible. If you want to question my morals, do it later.
Franklin: There aren’t any to question.

Arthur: What transpired?
Franklin: Mr. Brooder just educated two Mexicans on the meaning of manifest destiny.
Arthur: They deserve it?
Franklin: I don’t know.

Chickory: What time is it?
Franklin: It’s about nine, but it feels like next week.

Brooder: I don’t understand how they got all the horses. Saucy would never allow some greaser on her back.
Franklin: You trained her in bigotry?

Arthur: To hell with your authority and the way you’ve been doin’ things! You shouldn’t have shot that drifter back in Bright Hope and got my wife involved. And Brooder shouldn’t have executed them Mexicans and made it all worse.
Franklin: I can’t honestly say I know which way it would’ve gone with the Mexicans or if I had left that drifter go. But this is where we are.

Chicory [to Arthur]: The tincture will help but this is gonna penetrate.

Chicory: How many of them did you kill? They were all, what do you call 'em, warriors and braves?
Brooder: Mostly.
Chicory: Oh, some weren’t braves?
Brooder: Some weren’t men.
Chicory: Oh.
Brooder: An Indian woman is still an Indian. She knows how to use a bow and a spear, and so do her children.
Chicory: Why do you hate them so much?
Brooder: You should ask my mother and my sisters.
Chicory: I never met 'em.
Brooder: That’s correct. You never did.

Brooder [to Franklin]: Tie this off. I need the repeater. Supply me with dynamite and don’t return until I’ve used it. I am far too vain to ever live as a cripple.

Brooder [to Chicory]: And the answer to your question is 116.

Franklin: Is Nick with you?
Samantha: He’s not well.
Franklin: And the drifter?
Samantha: They ate him.

Nick: You were right about that drifter. He killed a lot of people. He butchered them in their sleep and he robbed them. His name was Purvis. And then he desecrated the burial ground of these things. These Indians or whatever they are. He raved about it all in the end.
Franklin: Thanks for telling me.
Nick: That man deserved to die.

Samantha [to Franklin abd Chicory]: This is why frontier life is so difficult. Not because of the Indians or the elements but because of the idiots!

Arthur [looking up to the Heavens]: You watchin’? You seein’ all this? This is what I’ve prayed my whole life for. For help right now.

Franklin [looking up at the cannibals]: Drink it. It’s got to taste better than people.

Franklin [looking up at Chicory]: Say goodbye to my wife. I’ll say hello to yours.

Samantha: Were those gunshots?
Chicory: They were.[/b]

Another botched bank job. Only these aren’t your run of the mill criminals. One in particular. Among other things, he is “intellectually disabled”. And now that his brother has got him involved in a caper that could land him in Rikers Island for a very long time, this brother will do practically [and impractically] anything to spring him.

Like most movies of this sort, almost everything comes down to how we respond to the “bad guy”. Why is he doing what he does? How desperate is he? What are his options? Can we understand how, had things been different in our own lives, we might feel compelled to do the same?

And even if we not able to empathize with him, do we at least find ourselves capable of sympathizing with him? Is he basically a decent guy caught up in a set of circumstances only more or less in his control?

On the other hand [for some], it isn’t really even close. These guys are born losers, plain and simple. Throw the book at them. Lock them up and toss the key.

And here the circumstanes are anything but in his control. He stumbles about in a subterranean hellhole. Hobbling ineptly from one inane clusterfuck to the next. And while part of you is rooting for him, another part is thinking the sonofabitch gets what he deserves.

But then you keep coming back to the part about his brother.

And let me introduce you to Ray. And Crystal.

IMDb

[b]Robert Pattinson and Benny Safdie prepared for their roles by working at a car wash in Queens

The film received a six-minute long standing ovation after its screening at the Cannes Film Festival.

Good Time is prison slang. It refers to a reduction in a prisoner’s sentence for good behavior.[/b]

at wiki: en.wikipedia.org/wiki/Good_Time_(film
trailer: youtu.be/nrR-SbCRgCU

GOOD TIME [2017]
Directed by Benny Safdie, Josh Safdie

Peter [a shrink]: We’re moving into a new section now, what they call sentence interpretation. Do you understand that? You know what interpreting a sentence means?
Nick [flatly]: No.
Peter: It’s just a fancy word for telling what the words mean to you.
Nick: Okay.
Peter: Okay. And what these are, these are common expressions that people sometimes say. You might hear it out on the street, you might’ve seen it on TV, uh, maybe a friend, maybe your grandmother. So, I’m going to read you a few of those, okay?
Nick: Okay.
Peter: All right. Uh, the first one is, “Don’t count your chickens before they hatch.” What does that mean to you, that expression? “Don’t count your chickens before they hatch?”
Nick: Don’t count your chickens.

Nick is “intellectually challenged”.

[b]I’m sorry. It’s just that Grandma said that…
Connie: I don’t wanna hear about Grandma anymore, all right? Fuck Grandma, Nicky. It’s just you and me. I’m your friend, all right? I love you, all right?

Peter: The judge is gonna ask her about Connie. And if she says to the judge, “I can’t talk about that.” He’s gonna say, “Then go away, I’m not going to help Nick.” She needs to keep the judge happy, answer his questions. She can’t do that unless you answer her questions first.
Nick: I don’t like to. I don’t want to.
Lawyer: The point is, it doesn’t matter what you tell me. It doesn’t matter what you say. It doesn’t matter what we do in this time together. Nothing that you and I do here is going to get your brother in trouble.
Nick: Then why do you keep asking about him?
Lawyer: Because, you know what? The thing is, is that I don’t think you’re as responsible for this as you believe that you are.

Nick [on the phone talking to his grandmother in jail]: That money was for us. And he was going to buy me a farm, and we were gonna live in the woods. And I was going to be able to do whatever I wanted, when I wanted, okay? You don’t love me, okay? He loves me. Connie loves me!

Crystal: What’s that in your hair?
Connie: This? I found some hair dye in your bathroom.
Crystal: You dyed your hair?
Connie: Yeah. Just kind of a weirdo.
Crystal: I hope that’s not the one from the bottom of the cabinet.

Ray: What the fuck is going on? Why am I in handcuffs?
Connie: You were handcuffed to a stretcher in a hospital. I broke the wrong guy out. That’s all I know.
Ray: Hospital?
Connie: Yeah. There was a cop outside your room.
Ray: What?
Connie: I fucked up.

Connie: You know what? Tonight, it’s fucked up as it is. I just think…I think something very important is happening, and it’s deeply connected to my purpose. And I think that you are somehow connected to it as well. I mean, do you feel me at all? Or do I just sound like a total faggot?
Crystal: No, I feel you. I understand.

Ray: I know your situation can’t be worse than mine. Everybody goes through shit. I’m the last one to judge. You ever do time before?
Connie: Fucking kidding me?
Ray: Just asking you a question. Why you gotta be such a fuckin’ little prick all the time, man?
Connie: Look at you. Look at you. You’re drunk as shit, and now you wanna get real with me?
Ray: Don’t fucking flatter yourself, bro. Huh? I’m not trying to get real with you. You know what? I’m fucking real. Fuck. I’m trying to talk to you, all right? Go fuck yourself, man. You think you’re better than me.
Connie: I am better than you.
Ray: You’re an ignorant fuck, bro. No one’s better than any next man, all right? You don’t know me from Adam.
Connie: The second you got here, you went to the booze and you got fucked up. But that’s fine.

Connie: Look. Losers like you are incapable of taking care of themselves. You’re either leeching off mommy or leeching off welfare or living off the government in jail. That’s you!
Ray: You don’t know the first thing about me, bro.
Connie: What’s to know? What’s to know? You serve absolutely no function whatsoever. It’s pathetic.

Peter [to Nick]: Okay. Listen, I want you to come with me. I’m gonna take you someplace. I just enrolled you in this really terrific class. I’m gonna walk you there right now. You are gonna love it. You know, Nick, I have to tell you, what Connie did. Connie did the right thing. He did the really responsible thing. And the best news is, he’s right where he belongs. And you’re right where you belong. And I gotta tell you, this place where we are now can be a lot of fun if you let it. You know that, don’t you?[/b]

See Nick. See Nick cross the room.

There are so many ways in which to imagine the future. Yet the best ones generally revolve around extrapolating from the manner in which we imagine the present – taking that into the future. And if the present appears bleak the future can only appear bleaker.

And certainly darker.

And that will almost always revolve in turn around our assessment of the “human condition”. And, cinematically, it’s not for nothing that this more often than not appears to be very dark indeed.

Dystopia on steroids.

For example, Blade Runner.

Imagine then a sequel…

Say, 30 years into the future. A world in which the original blade runner Rick Deckard has gone missing. And the brand spanking new replicants have had all that much more time to become incorruptible slaves.

[think here the gap between Ash and Bishop]

And you can’t help but wonder while watching it if any of this might actually be possible. It’s just that the older you are the more likely you won’t be around to find out. But, sure, the younger you are the more likely it is you may well be around in 2049. Then you can tally up the parts they got right and the parts they got wrong. My guess: This stuff is more like 2149. And the “memory maker” parts? Probably never.

And then that murky middle ground between being “born” and being “made”. What is real and what is an implanted memory? What is “off-world” and what is not?

Of course, who knows, maybe there are already replicants among us.

And then, finally, the inevitable comparisons with the orignial. The first was often described as both “hypnotic and surreal”. You were thrust into a world that was all new but not entirely beyond imagining as possible. Why not replicants some day? But whereas you found yourself drawn into the characters in the the first film, the characters in the second are considerably less compelling.

K is no Rick Deckard.

Oh, and let’s not forget this: “Dying for the right cause is the most human thing we can do.”

And don’t listen for Vangelis in the sequel. Whereas in the first, the soundtrack was in and of itself a crucial character in the plot.

IMDb

[b]David Bowie was Denis Villeneuve’s first choice for the role of Niander Wallace, but passed away before the start of shooting.

The opening scene in which K confronts Sapper Morton is a near exact remake of a scene written and storyboarded but never filmed for the original Blade Runner.

In order to portray the blind character of Niander Wallace, Jared Leto decided to fit himself with opaque contact lenses that made it impossible for him to see. [/b]

trivia at IMDb: imdb.com/title/tt1856101/tri … tt_trv_trv
at wiki: en.wikipedia.org/wiki/Blade_Runner_2049
trailer: youtu.be/gCcx85zbxz4

BLADE RUNNER 2049 [2017]
Director: Denis Villeneuve

[b]Title card: Replicants are bioengineered humans, designed by Tyrell Corporation for use off-world. Their enhanced strength made them ideal slave labor After a series of violent rebellions, their manufacture became prohibited and Tyrell Corp went bankrupt. The collapse of ecosystems in the mid 2020s led to the rise of industrialist Niander Wallace, Whose mastery of synthetic farming averted famine Wallace acquired the remains of Tyrell Corp and created a new line of replicants who obey. Many older model replicants–NEXUS 8s with open-ended lifespans–survived. They are hunted down and “Retired” Those that hunt them still go by the name Blade Runner.

Sapper: How does it feel killing your own kind?
K: I don’t retire my own kind, because we don’t run. Only you older models do.
Sapper: And you new models are happy just cleaning the shit. Because you have never seen a miracle.

Voice: Ready?
K: Yessir.
Voice: Reset your baseline.
K: And blood-black nothingness began to spin A system of cells interlinked within cells, interlinked within cells, interlinked within one stem. And dreadfully distinct against the dark, a tall white fountain played…
Voice: Cells.
K: Cells.

Coco: Looks like an emergency C-section. The cuts are clean, no sign of a struggle.
K: He was a combat medic. Maybe he tried to save her and he just couldn’t.
Coco: He didn’t seem like the saving type.
K: He went to the trouble of burying her.
Joshi: So, where’s the kid? You scanned the whole field?
Coco: Just dirt and worms, no other bodies.
Technician: Maybe he ate it.

Joshi: That’s not possible. She was a replicant. Pregnant. The world is built on a wall that separates kind. Tell either side, there’s no wall, you bought a war. Or a slaughter. So, what you saw… didn’t happen.
K: Yes Madam.
Joshi: It is my job to keep order. That’s what we do here, we keep order.
K: You want it gone?
Joshi: Erase everything.
K: Even the child?
Joshi: All trace.
[K doesn’t respond]
Joshi: You have anything more to say?
K: I never retired something that was born, before.
Joshi: What’s the difference?
K: To be born is to have a soul, I guess.
Joshi: Are you telling me no?
K: I wasn’t aware that was an option, Madam.
Joshi: Attaboy. Hey. You’ve getting on fine, without one.
K: What’s that, Madam?
Joshi: A soul.

File clerk [at Earth Headquarters]: Everyone remembers where they were at the Blackout. You?
K: That was a little before before my time.
File clerk: I was at home with my folks, and ten days of darkness. Every machine stopped cold. When the lights came back, we were wiped clean: photos, files, every bit of data… gone.

Luv: I’m here for Mr. Wallace, I’m Luv.
K: He named you. You must be special.
Luv: I’m here for Mr. Wallace. Follow me. The ancient models give the entire endeavour a bad name.

Luv: I see you’re also a customer. Are you satisfied with our product?
K: She’s very realistic. Thank you.

Luv: Was there anything unusual about how you found her? To warrant an official investigation?
K: You know how people are about old serial numbers. Everyone just sleeps better when they know where they got to.

Niander [as he touches the New Model]: First thought one tends to fear to preserve the clay. It’s fascinating. Before we even know what we are, we fear to lose it. Happy Birthday.

Niander [more to himself]: Every leap of civilization was built off the back of a disposable work force. We lost our stomach for slaves, unless engineered. But I can only make so many. That barren pasture, empty and salted. Right here. The dead space between the stars. And this, the seed that we must change for heaven? I cannot breed them, so help me, I have tried. We need more replicants than can ever be assembled. Millions, so we can be trillions more. We could storm Eden and retake her.

Joshi: Do you remember anything? Before you were under me, do you have any memories from begore?
K: I have memories, but…They’re not real, they’re just implants.
Joshi: Tell me one, from when you were a kid.
K: I feel a little strange sharing a childhood story considering I was never a child.
Joshi: Would it help you to share if I told you it was an order?

Joi: Data makes the man. A and C and T and G. The alphabet of you, all from four symbols. I’m only two…one and zero.
K: Half as much, but twice as elegant, sweetheart.

Joi: I always knew you were special. Maybe this is how. A child…of woman born, pushed into the world, wanted, loved.
K: And if it were true, I’d hunted for the rest of my life, by someone just like me.
Joi: It’s OK to dream a little. Isn’t it?
K: Not if you’re us.

Joi [to K]: I always told you, you’re special. Born, not made. Hidden with care. A real boy, now. A real boy needs a real name.

K: Stop! How do I know if a memory is an implant, or not?
Joi: Who makes the memories?

Ana [a memory maker]: Replicants live such hard lives. Made to do what we’d rather not. I can’t help your future, but I can give you good memories to think back on and smile.
K: That’s nice.
Ana: It’s better than nice. It feels authentic. And if you have authentic memories you have… real human responses. Wouldn’t you agree?
K: Are all constructed, or, do you ever use ones that are real?
Ana: It’s illegal to use real memories, officer.
K: How can you tell the difference? Can you tell if something… really happened?
Ana: They all think it’s about more detail. But that’s not how memory works. We recall with our feelings. Anything real should be a mess.

Ana: Someone lived this, yes. This happened.
K: I know it’s real…I know it’s real…GODDAMMIT!

Joshi [to K]: I can help you get out of this station alive. But you have 48 hours to get back on track. Surrender your gun and badge. And your next baseline test is out of my hands.

K: You were right. You were right about everything.
Joi: Shh.

Luv: Here, you are. You tiny thing. In the face of the fabulous and new, your only thought is to kill it?! For fear of great change?! You can’t hold the tide with a broom.
Joshi: Except that I did.

Deckard [to K]: Mightn’t happen to have a piece of cheese about you, now… would you, boy?..Many is the night I dream of cheese. Toasted, mostly.

Deckard: What are you doing here?
K: I heard the piano.
Deckard: Don’t lie. It’s rude. You’re a cop.
K: I’m not here to take you away.
Deckard: Oh, yeah? Then, what?
K: I just have some questions.
Deckard: What questions?

Deckard [to K]: You like whiskey? I got millions of bottles of whiskey.

K [motioning towards the dog]: Is it real?
Deckard: I don’t know. Ask him.

Deckard: I had your job. I was good at it.
K: It was simpler then.
Deckard: Why are you making it complicated?
K: Why don’t you just answer the question?
Deckard: What question?
K: I didn’t figure you, as one for bullshit. What’s her name?
Deckard [after a long pause]: Rachael. Her name was Rachael.

K: What happened to the kid? Who put it in the orphanage? Was it you?
Deckard: I was long gone, by then.
K:You didn’t even meet your own kid? Why?
Deckard: Because that was the plan. I showed them how to scramble the records, cover their tracks. Everyone had a part. Mine was to leave. Then the Blackout came, baked over everything. Couldn’t have found the child, if I tried.
K: Did you want to?
Deckard: Not really.
K: Why not?
Deckard: Because we were being hunted! I didn’t want our child found. Taken apart. Dissected! Sometimes, to love someone…you gotta be a stranger.

Luv [to K]: Bad dog!

Joi: Stop!
Luv [about to stomp her out of existence]: I do hope you’re satisfied with our product.
Joi [to K]: I love you…

Mariette : There’s someone who wants to meet you. You can trust us. This is Freysa. She fought with Sapper on Calantha.
K: I recognize you. Did you help him hide the child?
Freysa: Oh… I was there. I saw a miracle delivered. A perfect little face crying up at me. Mad as thunder.
K: Were you with her?..Rachael?
Freysa: I held her as she died. We hid the child, and made a vow to keep our secret. That’s why Sapper let you kill him. I knew that baby meant we are more than just slaves. If a baby can come from one of us, we are our own masters. A revolution is coming. And we’re building an army. I want to free our people. If you want to be free, join us. Deckard, Sapper, you, me; our lives mean nothing next to a storm that’s coming.

Freysa: You cannot allow Deckard to lead Wallace to me. You must kill Deckard. Deckard only wanted his baby to be safe. And she is. When the time comes, I will show her to the world. And she will lead our army.
K: She?
Freysa: Of course. Rachael had a daughter. With my own eyes, I saw her come. I dressed her blue when it was time for her to go.
K: It was a boy that you hid.
Freysa: That is just a piece of the puzzle.

Niander: All these years you looked back on that day, drunk on the memory of its perfection. How shiny, her lips! How instant, your connection! Did it never occur to you, that’s why you were summoned in the first place? Designed to do nothing short of, fall for Rachael, right then and there. All to make that single, perfect…specimen. That is, if you were designed. Love, or mathematical precision. Yes? No?
Decard: I know what’s real.

Deckard: Her eyes were green.

Deckard: You should’ve let me die out there.
K: You did. You drowned out there. You’re free to meet your daughter now.

K: All the best memories are hers.
Deckard: Why? Who am I to you?
K: Go meet your daughter. [/b]

Does it make any difference that the creator of Wonder Woman was a man? Or that he was a Harvard psychologist? Or that he had engaged in a polyamorous relationship with his wife and their lover?

And what does make a woman a wonder? And wouldn’t it seem plausable that to create such a character being a woman would be a preriquisite? After all, it’s not for nothing that our Wonder Woman here would in many respects be indistinguishable from a Super Man. A warrior, in other words, hellbent on reflecting all that is said to embody truth, justice and the American way.

Though gorgeous of course. And with some rather “perverse” sexual inclinations. Well, back then anyway.

Still, this is less a film about her than about Professor Marston. And his wife. And their lover. A relationship out of which he invented Wonder Woman in 1941. Though there were still any number of political waves on the horizon relating to gender norms.

And how all this all gets tangled up in turn in such things as “class” and “race” “sexual orientation”. Cluttering up the political narratives all that more.

[and what if we really could invent a machine that would unequivocally distinguish truth from lies? How applicable would it be pertaining to such human interactions as love and lust?]

In fact, whenever all of the possible combination of exeriences that human beings can engage sexually are actually considered and then acted upon, who would ever be able to pin it all down philosophically or morally. Let alone psychologically.

That titantic struggle between, “the world won’t let us” and “the world can’t stop us.” In other words, where are the lines to be drawn? And who is to decide this? If only for the sake of the “children”.

And then there’s this part: William Marston’s granddaughter Christie Marston publicly stated that her family “completely rejects any claims made in the film and in no way support this work of fiction”.

IMDb

[b]Often erroneously thought to be the inventor of the polygraph, better known as the lie-detector, William Moulton Marston was actually the inventor of the systolic blood pressure cuff, an important component of the polygraph. This misconception is reinforced by the biographical picture “Professor Marston and the Wonder Women.” The invention of the polygraph is more appropriately credited to John Augustus Larson.

A very close friend of the Marston family is Lynda Carter, the star of Wonder Woman [/b]

at wiki: en.wikipedia.org/wiki/Professor … nder_Women
trailer: youtu.be/r991pr4Fohk

Professor Marston and the Wonder Women [2017]
Written and directed by Angela Robinson

Josette Frank [director of Child Study Association of America]: As you know, we are reviewing your handling of Wonder Woman…given the current controversy.
William: You’re gonna give her to someone else? She’s a smash success because of me. I created her.
Josette: Dr. Marston, Wonder Woman has drawn criticism for being full of depictions of bondage, spanking, torture, homosexuality, and other sex perversions. Would you say that’s a fair assessment of your work?
William: I can see how people with a fairly limited understanding of my work could arrive at these simplistic descriptions. They’d be wrong, of course.

Remember, this is decades and decades ago.

[b]William [before his class]: Are you normal…? What is normal…?

Elizabeth: The cocksuckers denied me again. I’m smarter, more rigorous more accomplished than any of the so-called “men” in this department.
William: They will issue you a degree from Radcliffe.
Elizabeth: That degree is a load of horseshit. You know it.
William: It is not. It is taught by the same professors, it has the same standards.
Elizabeth: Precisely. If it is the same work then why can I not receive a PhD from Harvard? Because I have a vagina?

William: You are very brilliant.
Elizabeth: I know.
Willliam: Smarter than me.
Elizabeth: I know that too.
[he holds her and pushes her down on a table]
Elizabeth: Dear, we… We can’t fuck in the laboratory like animals.
William: Why not?

William [of Olive]: You won’t be jealous?
Elizabeth: No, I don’t experience sexual jealousy. Who am I to fight nature? I’m your wife, not your jailer.

Elizabeth: Your duties are to assist me and my husband with our research. We keep our papers in the filing cabinet along the wall. Please familiarize yourself with our current research notes…Oh, and if you fuck my husband, I’ll kill you.
Olive: Excuse me?
Elizabeth: Heh. Look, I feel sorry for you. No, really, I…I do, it’s not your fault. It’s, um, your beauty, it’s like a…Well, it’s like a handicap. It’s like having three legs or something.
Olive: Mrs. Marston, I…
Elizabneth: No, there’s no need to be defensive. I’m just asking you the courtesy of please not fucking my husband. Can you do that for me?
Olive: Yes.

Elizabeth: No, Freud is full of shit. What would I want with a penis? Seriously, it would be exhausting to have one organ constantly directing the course of your life. Olive, do you want a penis?
Olive: No.
Elizabeth: Do you think that you have penis envy?
Olive:
Elizabeth: I don’t understand what that means, sorry. Will you stop apologizing? Do you know how many times a minute you apologize?
Olive: Sorry.
William: Elizabeth, peach, penis envy is figurative. It means a woman experiences an envy of the male position in the world. His dominance. His ability to penetrate not just the woman, but…life.
Olive: Then perhaps I do have it. I do envy men’s position in life, their physical strength, their entitlement. My aunt said, “A woman must not be told how to use her freedom…she must find out for herself.”
Elizabeth: Your aunt, my dear, is quoting Margaret Sanger.
Olive: My aunt is Margaret Sanger.

Elizabeth: So, what you’re saying is, you are descended from two of the most famous radical feminists in the world and yet you were raised by nuns?
Olive: Yes.

William [lecturing a class]: Dominance, inducement, submission and compliance. All human relationships break down into the interplay between these categories of emotion. A person is most happy when they are submissive to a loving authority. It is essential that a person submits to an authority willingly…that it is their idea. We get into trouble when people feel forced to do something they don’t want to do, and that is merely compliance. People who comply instead of submit are unhappy and repressed and this can lead to resentment. Taken to its extremes it can lead to crime, war, fascism.
Student: How do you avoid compliance? It seems like that is built into most situations.
William: Inducement. Inducement is the act of seducing somebody to your way of thinking… dominating them so completely that what you want is what they want and they love giving it to you…and that, ladies, is the key to life, to love, to happiness to peace. Women are better at inducement than men.

Elizabeth [to William hooked up to the lie detector]: Are you in love with Olive Byrne?
William: No.
Elizabeth [after the needle jumps]: Hmm. Well, I guess it works after all.

Olive: I don’t love him.
Elizaberth: Of course you do.
Olive: No.
Elizabeth: Don’t take me for a fool, Olive. I’m many things, but I’m not a fool.
OLive: I know that. You’re brilliant.
Elizabeth: Don’t you see? It’s over. Whatever this is, was, it’s over.
Olive: I love you.

Josette: You’ve incorporated the lie-detector test into the Wonder Woman comic…her Golden Lasso, it forces criminals to tell the truth.
William: That is correct.
Josette: Why is Wonder Woman an Amazon?
William: In Greek mythology, Amazons were a powerful tribe of women who lived without men.
Josette: Without men?
William: It is important to me that young girls realize they have the power within themselves to create their own destiny. To be president of the United States if they want.
Josette: And Wonder Woman’s catchphrase is “Suffering Sappho.”
William: Sappho is a famous poet from ancient Greece…
Josette: Known for her love of women.
William: It is my belief that passion and emotion between women is perfectly natural.
Josette: Dr. Marston, lesbianism is an emotional illness. As a doctor of psychology your endorsement of this abnormal behavior in the pages of your comic is reckless.

M.C. Gaines: What the fuck are you doing?
William: That woman has been an enemy of the Wonder Woman comic from the beginning.
M.C. Gaines: She’s the head of the Child Study Association of America. Every parent in America listens to what she has to say. I told you to smooth it out. I mean, we got politicians sniffing around this thing. They’re talking Senate subcommittees. You know what that would mean to us? You got to go in there and play ball.
William: And if I don’t?
M.C. Gaines: Then I can’t protect you anymore…or Wonder Woman.

William [to Elizabeth]: What is it that attracts you to her? She is beautiful guileless, kind, pure of heart. You are brilliant, ferocious, hilarious, and a grade A bitch. Together, you are the perfect woman.

William [to Elizabeth]: We’ve been fired.

Olive: I want to be with you. I want to be with both of you.
William: Yes.
Elizabeth: Are you both insane? Do you not realize what has happened? We are ruined. All of us. You will not be able to marry. You will not be able to teach. I will not be able to do anything. What kind of a world do you think we’re living in?
William: We are in love.
Elizabeth: We cannot be in love.
William: It’s unorthodox, sure, but it’s…
Elizabeth: It’s preposterous. It is a fantasy, and we have to live in reality. And in this world and these lives, love it doesn’t matter.
Olive: I don’t believe that.
Elizabeth: Well, then you’re a fool. A stupid, simpering dilettante.
Olive: I’m pregnant.

Josette: Wonder Woman has a secret identity.
William: Yes, she does.
Josette: Why is that?
William: She has to hide her true self from man’s world.

Josette: Why don’t you write Wonder Woman under your real name?
William: Well, that’s just my therapy practice. It avoids confusion.
Josette: It’s not because most Americans have a low opinion of comic writers?
William: I do not care what most of America thinks.
Josette: Or is it something else? I wonder if you’re the one with the secret identity.

Elizabeth: Honey, this is pornography.
Olive: Isn’t this illegal?
William: Yes, yes, but look closely.
Elizabeth: I don’t understand what we’re supposed to be looking at.
William: Okay. Dominance, inducement, submission, compliance. This imagery is a metaphor for DISC theory. These pictures communicate in an instant what I’ve spent my entire career trying to explain. This is what we should be doing.
Elizabeth: Sweetheart…this is pornography.

Charles: Notice the finesse of the knots. Rope work is not an art for dullards. People come to me all the time lost, searching. They ask me why the rope, or costume the role play. I tell them we play roles all the time in everyday life, constantly. Out there we are bound by much stronger chains than the ones we use in here. But the truth is men and women long to control and to be controlled. It is human nature…Real life is full of pain and disappointment but fantasy, fantasy…is possibility.

Elizabeth [as William ties Olive’s wrist with a rope]: Olive, don’t let him do this to you.
Olive: I don’t mind.
Elizabeth [turning to walk away]: You…Why the fuck don’t you mind?

William: Please, dear, have an open mind.
Elizabeth: How much have you spent on this, anyway? And the rest of that smut he sold you.
William: It’s research material.
ERlizabeth: When will you stop justifying the whims of your cock with science?

Elizabeth: A comic book, Bill?
William: Well, it’s perfect. I’m going to inject my ideas right into the thumping heart of America. I mean, I’ll get a real artist to draw it properly.
Elizabeth: She’s an Amazon princess that lives on an island of all women.
William: Paradise Island.
Elizabeth: And a man crash-lands on the island?
William: Yeah, Steve Trevor, the spy.
Elizabeth: And she wears a burlesque outfit.
William: Well, it’s athletic.
Elizabeth: And silver bracelets.
William: They deflect bullets.
Elizabeth: And all her friends are sorority girls who have spanking parties, and everybody fights Nazis and rides in an invisible plane?
William: Yes.
Elizabeth: Bill. We love you truly, so much. But nobody…I say this with all the compassion and truth in my heart…nobody will ever publish this.

William: Excuse me. I’m looking for a Mr. Gaines.
M.C. Gaines: Who’s asking?
William: Dr. William Moulton Marston. I have an 11:00.
M.C. Gaines: You have five minutes.
William: You are the man that discovered Superman?
M.C. Gaines: Yup.
William: You’re a man of considerable taste, which is why I’ve come to you first.

William [to M.C. Gaines]: Suprema, the Wonder Woman will not be an ordinary comic book. But instead, the start of a powerful feminist movement. She will be carefully crafted, psychological propaganda based on a lifetime of research into the human mind inserted into a populist medium to further equal rights for women.

Voice [on a newsreel]: With war raging across Europe there’s a new hero in town fighting for our freedom, and she’s a lady. They’re calling her Wonder Woman. She’s the latest and prettiest sensation in a superhero craze that’s sweeping the nation. Sales are skyrocketing, and she’s outselling Superman. But not everybody is as enthusiastic about the new comic-book craze…

M.C. Gaines: We’ve been banned.
William: What do you mean?
M.C. Gaines: Put on a list, banned.
William: Well, by who?
M.C. Gaines: By the National League of Decency.
William: They’re fascists.
M.C. Gaines: No, Catholics.
William: Same difference.

William: We gotta cut the kinky shit by what?
Woman: Fifty. Fifty to 60 percent.
M.C. Gaines: Fifty to 60 percent, we gotta cut the kink. Doc, there’s, like, twice as much bondage stuff in here.
William: Three times. I tripled it.

Josette: You don’t even deny that these images are overtly sexual.
William: An erotic component is necessary. How else is submission supposed to be pleasurable? I am teaching readers to submit to a loving authority. And that submission is pleasurable. Young boys must learn this if they are to grow up respecting powerful women. Josette: What is powerful about a woman running around in a bathing suit?

Josette: Wonder Woman is filled with violence, torture and sadomasochism.

Olive: They had no right to…
Elizabeth: No, they did. They have every right. Their right to shun us and perhaps their right to beat us. Not because we fuck each other, but because we’re foolish enough to think that we’re better than them. I’m not a scientist. I’m a secretary. And Bill is not a psychologist. He writes comic books. And you…I don’t know what you are.

Elizabeth [to Olive]: You have to go.

William: You gave up. The both of you. I’m going to die…and you will be left all alone with your bitterness and your rage and your knowledge that you loved her and she loved you, and you threw it away for them.
Elizabeth: Our kids don’t deserve to be attacked, to be ostracized.
William: Our children are inheriting your shame. Is that how you want them to live? Is that the lesson you want to teach them? Now, do you love her?
Elizabeth: Yes.
William: And have you always?
Elizabeth: Yes.
William: So then ask her.
Elizaberth: Olive…will you forgive me?
No.

William: You need to submit to her.
Elizaberth: I don’t know what you’re talking about.
William: You cannot win every argument. You cannot dominate all the time. Get on your knees.
Elizabeth: I will not. This is absurd.
William: Get on your knees.
[she gets to her knees]
Elizabeth: I… Olive, please forgive me.
William: More.
Elizabeth: Please take us back. I thought I knew everything. I thought love wasn’t enough. But it…It has to. It has to be enough because we cannot…We cannot live without you. I cannot live without you. Please come back to us.

Title card: Marston passed away in 1947 from cancer. Elizabeth and Olive lived together for another 38 years until Olive’s death in 1985. Elizabeth lived to be 100 years old.

Title card: After he died, Marston’s overtly sexual motifs were stripped from the Wonder Woman comic book…along with her super powers.

Title card: In 1972, Gloria Steinem reclaimed Wonder Woman by putting her on the cover of the first issue of Ms. magazine. Wonder Woman’s super powers were eventual restored.[/b]

More or less, we still live in a culture where the lives of any particular “teenagers” can revolve almost entirely around the world as they have come to understand it in their heads. As that has come to be shaped and molded by our grimly ubiquitous “pop culture”. In other words, their lives are generally headed in the direction that has been cleared for them. Nothing of any real consequence has come along yet to yank them out of orbit. Everything basically comes to revolve around “hanging out, looking for kicks, navigating first love, and vying for popularity.”

Then something happens. And while this something can happen to anyone and in any number of possible combination of circumstances, for some what does happen is so traumatic it “changes everything”. From that point on lives reconfigure irrevocably. It’s just that very, very few are willing to think through what the actual philosophical implications of this might be going all the way back to grappling with, among other things, “the meaning of life”.

How does this fit into that?

Only this is back in the pre-Columbine High days. Back when the “innocence of youth” almost still had some meaning to it. Back when kids like this were being mass-produced by the tens of thousands. You watch them interact here and it begins to dawn on you just how easily the dots might be connected between Josh up on the screen and Eric Harris and Dylan Klebold methodically making their way down the hallways.

at wiki: en.wikipedia.org/wiki/Super_Dark_Times
trailer: youtu.be/a-nnMkMnFbI

Super Dark Times [2017]
Directed by Kevin Phillips

Daryl: Guys, yesterday my parents fucking rented that movie True Lies. And after they went to sleep, I fucking watched that scene where she stripped over and over and over and over and over. I must have jerked off two and a half times.
Charlie: Is that a record?
Daryl: I tried for three, but my dick got sore.

American youth!!!

Charlie: I’m gonna take it out.
Zach: What did you do! What did you fucking do! What did you do! Josh, what the fuck did you do!
Charlie: Okay, I’m gonna pull it out.
Zach: No, no, no. Don’t take it out! You’re supposed to leave it in!!

He takes it out. And nothing will ever be quite the same.

[b]Zach: Hey, Charlie, we gotta talk.
Chartlie: No, we don’t.
Zach: Yeah, we do.

Zach: I’m just saying that we should probably get our story straight…
Charlie: There is no story, Zach.
Zach: Yeah, well, if somebody asks.
Charlie: I don’t remember. I don’t remember what I did last Tuesday. So why would I remember what I did this Tuesday? Probably I went home after school, stayed there alone until my parents got home. It’s what I do most weekdays.
Zach: Okay, that’s good.
Charlie: Okay, so why did you come running over here to the middle school to talk to an eighth grader you barely know? Zach, if anyone asks, we’re not friends.

Mom: Do you remember Daryl Harper? You two used to play together.
Zach: Yeah. But, I mean, that was like a long time ago. Why?
Mom: I had a call from his mom earlier. Guess he never came home last night.

Zach: Josh, it’s kind of important that you, you not do something without talking to me about it first, okay? I mean… If that’s okay.
Josh: Whatever.
Zach: What game is this? Josh, what game is that?
[Josh says nothing]
Zach: It was a fucking accident! Okay? It happened. A fucking accident!!

Zach: And if anybody asks, we didn’t see Charlie or Daryl that day, okay?
Josh: If anybody asks, we’re already fucked.

Zach [on the phone]: I think it’s Josh.
Charlie: You think what’s Josh?
Zach: I think he killed John Whitcomb.

Zach [on the phone]: The sword is gone. Someone took it. I looked, I checked. It’s not fucking there. Someone has taken the sword.
Charlie: Why would you go back up to the woods?
Zach: You know that three people know about that sword, right? You, me, and Josh…I think he went there, he took the sword, he fucked with Daryl’s body, and then he went and pushed John Whitcomb off the fucking bridge.

Zach [on the phone]: Charlie, you need to listen.
Charlie: No, I don’t. You need to listen to yourself. You’re fucking losing it, dude. Don’t call me again.

Josh: What? What are you doing? Are you like afraid of me now?
Zach: No, I’m not afraid of you. There’s just some…Josh, I went off to the woods again.
Josh: What?
Zach: Yeah, and I saw that someone took the sword.

Zach: Josh, I’m willing to draw a line. Really. I’m willing to fucking put everything, like what happened with Daryl, and what maybe happened with John Whitcomb…
Josh: What are you talking about what happened with John Whitcomb?
Zach: Look, I… We… We can forget about all that stuff and… Look, I know how you feel.
Josh [angrily]: No, you fucking don’t know how I feel, okay? All you fucking do is say a bunch of shit that you think sounds nice, because you’re scared all the time. Well, you’re wrong. And you’re wrong about me too.

Allison: So, Josh, what’s the surprise this time?

Meghan: What the fuck is that?
Josh: It’s a fucking sword.

Josh: Alright, my turn.

Zach: Josh, what the fuck are you doing?
Josh: Is she dead?!
Zach: Fuck you, man. What…Yo, what’s happening? We’re friends. Remember? We’re… You’re my… You’re my best friend. Please…I love you. [/b]

Imagine perusing the movie listings in a newspaper and coming upon one entitled Three Billboards Outside Ebbing, Missouri. What might be your initial conjecture regarding what it would be about?

Well, I actually came rather close. I figured it had to be about one or another attempt to draw attention to something that had really pissed someone off.

And in this day and age it is hardly unusual for the outrage to be directed at the “criminal justice system”. Watch enough “true crime” documentaries and you discover soon enough the appalling amount of incompetency and/or corruption that exists when you are dealing with folks in “law enforcement”.

Crimes [some rather heinous] can become “cold cases” over time. But every once in a while folks come along who refuse to let them. They are there pounding on the door, hounding the detectives to do something. It’s just that not many will resort to billboards to vent their outrage.

It’s one of those films that starts by focusing on a particular set of individuals dealing with a particular set of circumstances that seem important only to them. But then the narrative comes to involve “larger issues” and “bigger themes” that, in turn, come to expose the political realities embedded in institutionalized outcomes. Things unfold not because it’s how they ought to unfold but because that’s just the way they do.

And there are a lot of unlikeable [and considerably flawed] folks on both sides of this particular shitstorm.

See if you can spot the irony.

Hint: Towards the end it’s everywhere.

IMDb

[b]Frances McDormand was hesitant to take the role of Mildred when offered to her, but was eventually convinced by her husband, Joel Coen. She said, "Because at the time he gave it to me I was 58… I was concerned that women from this socioeconomic strata did not wait until 38 to have their first child. So we went back and forth and we debated that quite for a while, and then finally my husband said, ‘Just shut up and do it.’

Director Martin McDonagh was inspired to write the movie after seeing billboards about an unsolved crime while traveling “somewhere down in the Georgia, Florida, Alabama corner.”

The basis of this story is from actual events in Vidor, Texas just outside of Beaumont, Texas. The police ignored facts and the parents of the poor girl murdered in 1991 by an alleged hometown hero from an old money family. As the police have done nothing and still the billboards are up on I-10.[/b]

trivia at IMDb: imdb.com/title/tt5027774/tr … =ttqu_sa_1
at wiki: en.wikipedia.org/wiki/Three_Bil … ,_Missouri
trailer: youtu.be/Jit3YhGx5pU

Three Billboards Outside Ebbing, Missouri (2017)
Written and directed by Martin McDonagh

[b]Mildred: You Red Welby?
Red: Yes, ma’am. How may I help you?
Mildred: I heard there’s three billboards out on Drinkwater Road…you’re in charge of renting them out, that right?
Red: I didn’t know we had any billboards out on Drinkwater. Where is Drinkwater Road? Mildred: It’s a road out past the Sizemore turn-off nobody uses since the highway.
Red: You are right. Got three billboards out there. Nobody’s put nothing up out there since… 1986. That was ‘Huggies’.
Mildred: How much to rent out all three of 'em the year?
Red: A year? You wanna pay for three billboards on a road no-one goes down unless they got lost or they’re retards, for a year?
Mildred: Quick, ain’t ya, Welby?

Mildred: What’s the law on what ya can and cannot say on a billboard? I assume it’s ya can’t say nothing defamatory, and ya can’t say, ‘Fuck’ ‘Piss’ or ‘Cunt’. That right?
Red: Or… Anus.
Mildred: Well I think I’ll be alright then.

Red: I guess you’re Angela Hayes’ mother.
Mildred: That’s right, I’m Angela Hayes’ mother.

First billboard: RAPED WHILE DYING
Second billboard: AND STILL NO ARRESTS?
Third billboard: HOW COME, CHIEF WILLOUGHBY?

Dixon: He said what?! To your face?!
Cedric: No crime has been committed here.
Dixon: C’mon, defamation of character ain’t a crime?
Cedric: It isn’t defamation if she’s simply asking a question.
Dixon: What are you, an idiot?
Cedric: Don’t call me an idiot, Dixon.
Dioxon: I didn’t call you an idiot. I asked if you was an idiot. It was a question.
Chief Willoughby: He got ya there, Cedric.

Reporter: So, Mildred Hayes, why did you put up these billboards?
Mildred: Well, my daughter, Angela, she got abducted, and she got raped and murdered seven months ago, on this self-same stretch o’ road here. It seems like the local police department is too busy goin’ round torturing black folks to be bothered doing anything about solving actual crime. I thought these here billboards might concentrate their minds some.

Chief: I’d do anything to catch the guy who did it, Mrs. Hayes. But when the DNA don’t match no-one who’s ever been arrested, and when the DNA don’t match any other crime nationwide, and when there wasn’t a single eyewitness from the time she left your house to the time we found her, well, right now there ain’t too much more that we can do.
Mildred: You Could pull blood from every man and boy in this town, over the age of eight.
Chief: There’s civil rights laws prevents that, Mrs. Hayes, and what if he was just passing thru town.
Mildred: Pull blood from ever’ man in the country, then.
Chief: And what if he was just passing thru the country?
Mildred: If it was me, I’d start up a database, every male baby what’s born, stick 'em on it, and as soon as they done something wrong, cross reference it to make a hundred percent certain it was a correct match, then kill 'em.
Chief: Yeah, well, there’s definitely civil rights laws prevents that.

Chief: There’s something else, Mildred. I got cancer. I’m dying.
Mildred: I know it.
Chief: Huh?
Mildred: I know it. Most everybody in town knows it.
Chief: Then you still putting up those billboard?
Mildred: Well, they wouldn’t be as effective after you croak, right?

Mildred: Y’know what I was thinking about today, Father? I was thinking 'bout those street gangs they got in Los Angeles, the Crips and the Bloods? I was thinking about that buncha new laws they came up with, in the 1980’s I think it was, to combat those street-gangs, those Crips and those Bloods. And, if I remember rightly, the gist of what those new laws were saying was if you join one of these gangs, and you’re running with 'em, and down the block from you one night, unbeknownst to you, one of your fellow Crips, or your fellow Bloods, shoot up a place, or stab a guy, well, even though you didn’t know nothing about it, even though you may’ve just been standing on a streetcorner minding your own business, what these new laws said was you are still culpable. You are still culpable, by the very act of joining those Crips, or those Bloods, in the first place. Which got me thinking, Father, that whole type of situation is kinda like your Church boys, ain’t it? You’ve got your colors, you’ve got your clubhouse, you’re, for want of a better word, a gang. And if you’re upstairs smoking a pipe and reading a bible while one of your fellow gang members is downstairs fucking an altar boy then, Father, just like the Crips, and just like the Bloods, you’re culpable. Cos you joined the gang, man. And I don’t care if you never did shit or never saw shit or never heard shit. You joined the gang. You’re culpable. And when a person is culpable to altar-boy-fucking, or anykinda-boy-fucking, I know you guys didn’t really narrow it down, , then they kinda forfeit the right to come into my house and say anything about me, or my life, or my daughter, or my billboards. So, why don’t you just finish your tea there, Father, and get the fuck outta my kitchen.

Mildred: So how’s it all going in the nigger torturing business, Dixon?
Dixon: It’s ‘persons of color’-torturing business, these days, if you want to know.

Chief: Don’t gimme that look, Mildred. If you got rid of every cop with vaguely racist leanings then you’d have three cops left and all o’ them are gonna hate the fags so what are ya gonna do, y’know?

Angela [in a flashback]: So are ya gonna let me borrow the car or what?
Mildred: Why don’t you just walk, Angela? Why don’t you just walk?
Angela: You know what, I will walk, I will walk. And y’know what? I hope I get raped on the way.
Mildred: Yeah? Well I hope you get raped on the way too!

Charlie: What’s going on around here? And what the fuck’s going on with these fucking billboards, Mildred?
Mildred: Kinda self-explanatory, ain’t it?
Charlie: Well why don’t you just explain it to me?
Mildred: Guess it ain’t self-explanatory then. Well, y’know, I guess I wanted certain people’s minds kept on certain people’s jobs, is all. I hadn’t heard a word from 'em in seven goddam months, but I tell ya this, I heard an awful lot from 'em since I put those billboards up…
Charlie: You think this has focused their minds? I’ll tell you what it’s focused their minds on. It’s focused their minds on how exactly are they gonna fuck you up.
Mildred: The more you keep a case in the public eye, the better your chances of getting it solved, it’s in all the guidebooks, Charlie.
Charlie: How much those billboards cost?
Mikldred: Bout the same as a tractor-trailer.

Charlie: You don’t think I don’t wish she was still here I know you do.
Mildred: I know you do.
Charlie: Billboards ain’t gonna bring her back, Mildred.
Mildred: Neither is fucking nineteen year olds, Charlie.
Charlie: Yeah. But I know that.

Charlie: I’m such a shitty dad and you’re such a great mom. Alright. So how come a week before she died she comes around asking if she can move in with me at my place, cos she couldn’t stand the two of yous bitching at each other no more, and fighting with each other no more.
Mildred: I don’t believe you…
Charlie: And I said no, stay at home, your mom loves you. And now I wish I hadn’t, cos if I hadn’t she’d still fucking be here!
Mildred: I don’t believe you!
Charlie: Don’t believe me. Ask Fruit Loop boy.

Mildred [after Charlie leaves]: Is it true?
Robbie: I don’t know, mom.
Mildred: Yeah, you do.

Mildred [to a deer she spots by the billboards]: Still no arrests. How come, I wonder? Cos there ain’t no God and the world’s empty and it don’t matter what we do to each other? Ooh, I hope not.

Chief [from his suicide note]: “My darling Anne. There’s a longer letter in the dresser drawer I’ve been writing for the last week or so. That one covers us, and my memories of us, and how much I’ve always loved you. This one just covers tonight, and, more importantly, today. Tonight I have gone out to the horses to end it. I cannot say sorry for the act itself, although I know that for a short time you will be angry at me or even hate me for it. Please don’t. This is not a case of I came in this world alone, and I’m going out of it alone or anything dumb like that. I did not come in this world alone, my mom was there, and I am not going out of it alone, cos you are there, drunk on the couch, making Oscar Wilde cock jokes. No. This is a case, in some senses, of bravery. Not the bravery of facing a bullet down; the next few months of pain would be far harder than that small flash. No, it’s the bravery of weighing up the next few months of still being with you, still waking up with you, of playing with the kids, against the next few months of seeing in your eyes how much my pain is killing you; how my weakened body as it ebbs away and you tend to it are your final and lasting memories of me. I won’t have that. Your final memories of me will be us at the riverside, and that dumb fishing game which I think they cheated at, and me inside of you, and you on top of me, and barely a fleeting thought of the darkness yet to come. That was the best, Anne. A whole day of not thinking about it. Dwell on this day, baby, cos it was the best day of my life. Kiss the girls for me, and know that I’ve always loved you, and maybe I’ll see you again if there’s another place. And if there ain’t, well, it’s been Heaven knowing you. Your boy…Bill.”

Dixon: See, Red? I got issues with white folks too…

Abercrombie: None of you cracker motherfuckers got no work to do?
Dixon: Ain’t that racist?

Abercrombie: How’s things coming along on the Angela Hayes case?
Dixon: How’s things coming along on the ‘Mind your own fucking business’ case?
Abercrombie: How things coming along on the hand me your gun and your badge?
Dixon: Huh?
Abercrombie: Hand me your gun and your badge.[/b]

There’s a new cop in town. A black dude.

[b]Chief [from his letter to Mildred]: “Dear Mildred, Dead Man Willoughby here. Firstly I wanted to apologize for dying without catching your daughter’s killer. It’s a source of great pain to me, and it would break my heart to think you thought I didn’t care, cos I did care. There are just some cases where you never catch a break, then five years down the line some guy hears some other guy bragging about it in a bar-room or a jail-cell and the whole thing is wrapped up thru sheer stupidity. I hope that might be true for Angela, I really do. Second, I gotta admit, Mildred, the billboards were a great fucking idea. They were like a chess move. And although they had absolutely nothing to do with my dying, I’m sure that everyone in town will assume that they did, which is why, for Willoughby’s counter-move, I decided to pay the next month’s rent on 'em. thought it’d be funny, you having to defend 'em a whole 'nother month after they’ve stuck me in the ground. The joke is on you, Mildred, ha ha, and I hope they do not kill you. So good luck with all that, and good luck with everything else too. I hope and I pray that you get him.”

Abercrombie: Can I ask you a couple questions?
Mildred: You can ask me all the questions you want if you take me down and arrest me.
Abercrombie: I’m not gonna arrest you, Mrs. Hayes. I got nothing to arrest you for.
Mildred: Not yet you ain’t.
Abercrombie: We ain’t all the enemy, y’know?

Mildred: Fuck 'em.

James: So you wanna go out to dinner next week?
Mildred: I’ll go out to dinner with ya. But I ain’t gonna fuck ya.

Jerome: You sure you still wanna put up the Willoughby one, him dead an’ all?
Mildred: Why not? He paid for it.

Dixon: I don’t wanna get your hopes up, alright, but there’s a guy, and I think he might be the guy. I got his DNA. I got a lot of it, actually. They’re making the checks as we speak.
Mildred: He’s in jail?
Dixon: No, but he ain’t gonna be hard to find.
Mildred: Why do you think he’s the guy?
Dixon: I heard him talking about something that he did to a girl in the middle of last year. I couldn’t hear all of it, but it sounded a lot like what happened to Angela.

Abercrombie: You did good, Jason. You did real good. But he wasn’t the guy.
Dixon [stunned]: What?
Abercrombie: There was no match to the DNA, no matches to any other crimes of this nature, to any crimes at all, in fact. And his record is clean. Maybe he was just bragging.
Dixon: He wasn’t just bragging.
Abercrombie: Well, that’s as may be. But at the time of Angela’s death he wasn’t even in the country.
Dixon: Where was he?
Abercrombie: I’ve seen his records of entry and exit to the States, and I’ve spoken to his Commanding Officer. He wasn’t in the country, Dixon. He ain’t our guy.

Dixon [on the phone]: He wasn’t the guy.
Mildred: Are you’re sure?
Dixon: He, um, he wasn’t even in the country when it happened. So, whatever he did, he didn’t do it round here. I’m sorry I got your hopes up.
Mildred: It’s alright. At least I had a day of hoping. Which is more than I’ve had for a while. I’d better go.
Dixon: There was there was one thing I was thinking.
Mildred: What’s that?
Dizon: Well… I know he isn’t your rapist. He is a rapist, though. I’m sure of that.
Mildred: What are you saying to me?
Dixon: I got his license plate. I know where he lives.
Mildred: Where’s he live?
Dixon: Lives in Idaho.
Mildred: That’s funny. I’m driving to Idaho in the morning.
Dixon: Want some company?
Mildred: Sure.

Mildred: Hey, Dixon.
Dixon: Yeah?
Mildred: I need to tell you something. It was me who burned down the police station.
Dixon: Well, who the hell else would it have been?
Mildred: Dixon?
Dixon: Yep?
Mildred: You sure about this?
Dixon: About killing this guy? Not really. You?
Mildred: Not really. I guess we can decide along the way.[/b]

I, Tonya.

As opposed to, say, You, Tonya?

One might assume that Tonya Harding’s own description of herself is the one to fall back on. But that still only works with regards to those aspects of her life that can be demonstrated to in fact be true. True objectively for all of us.

For example there are the facts embedded in her relationship with Nancy Kerrigan. Certain events can be shown to be true because they did in fact happen. The role Harding played in the attempt to club Kerrigan out of the competition. What can be established here as in fact “reality”?

On the other hand, there are the far more conflicted reactions to what she did. And with respect to all of the complex emotional and psychological variables in play regarding her motivation and intention. What propelled her to do what she did? How is her past connected to the present?

And then it all gets mangled up in class. Tonya, perceived by many as the ungainly product of the working class, and Nancy, perceived by many as a so much more sophisticated and refined product of the better upbringing.

From The Times

Harding and Kerrigan were rivals in a cartoon soap opera about class: Harding was trailer trash and Kerrigan was a hometown beauty queen. Tonya was given her first gun at the age of five and lived in eight homes in six grim towns before she was 18. She smoked and skated to heavy metal music. Nancy was brought up by a loving, stable family, the all-American girl with the perfect teeth.

Only, as the article notes further, In America “class” revolves less around money and more around such things as beauty and culture and style and elegance and polish.

So, what really did happen?

Title card: Based on the irony free, wildly contradictory, and totally true interviews with Tonya Harding and Jeff Gillooly.

Or, perhaps, as Tonya puts it: “And the haters always say, Tonya, tell the truth. But there’s no such thing as truth. I mean it’s bullshit. Everyone has their own truth. And life just does whatever the fuck it wants.”

So, you tell me.

IMDb

[b]Although Margot Robbie trained extensively for the role, she wasn’t able to perform a triple axel, nor could a skating double be found as very few women figure skaters are able to perform the jump, producer Tom Ackerley stated, “There has been only six women since Tonya who have done a triple axel, even if there was one who was doing it today, she’d be training for the Olympics and couldn’t risk doing it for the film.” The jump was accomplished with the use of visual effects.

When Tonya Harding herself first saw the film, she particularly liked the “Suck my dick!” line. She told Margot Robbie that she wished she had actually said that in real life. [/b]

trivia at IMDb imdb.com/title/tt5580036/tr … tt_trv_trv
at wiki: en.wikipedia.org/wiki/I,_Tonya
trailer: youtu.be/OXZQ5DfSAAc

I, Tonya [2017]
Directed by Craig Gillespie

[b]Title card: Based on the irony free, wildly contradictory, and totally true interviews with Tonya Harding and Jeff Gillooly.

Mother [to the camera]: Tonya’s my 5th child from husband number 4. She was always a handful. And I guess we spoiled her. Which is a goddamned hat trick when you haven’t got shit your entire life. Still, I drove her to competitions, practices. I sewed her all her costumes. But to her, her mother’s a monster.

Coach [to the camera]: Generally people either love Tonya or are not big fans. Just like people either love America or are not big fans. Tonya was totally American.

Jeff [to the camera]: I mean at 27 I was the most hated man in America. Maybe the world. Um… with a mustache I still can’t apologize enough for.

Tonya [to the camera]: What’s people’s impression of me? That I’m a real person. No. I never apologize for growing up poor or being a red neck. Which is what I am. You know, in a sport where the friggin’ judges want you to be this Old-Timely version of what a woman’s supposed to be…For being the first U.S. Woman To land a triple Axel. So fuck 'em.

Title card: Portland, Oregon — 40 years earlier

Mother [to Tonya who is a “soft four”]: Go on, skate.

Mother [to the camera]: The thing about Tonya was, she skated better when she was enraged. If there was no you can’t do it type of thing, she wouldn’t do it. On the ice, I was there to…inspire her.

Tonya: Margie Sussman called us white trash. Mom told me “Spit in her milk!”
Father: I hope you didn’t do that.
Tonya: Not yet… Do you love her, Dad?
Father: I guess. Do you?
Tonya: Yeah.
Father: Like you love me?
Tonya: Nope.

Coach: The judges want figure skaters to be…
Mother: Yeah. Rich, prissy, a-Holes
Coach…well rounded. It’s a question of fitting in.
Mother: She’s 12 and she lands fucking triples. She doesn’t fit in. She stands out.
Coach: She stands out because she looks like she chops wood every morning.
Mother: She does chop wood every morning.

Mother: You a gardener or a flower, John?
Jeff: It’s Jeff.
Mother: In a relationship there’s a flower and a gardener.
Jeff: Um, I don’t know. I mean I…
Mother: I’m a gardener who wants to be a flower. How fucked am I? This one can’t garden to save her life. You’re gonna have to do all the gardening there fella.
Tonya: Mom!
Mother: What? You two fuck yet?

Tonya [to Jeff]: My parents had me quit school so I can concentrate on skating.

Tonya [to the camera]: Jeff was the first boy I ever loved. The only catch was he’d beat the living hell outta me. And I thought it was my fault. Nancy gets hit one time and the whole world shits. For me it was an all the time occurrence.

Mother: I don’t know, Tonnie. I would never be with someone who fuckin’ hit me.
Tonya: You hit dad.
Mother: That’s different.
Tonya: Anyway he said he was sorry.
Mother: Seriously though. You’re a dumb piece of shit who thinks she deserves to get hit.
Tonya: How’d I get that idea?
Mother: Maybe he should hit you. Yeah. Maybe you’ll learn to keep your big mouth shut. Sure helps me out.

Mother [to the camera after a flashback where she sticks Tonya with a knife]: Oh, please! Show me a family that doesn’t have ups and downs.

Tonya [to the judges]: Hey! How do I get a fair shot here? Cause I’m up at 5 every morning working my ass off. Does someone wanna just tell me to my face you’re never gonna give me scores I deserve?
Judge: This is how it’s done. Some of these girls have paid their dues.
Tonya: I don’t give a shit! I out-Skated em today.
Judge: We also judge on presentation.
Tonya: Well you know what? If you can come up with $5000 for a costume for me then I won’t have to make one. Till then, just stay out of my face.
Judge: Maybe you’re just not as good as you think. Maybe you need to pick another sport.
Tonya: Suck my dick!

Tonya [to the camera]: You do dumb things when you’re young. Like marrying Jeff. The wedding was nice. It made sense at the time. I mean, I could have insurance. Good benefits all around. I mean, he had a car. Plus I was doing 6 hours a day of practice and competitions while I worked at a hardware store. And I ran a forklift, and a drill press and I did welding. [/b]

Cue the triple axle:

[b]Martin [Hard Copy reporter to the camera]: Most people don’t even understand how insanely difficult it is to attempt a triple Axel. There’s a reason no one was trying it.
Coach: You skate backward and then take off from a forward position on your left leg and then somehow…
Mother: Fuckin’ hurl yourself blindly 3 and a 1/2 rotations like you’re light as shit which I’m telling you Tonya never was.
Coach: Land on the opposite foot on the back outside edge of a razor thin blade.
Jeff: It’s that extra half rotation when you already did 3. That made us call Tonya the Charles Barkley of skating. It was bad ass.

Coach [to Tonya before a big competition]: No woman in the history of U.S. Figure skating has landed a triple Axel. All those women who came before you, not 1 of them did it. The skating association doesn’t think you can do it. “Trashy Tonya’ doesn’t belong.” Your own mother doesn’t think so. Now show them.

Tonya [to the camera]: Oh my God! I mean it was totally the most awesomest thing. Cause leading up it, you’re like I can’t do it! I can’t. And then Bam! I can. And all those people who said I couldn’t make it. Well fuck you. I did! I proved everyone wrong. I was loved. I can’t describe how that felt. There. I mean, there was people standing up. And I was just for the first time, I knew. I knew I was the best figure skater in the world.

Jeff: I’m sorry. Nobody ever really asks me about this anymore. I was blind-Sided. As soon as she got back from nationals she was an entirely different person. And that person didn’t want old Jeff no more.

Martin [to the camera]: Suddenly Kristi & Nancy were coming in 2nd & 3rd. Tonya was coming at 2nd at world championships & winning Skate America. So the skating community the feeling was like, Oh my god. What the fuck! This is our skating champion?!! Tonya did the triple Axel no one else could or even had the balls to try. Tonya Harding wasn’t the image…
Tonya [to the camera]: Could I interrupt with a quick word about Nancy kerrigan? It’ll just take a sec. Nancy and I were friends. Okay? We were roommates sometimes on the road. But the press wanted Nancy to be the Princess and me to be the pile of crap…to sale papers. I mean what kind of friggin’ person bashes in their friend’s knee? Who would do that to a friend?

Tonya [to the camera after failing to do the triple axle at the Olympics]: So I’d broken off my skate blade… 2 days before in practice. And they put it back on a little off. So all my landings were off. All of them. I mean, that wasn’t my fault.

Tonya [to the camera]: When you come in 4th at the Olympics, you don’t get endorsement deals. You get the 6 A.M. Shift at spud city.

Coach: The Olympic committee announced today that the next Olympics are going to be 2 years instead of 4. No heavy metal. Lose the blue nail Polish.
Tonya: I’m too outta shape.
Coach: Pear is a shape. The world’s giving you a 2nd chance. I know you don’t believe in them but I do.

Tonya: I know that you guys don’t like me. But I’m landing all my jumps out there.
Judge: Tonya. It’s never been entirely about the skating. I’ll deny I ever said it honey, but you’re just not the image that we want to portray. You’re representing our country, for fuck’s sake. We need to see a wholesome American family. And you…you just refuse to play along.
Tonya: I don’t have a wholesome American family. Why can’t it just be about the skating?

Mother: Poor fuckin’ you. I didn’t stay home making apple brown Bettys. No, I made you a champion! Knowing you’d hate me for it. That’s the sacrifice a mother makes. I wish I had a mother like me. Instead of nice. Nice gets you shit. I didn’t like my mother either. So what? I fucking gave you a gift.
Tonya: You cursed me. You are a monster.
Mother: Spilt milk, baby.[/b]

Cue “the incident”:

[b]Tonya [to the camera]: I mean, it’s what you all came for folks! The fucking incident.
Martin: The incident.
Coach: The incident.
Mother: The fucking incident!
Jeff: Everyone remembers the incident differently and that’s a fact. Some people honest to god remember Tonya whacking Nancy herself.

Cop: I’m gonna need to talk with you.
Tonya: Goddammit, Jeff what’d you do?
Cop: We’ve received a death threat.
Tonya: From Jeff?
Cop: Against you.
Tonya: What the fuck?
Jeff: What did they say exactly?
Cop: “If Harding skates today, she’ll get a bullet in the back”.
Tonya: What the fuck?
Coach: How seriously should we take this?

Tonya [to the camera]: It’s bullshit! I mean, The FBI found this piece of paper in some random dumpster supposedly in my hand writing with Nancy’s training schedule or something on it.
Martin: It was the arena Nancy skated at and her training times. I mean why do you need training times if all you were doing was mailing letters right? You know, I mean, look, Jeff Gillooly can change his story all he wants to make himself feel better but he confessed to the FBI. Guilty.
Jeff: I told the FBI that Tonya was in on planning it which she was. But the plan was to mail some letters… Tonya didn’t know about the assault cause there was never suppose to be an assault. Just letters.

Jess: Sweetie, the death threats off.
Tonya: Whatever!

Martin [to the camera after Kerrigan is attacked]: I mean we had no idea that something like this could be done by two of the biggest boobs in a story populated solely by boobs.

Tonya [on the phone]: Turn on the fucking TV. It’s everywhere.
Jeff: What are you talking about?
Tonya: Nancy Kerrigan. Some guy just fucking broke her fucking knee.
Jeff: No, no, no, no! It’s supposed to be letters…
Tonya: It’s not a fucking letter Jeff, they broke her fucking knee.
Jess: …like a, like a death threat.
Tonya: Jeff, I’m telling you, forget the death threats, the guy broke her knee.
Jeff [watching the news report on TV]: NOOOOO!!!

Mother [watching Jeff on TV]: Fucking mustache.

Jeff: Nobody was supposed to get hurt. It was supposed to be psychological warfare, right?
Shawn: What if the psychological warfare didn’t work, What if…it didn’t scare her? Then what? You know all of our hard work would’ve been for nothing.
Jeff: What hard work? It was mailing fucking letters!

Shawn: Did you not realize that I was the one who I was the one who called the death threat on Tonya?
Jeff: What?
Shawn: People don’t take me seriously, Jeff. But I am in control of the situations. I proved that today.

Martin [to the camera]: Shane Stant was clueless. Before the attack he waited outside the arena in Massachusetts where he thought Nancy Kerrigan was training. Now he moved his car every 15 minutes to avoid suspicion. He did this for two days. That’s when he found out that Nancy was actually in Detroit.

Shane: How did you find me?
Cop: Next time you pull off a hit, son, don’t put it on Visa.[/b]

Shane? Think this guy: youtu.be/PS6lNDrCi88

[b]Jeff: We play it cool. After all, we both have alibis.
Tonya: What for? Alibis? For Wheaties?
Jeff: Wheaties? What are you talking about?
Tonya: My endorsement. What are you talkin’ about?
Jeff: The attack.
Agent: Excuse us. We’re with the FBI.

Shawn: I never said anything!
Jeff: Then how come they know the name Derrick, Shawn?
Shawn: I don’t know. How could you even ask me that? I could withstand torture and I’d still never talk. They could never break me!
[cut to Shawn spreading the word all over town]
Shawn: The whole Nancy Kerrigan thing? That was my crew. We were paid $65,000 to take her out. Then my team obtained press credentials by beating up a reporter. That’s what gets us inside the rink. Bam! My hit man whacks Kerrigan 3 times with a retractable baton.

FBI Agent: Shawn?
Shawn: Jeff, did it! Jeff Gillooly, did it!!

Jeff: What part of keeping your mouth shut was unclear, you stupid fucking cunt?
Tonya: There’s…There’s more to this than you’re telling me, isn’t there…?
Jeff: Shut up Tonya I’m telling you!
Tonya: Jeff? Did you do it? Goddamn it. Shit. What the fuck, Jeff? Fuck, what the fuck? I mean, this is my fucking life. This is…Skating is my whole fucking life! What did you do? What did you do? What did you actually fucking do, Jeff?
[Jeff slaps her in the face]

Tonya [to the camera]: And then Bam! Nails me right in the freakin’ face. That’s when I fucking knew. I mean he has never admitted to me, wouldn’t care anymore anyways, but he’s never admitted to me that he actually did it. But I knew. In that moment I knew he planned it. And he had it done.

Tonya: Look Jeff, I, I mean what did you want me to say? I told them that you did this because you did fucking did this!
Jeff [outside their locked bedroom door]: Tonya, what am I supposed to do? I do not know.
Tonya: I…I really think that you should just kill yourself.

Connie Chung [reporting on TV]: Here in Portland Oregon, another day of practice for skater Tonya Harding. She’s still working out everyday right here behind me, fully expecting she’ll compete later this month at the Olympics in Norway.
Matt Lauer: Police and the FBI continue looking into last weeks attack on skater Nancy Kerrigan.
Reporter: Even as the U.S. Figure Skating Association convenes a hearing panel to consider where there are grounds to remove Tonya Harding from the American Olympic team.
Ann Curry: Harding’s former husband said Tuesday that she knew about the attack on Nancy Kerrigan from the beginning.

Reporter: Tonya’s mom put out a red velvet rope in front of her house. Told us if we wanted to take her picture we all had to stand behind it. And we did.

Tonya [to the camera]: I thought being famous was gonna be fun. I was loved…for a minute. Then, I was hated. Then I was just a punchline. It was like being abused all over again. Only this time it was by you. All of you. You’re all my attackers too.

Mother: Hey…hon, did you know about the attack? Well, you can tell me.
[Tonya starts to pat her down]
Mother: What? What are you looking for? What are you… stop it! This is a…
[Tonya finds the tape recorder]
Mother: I still meant everything I said.
Tonya: Get the fuck out of my house! Get out!!! I

Tonya: This is bullshit. I shouldn’t have to apologize for something I didn’t do.
Lawyer: Tonya, there’s talk about not letting you skate in the Olympics at all. You need to give them this. We’re hanging on by a thread here.
Tonya: I earned my place on the team fair and square!
Lawyer: Taking out the competition with a retractable baton doesn’t strike everyone that way.
Tonya: I did not know about it!
Coach: And that’s exactly what you’ll say.

Tonya to the press]: I had no prior knowledge of the planned assault on Nancy Kerrigan. I am responsible however for frailing…failing…

Tonya [to the camera]: Then when the Olympic Committee threatened to take me off the team, I filed a $10 million lawsuit against them. I mean, it was getting ugly.

Tonya [voiceover]: But do you think that CBS who was showin’ the games was gonna let this ginormous ratings fucker not happen?

Tonya [to the camera]: Can I just say one quick thing about Nancy Kerrigan? So…So my lace breaks which I guess is my fault but really kinda isn’t. And I go out and do the same stuff as everybody else I did not get the marks, because…I didn’t ever have a shot with the judges to begin with. I mean, it was a big story, but I don’t need a big story. I’m a big story on my own when I skate. I did my best and I got 8th. But Nancy…She goes out and gives a beautiful skate, I never said different. She wins a friggin’ silver medal. And when they put that medal around her neck… She looked like she stepped in poo. She does…I mean, come on! How am I the poor sport in all of this? An Olympic silver medal. She looks like she stepped in poo.

Judge: Tonya Harding. You are hereby sentenced to 3 years probation, $100,000 fine plus $10,000 to the DA’s office for special costs. Another $50,000 to set up a fund for the Special Olympics. 500 hours community service; a psychological evaluation. And your immediate resignation from the US Figure Skating Association. Banning you for life from all Figure Skating Association competitions and events. So ordered.

Tonya [to the judge]: You’re never gonna let me skate again? I’d rather do jail time. Please… They only got 18 months. They got 18 months. I will do that. You can’t…Your Honor. I don’t have an education. All I know is skating. That’s all I know.

David Letterman: The 10 best questions Connie Chung asked Tonya Harding earlier. No.10: “Would you walk through the metal detector, one more time, please?” No. 9: “Do you think you could kick my ass?”…

Mother [to the camera]: I never see Tonya anymore and this is fine. I could care less. I lead a full life… very happy.

Tonya [to the camera]: Once I was banned from figure from figure skating for life, I did not have a lot of options. Did what I had to do to just stay in the public eye and pay the bills. I was the second most known person behind Bill Clinton in the world. That meant something. The people still wanted to see me. So I became a lady boxer. I mean, why not? Violence was always what I knew anyway.

Tonya [to the camera]: America, you know…They want someone to love but they want someone to hate. And they want it easy. But what’s easy? And the haters always say, Tonya Tell the truth. But there’s no such thing as truth. I mean it’s bullshit. Everyone has their own truth. And life just does whatever the fuck it wants. That’s the story on my life! And that’s the fucking truth!

Title card: LaVona Harding and Tonya have had no contact in several years. Last Tonya heard, LaVona was living in Washington State behind a porn shop.

Jeff Gillooly changed his name to Jeff Stone. After divorcing Tonya he married a woman named Nancy and they opened Nancy Nicole’s Hair/Tanning Salon.

Tonya Harding does professional landscaping, and house painting. She lives in close proximity to Jeff Gillooly but they have no contact. She is happily married with a 7 year old son. She want’s everyone to know she’s a good mother.[/b]

We all know about the Deep State. It’s out there. Doing God knows what. And even though we all have a different rendition of what that is, only a fool would actually suppose that it doesn’t exist.

On the other hand, some speculations are so far out there, who would ever believe them?

Amphibian Man? A government experiment that revolves around the Creature From the Black Lagoon? In the middle of the Cold War?

Here’s a film that won Picture Of the Year at the Academy Awards. And here’s the first page of “user reviews” at IMDb: imdb.com/title/tt5580390/re … ef_=tt_urv

How to explain that? You tell me.

Many saw it basically as another liberal parable on political correctness. A Hollywood contraption that stays [stereotypically] right on the surface of things. A treatise on human communication [and love] in our post-modern world. Or as postmodern as it could have been back in the early Sixties.

Cue the white male douche-bag. A brutally sadistic pig. Isn’t it always folks like him who make the world as fucked up as it is? And, truly, Michael Shannon was born with the face to play him. Still, somehow the decent, humane and sensitive folks [voiceless though they may be] manage to prevail in the end.

Content aside, this is one of those films often described as “visually stunning”. So, if you have to, put it on mute [no pun intended] and just watch the spectacle unfold.

Or, sure, maybe it’s just a remake of Splash.

IMDb

[b]Director Guillermo del Toro wrote lengthy backstories for each of the major characters, some of them reportedly running over forty pages long. After casting the roles, he offered them to the actors and said they could choose to utilize or ignore the backstories for their own character. The actors responded differently, with Richard Jenkins saying he ignored the backstory, stating, “The only thing that matters is what happens on screen,” while Michael Stuhlbarg said he read the backstory voraciously and found it helpful in his performance.

Director Guillermo del Toro first met Sally Hawkins at the 2014 Golden Globes and pitched the film to her while intoxicated. He says, “I was drunk and it’s not a movie that makes you sound less drunk.”

It took over nine months to arrive at the look of the creature, and director Guillermo del Toro calls it the most difficult movie he and his team have ever designed.

According to an interview with the National University of Mexico TV channel, Guillermo Del Toro said that if this film had flopped he would have retired from directing altogether.[/b]

trivia at IMDb: imdb.com/title/tt5580390/tr … =ttqu_sa_1
at wiki: en.wikipedia.org/wiki/The_Shape_of_Water
trailer: youtu.be/XFYWazblaUA

The Shape Of Water [2017]
Written in part and directed by Guillermo del Toro

[b]Flemming: Today, we are receiving a new team and asset here in T-4. This is Dr. Robert Hoffstetler, from our system facility in Galveston. Now, I don’t want to bolster or overstate the matter but uh this may very well be the most sensitive asset ever to be housed in this facility.

Giles [to Elisa]: It’s eternal, see? Tantalus never achieved the escape of death. There’s a fruit on the branches was just always out of his reach. And the water in the stream receded every time he stooped down to drink. And so that’s why we say things today like “Look at those tantalizing pies.”

Zelda [to Elisa]: Will you look at this? Look. Some of the best minds in our country peeing all over the floor in this here facility. Mh-mh-mhm. There’s pee freckles on the ceiling! How do they get it up there? Just how big a target do they need, you figure?

Zelda [to Elisa]: You think the Russians broke in? I don’t think so. And If they did, Duane’s meatloaf will kill them all, honey.

Zelda [to Elisa]: Is that a tator tot?

Giles [to Elisa]: You know uh…Corn Flakes were invented to prevent masturbation. It didn’t work.

Zelda [to Elisa]: Listen, honey. Mr. I-pee-with-my-hands-on-my-hips wants to see us both.

Zelda: I answer mostly, on account that Elisa can’t talk.
Strickland: She can’t? Is she deaf?
Zelda: Mute, sir. She said she can hear you.
Strickland: All those scars on your neck. That’s what that it cut your voice box, right?
Zelda: She said since she was a baby.
Strickland: Who would do that to a baby? The world is sinful. Wouldn’t you say so, Delilah?

Strickland: Well, let me say this upfront. You clean that lab. You get out. The thing we keep in there, is an affront. Do you know what an affront is, Zelda?
Zelda: Something offensive?
Strickland: That’s right. And I should know, I’ve dragged that filthy thing out of the river muck in South America all the way here And along the way we didn’t get to like each other much. Now, you may think that thing looks human Stands on two legs, right? But we’re created in the Lord’s image. You don’t think that’s what the Lord looks like, do you?
Zelda: I wouldn’t know, Sir. What the Lord looks like.
Strickland: Well, human, Zelda. He looks like a human, like me. Or even you. Maybe a little more like me, I guess.[/b]

Zelda you see is black.

[b]Strickland [on phone]: General Hoyt. Thank you for calling me back, Sir.
Hoyt: You feel better?
Strickland: Oh yes, Sir. Much better. Pain pills, is all.
Hoyt: You lost two fingers.
Strickland: Two fingers yeah. He got two fingers. But I still got my thumb, my trigger and my pussy finger.

Strickland: Maybe you’d like to get another bite at me. Huh? Go ahead.
[the creature lunges at him and he zaps him with the cattle prod]
Strickland: I can’t tell. Are you begging? 'Cause to me it’s just the worst fucking noise I’ve ever heard.

General Hoyt: Good God Almighty, is that it? A lot bigger than I thought. Ugly as sin.
Strickland: You know, the natives in the Amazon worshipped it as a God.
Hoyt: It doesn’t look like much of a God now, does it?
Strickland: Well, they were primitive, Sir. You know they tossed offerings into the water, flowers, fruits, crap like that. Then they tried to stop the oil drill with bows and arrows. That didn’t turn out too well.

Hoyt: Look. You want to put a man in space. He’s gonna have to endure conditions the human body just wasn’t made for. This gives us an edge against the Soviets. How long can it breathe outside the water?
Strickland: Reality is sir we don’t know jackshit about this thing.
Hoyt: Well, the Soviets want it. We know that much. Those cockeyed bastards. You know, they let them send a dog up in the space and we get a good laugh. Then next thing you know, they send a human up. A Ruskie, orbiting our planet, doing God knows what? Who’s laughing now? Krushchev.

Dr. Hoffstetler: General Hoyt, sir! You cannot, under any circumstance, kill this creature.
Hoyt: Count these stars with me, Son. There’s five of them. That means I can do whatever the hell I want. You wanna plead your case? I’ll listen to it. But, end of the day, it is my damn decision.

Giles: So what if he’s alone? We’re all alone.
[Elisa signs]:
Giles: It’s the loneliest thing you’ve ever seen. Well you just said it, right? You just said it. You called it a thing. It’s a thing. It’s a freak.

Giles: Elisa…there’s…Alright. Alright. What are we? What are you and I? We are nothing! Nothing. We can’t do nothing! I’m sorry. But this-this-this is just…Oh god! He’s not even human!
Elisa [signing]: If we do nothing, neither are we.

Strickland [to Elisa]: You know, I can’t figure it out myself. You’re not much to look at. Go figure. I keep thinking about you. When you say you’re mute, are you entirely silent? Or do you squawk a little? Some of you squawk. Not pretty. I just want you to know I do not care about the scars. I don’t mind those scars. I don’t mind that you can’t speak, either. When you come right down to it I like it. A lot. Kind of gets me going. I bet I can make you squawk a little.

Hoffstetler: I don’t want an intricate, beautiful thing destroyed.
Strickland: This thing dies. You learn. I leave. Out of here. Settle down. My family settles down. Somewhere. Nice. A real city.
Hoffstetler: This creature is intelligent. Capable of language, of understanding emotions.
Strickland: So are the Soviets, the Gooks. And we still kill them, don’t we? The bottom line is, this is not a petting zoo. And I don’t want to be in this shithole any longer than I need be.

Strickland: Israeli Popper. Do you smell the magnesium? The Russians hate the Jews, but they can’t get enough of their gadgets.

Strickland [more to himself]: What am I doing? Interviewing the fucking help. The shit cleaners. The piss wipers. You two, go ahead. Leave.
[Elisa signs “fuck you”]
Strickland: What did you say to me? What did she say? What is she saying?!
Zelda: She is saying “Thank you”.

Hoffstetler: When will you release him?
Zelda: Soon. When the rain fills the canal that flows to the sea.
Hoffstetler [handing her his card]: If you need anything. Release him. Soon.
[Elisa signs]
Hoffstetler: What did she say?
Zelda: She said, you’re a good man, Doctor Hoffstetler.
Hoffstetler: My name is Dimitri. Honored to meet you.

Giles [to Elisa]: He ate the cat. It wasn’t his fault. He’s a wild creature. We can’t ask him to be anything else.

Zelda: Why you smiling, hon? Stop looking like that. What happened? Why? How? How? Does he…? Does he have a…"
[Elisa nods][/b]

Beastiality? You tell me.

[b]Zelda [to Elisa]: Never trust a man. Even when he looks flat down there.

Giles [to Elisa]: I’m toweling my hair. It’s my hair! And…and…look at the arm. The wound. As if it was never there. You said He was worshipped like a god. Is he a God? I don’t look to him as a God. He ate a cat. So I-I don’t know! I don’t know!

Strickland: A man fails. Once. Only once. What does that make? Does that make him a failure? When is a man done, Sir? Proving himself? A good man. A decent man.
Hoyt: Decent? A man must have the decency not to fuck up. That’s one thing. That is real decent of him. The other kind of decency. It doesn’t really matter. We sell it. But it’s an export. We sell it 'cause we don’t use it. 36 hours from now, this entire episode will be over. And so will you. Our universe will have a hole in it with your outline. And you will have moved on to an alternate universe. A universe of shit. You will be lost to civilization. And you will be unborn. Unmade. Undone. So, go get some real decency, Son. And unfuck this mess.

DAILY THOUGHT: Life is but the shipwreck of our plans.

Hoffstetler: Strickland, thank God!
Strickland: You were speaking Russian, Bob.

Strickland: Names, ranks and location of the strike team. Names! Ranks! Now!
Hoffstetler: No names No ranks. They…They just clean.

Strickland: Zelda. The thing in the lab. Where is it?
Zelda: Where is what? I’m sorry, Sir. If I knew anything I would surely tell you.
Strickland: That story about Samson. I never told you how it ended. After the Philistines torture him and blind him. Samson asks God for the strength he needs And at the last minute, he is spared. And the Lord gives him his strength back. One last time. And he holds the columns of the temple with his powerful arms and crushes them. And he brings the whole building down on the Philistines. He dies. But he gets every single one of those motherfuckers. That is his will. Now, do you know what that particular story means? For us, Delilah?
[Zelda shakes her head]
Strickland: It means that if you know something you’re not telling me, you’re gonna tell me. Either. Either before or after… I bring this particular temple… down upon our heads.[/b]

Cue the Hollywood ending on steroids.

There’s no place like home. Really, given an avalanche of vicissitudes awaiting most in the course of living their lives from day to day, who wouldn’t want something to fall back on when the shit starts in on tumbling down on them.

Of course there are homes and there are homes. Some homes may actually be causing the avalanche. Or constitute significant chunks of the debris. So it always comes down to your own particular narrative emerging from your own particular experiences precipitating your own particular vicissitudes.

Some get lucky though. In the end, there really is no place like home for them. It just takes time for them to find that out.

Things just get all that more complicated when you are “artistically inclined”. And from the “wrong side of the tracks”. And attending a Catholic High School. In Sacramento.

In other words, she’s “rebellious” And a narcissist. Another rendition of “me against the world”. One, however, in which no one really takes the time to seriously explore this relationship from the perspective of, say, someone like me?

Anyway, home for her may not necessarily be what home is for you. And that’s well before we get to the part about deciding what a home ought to be.

As for Greta Gerwig…wasn’t she once the “it” girl at Sundance? The next Chloe Sevigny? I first saw her in Baghead above. And look at her now!

See if you can spot what’s left of the class struggle.

IMDb

[b]Greta Gerwig encouraged the actors to keep secrets about their characters from her.

Director Greta Gerwig said in an interview that she would have preferred the film to be “just close-ups of Saoirse Ronan’s face” because of her immense beauty.

Lady Bird temporarily broke the record held by Toy Story 2 (163 reviews, all “fresh”) of the best-reviewed movie of all time on Rotten Tomatoes, with 196 “fresh” reviews in a row. However, it ended up getting its first “rotten” review after counting 197, therefore no longer holding a perfect score. It maintains a 100% rating for Top Critics. [/b]

trivia at IMDb: imdb.com/title/tt4925292/tr … tt_trv_trv
at wiki: en.wikipedia.org/wiki/Lady_Bird_(film
trailer: youtu.be/cNi_HC839Wo

Lady Bird [2017]
Written and directed by Greta Gerwig

[b]Title card: Anyone who talks about California hedonism has never spent a Christmas in Sacramento. Joan Didion

Lady Bird: I wish I could live through something.
Marion [mother]: Aren’t you?
Lady Bird: The only exciting thing about 2002 is that it’s a palindrome.

Lady Bird: I don’t even want to go to school on this state anyway. I hate California. I want to go to the East Coast.
Marion: Your Dad and I will barely be able to afford in-state tuition.
Lady Bird: There are loans, scholarships!
Marion: Your brother, your very smart brother…he can’t even find a job.
Lady Bird: He and Shelley work. They have jobs.
Marion: They bag at the grocery store. That is not a career and they went to Berkley. Your father’s company is laying people off right and left. Did you even know that? No of course you don’t because you don’t think about anybody but yourself.

Lady Bird: I want to go where the culture is, like New York.
Marion: How in the world did I raise such a snob?
Lady Bird: Or at least Connecticut or New Hampshire. Where writers live in the woods.

Sister [to the class]: There are the classics: Saint Augustine, of course. Aquinas. My favorite, Kierkegaard. Wait until you hear his love story. It will make you swoon.

Lady Bird: Have a good day at work.
Larry [father]: Hey, I’m like Keith Richards: “I’m just happy to be anywhere.”

Danny: You live in the neighborhood?
Lady Bird: No, I’m from the wrong side of the tracks.
Danny: What?

Sister [to the kids dancing]: Six inches for the Holy Spirit!

Marion: This uniform is gonna look like trash on Monday! This isn’t right. We can’t treat our clothes like this. I don’t know what your wealthy friends do…
Lady Bird: Why do you care what I do to my clothes?
Marion: Our father does not have a job. He lost his job. Do you need him to come in here and explain that to you? Of course he probably wouldn’t anyway, he’s Mr. Nice Guy. And I always have to be the Bad Guy.
Lady Bird: Can we please talk about this tomorrow?
Marion: You can’t look like a rag because that makes us look like rags. And you want to know the truth? Here is the truth: some of your friends’ fathers could employ your father and they are not gonna do it if it looks like his family is trash.

Lady Bird: Hey, I think B.
Math teacher: I thought it was more like B- maybe even C+ territory.
Lady Bird: No, because I did really well on the last quiz…
Teacher: I seem to remember you doing only slightly better.
Lady Bird: It brought my average up to a B.
Teacher: Okay, B it is. It’s your honor.

Danny: Where is Lady Bird?
Jules: She’s with her new best friend.

Kyle: What you do is very baller, very anarchist.
Lady Bird: Yeah, fuck 'em.
Kyle: Don’t worry, I’m not gonna snitch on you.
Lady Bird: Well, I hope not, because I’d fucking kill your family.
Kyle [startled]: What?
Lady Bird: Sorry that was an exaggeration.
Kyle: It’s okay. My Dad has cancer. So, I guess God is doing that for us.

Kyle: You don’t have a cell phone?
Lady Bird: Nah.
Kyle: Good girl. The government didn’t have to put tracking devices on us, we bought them and put them on ourselves.
Lady Bird: I don’t own a tracking device.
Kyle: No, the cell phones. See? Yeah. I mean you’ll have one eventually. Everyone’s gonna have one. And then it’ll be a matter of time before.
Lady Bird: Before what?
Kyle: Before they put them in our brains.

Lady Bird: I’m not going to a fucking university that’s famous for it’s fucking agricultural school!!

Lady Bird: Is Dad depressed?
Marion: Why do you ask that?
Lady Bird: The pills…they have Dad’s name on them.
Marion: Dad’s been struggling with depression for years.
Lady Bird: I didn’t know that.
Marion: Money is not life’s report card.
Lady Bird: He’s depressed about money?
Martion: Being successful doesn’t mean anything in and of itself. It just means that you’re successful.
Lady Bird: Yeah, but then you’re successful.
Marion: But that doesn’t mean that you’re happy.
Lady Bird: But he is not happy.

Lady Bird: I have to get out of Sacramento.
Jenna: Why?
Lady Bird: Because it’s soul-killing. It’s the mid-west of California.
Jenna: Isn’t there a thing, like think globally, act locally.
Lady Bird: I feel that the person who said that didn’t live in Sacramento.

Casey: What did you say, ma’am?
Lady Bird: Nothing.
Casey: Please, share.
Lady Bird: I said just because something looks ugly doesn’t mean that it is morally wrong.
Casey: You think dead children aren’t morally wrong?
Lady Bird: No…I’m just saying that if you took close up pictures of my vagina while I was on my period it would be disturbing but it doesn’t make it wrong.
Casey: Excuse me?
Lady Bird: Listen, if your mother had had the abortion, we wouldn’t have to sit through this stupid assembly.

Marion: Do you have any idea what it cost to raise you? How much you’re just throwing away every day?
Lady Bird [with a pencil and pad]: Give me a number.
Marion: What?
Lady Bird: Give me a number.
Marion: I don’t understand.
Lady Bird: You give me a number for how much it cost to raise me, and I’m going to get older and make a lot of money and write you a check for what I owe you so that I never have to speak to you again.

Kyle: Yeah, I’ve probably slept with, like, six people?
Lady Bird: You don’t even know if it’s six people?
Kyle: I don’t keep a list.
Lady Bird: Why wouldn’t you keep a list? We’re in high school!
Kyke: Why are you getting so moody?
Lady Bird: You did say you were a virgin…I just had a whole experience that was wrong.
Kyke: Look, you’re deciding to be upset.
Lady Bird: No, I am upset.
Kyle: Because you’re deciding to be. Don’t be mad at me for this. That’s stupid. You can’t be mad at me for something I have no control over now.
Lady Bird: I just wanted it to be special.
Kyle: Why? You’re going to have so much un-special sex in your life.
Lady Bird: I was on top! Who the fuck is on top their first time?

Sister Sarah: I know it was you who did the Just Married thing. I’m not going to punish you.
Lady Bird: Oh…why not?
Sister Sarah: It was funny. Sister Gina and I drove all the way home before we noticed people were honking.
Lady Bird: Really?
Sister Sarah: To be fair, I wasn’t just married to Jesus. It’s been forty years…
Lady Bird: Well, he’s a lucky guy.

Marion: I just want you to be the very best version of yourself you can be.
Lady Bird: What if this is the best version?

Larry [to Marion]: It’s okay. She’ll be back. She’ll come back.

Larry [on the phone]: She was worried that there would be errors, or mistakes or something…that you’d judge her writing abilities.
Lady Bird: I wouldn’t do that.
Larry: I thought you should have them. I want you to know how much she loves you, but also don’t tell her I salvaged them, okay?
Lady Bird: Okay.

Lady Bird: Do you believe in God?
David: No.
Lady Bird: Why not?
David: It’s ridiculous.
Lady Bird: People call each other by names their parents made up for them but they won’t believe in God.

Lady Bird [leaving a message on the phone]: Hi Mom and Dad, it’s me. Christine. It’s the name you gave me. It’s a good one. Dad, this is more for mom. Hey Mom, did you feel emotional, the first time that you drove in Sacramento? I did and I wanted to tell you, but we weren’t really talking when it happened. All those bends I’ve known my whole life, and stores, and the whole thing. But I wanted to tell you. I love you. Thank you. I’m…Thank you.[/b]

God’s own country.

And what might that be? Well, I think we can all agree this depends on who you ask. For example, what might the folks in God’s own country be thinking about with respect to homosexuality? Is that in or out of it?

Lots and lots of different Gods to ask though, right? If only by way of those who worship and adore them.

Indeed, imagine some of the answers we might get from folks right here.

And then there’s the part about the “modern world”. Or, perhaps, a postmodern world. One in which any number of men like Johnny go about the business of living from day to day with little or nothing that is really meaningful in their lives. There is no center of gravity they feel anchored to. Nothing that makes their lives seem important and necessary and grounded in one or another overarching sense of reality.

Instead, they fill the days with one or another distraction – booze, drugs, casual sex. Doing the time in whatever way they manage to think up. And, thus, far, far, far removed from…tenderness? intimacy?

Then cue a meme that goes way back. The one that revolves around a deep and binding love in a deep and binding relationship. For some that can literally change everything. And this is basically the same for those of any particular sexual persuasion.

And here it all unfolds in a “rural setting” – a farm – where some things just get magnified all that much more.

Note: The characters in this film speak English. English however with a very thick accent. And there were no subtitles. I could barely follow them at times. In order to provide the dialogue below, I had to refer back time and again to the script at Springfield! Springfield!

Here: springfieldspringfield.co.u … wn-country

IMDb

[b]All scenes containing graphic images of animals are real and were shot on location at a real farm nearby the director’s childhood home, without using body doubles for the actors.

To prepare for their roles as farmers, the director made the two actors live and work in a farm for several weeks prior shooting the movie.

The Romanian character in the film is inspired by an actual romanian worker the director had met in the past and his experiences in dealing with racism while staying in the UK as an immigrant. The film is partly based on writer and director Francis Lee’s own life, where he also had to make a decision to either stay and work on his family’s farm or go off to drama school.[/b]

at wiki: en.wikipedia.org/wiki/God%27s_O … (2017_film
trailer: youtu.be/q1YAhyU6-tA

God’s Own Country [2017]
Written and directed by Francis Lee

[b]Deirdre [to Johnny]: You kept us up half the night, lad. And if you think I’m cleaning your sick up again you’ve got another think coming.

Trainee Auctioneer [who had just had John’s dick up his ass]: Hold up, mate. Alright? How’s you? Wanna get a pint or summat?
Johnny: No.
Trainee Auctioneer: Right. I just… You know, it were fun an’ that. I thought we might…
Johnny: We?
Trainee Auctioneer: Yeah.
Johnny: No.

Father [after blaming Johnny for the dead bull calf]: Thank God that lad’s on his way.
Johnny: Yeah, I could’ve managed. I have done so far.
Father: Yeah, course you have. Let’s all give you a round of applause, shall we?

Johnny: You half-Paki or summat?
Gheorghe: Pardon? Er, no, I am from Romania.
Johnny: Gypsy.
Gheorghe: Please don’t call me that.
Johnny: That door needs a shove. Don’t always close proper. Me Nan said to say come over and she’ll make you a bap and a brew when you’re set. I told you, didn’t I? Shitehole. Bet you wish you’d stayed in Romania.

Johnny: That’s what I love about folk like you. You fuck off to your posh colleges an’ that and swan back here on your holidays, thinking you know it all. Some of us just have to get on wi’ it, like.
Gloria: Alright. It’s just a night out.
Johnny: Aye, to you. I’ll tell me cows they can go without their teas shall I cos I’m off gallivanting around Bradford?
Gloria: You’d like my uni mates. They’re a laugh. One of them’s a real laugh.
Johnny: What do you mean by that?
Gloria: He’s nice. You’d like him. He’s funny. Remember? Like you used to be.
Johnny: Before I had to join the real world.
Gloria: You know what? Forget it. You can be a right pain in the arse, John Saxby. And not in a good way.

Johnny: I have a few pints on a night-time. So what? What else am I meant to do apart from work, like? There’s fuck all else going on round here, is there?
Father: I’d keep a lid on it if I were you.
Johnny: What’s wrong with just wanting a night out somewhere? Bradford or somewhere, I don’t know.
Father: Don’t talk daft.
Johnny: I’m not you, you know.
Father [angrily]: Who the hell do you think you’re talking to?!
Johnny: No one gives a flying fuck what I think. I’m just here to slog me guts out cos you’re fucking fucked.

Johnny: Get your arse into gear, gypo.
Gheorghe [pushing him to the ground, lying on top of him]: Do not call me that. I know what you’re doing. I will fuck with you. Do we understand each other?
[Johnny nods]
Gheorghe: Good. Now we can get on with the work. Yes?
Johnny: Yeah. [/b]

Shades of Brokeback Mountain

[b]Gheorghe [to Johnny]: It’s beautiful here. When I was a kid, I thought I would never leave my farm. It’s beautiful here, but lonely, no?

Johnny: What?
Gheorghe: Freak.
Johnny: Faggot.
Gheorghe: Fuck off.
Johnny [a smile creeping across his face]: Faggot.

Johnny: I can do that for you, Nan.
Deirdre: Are you sickening for summat?

Gheorghe [to Johnny]: I was thinking, I could stay a little longer. Until Martin is better. Just to help out.

Johnny: How do you say ‘farm’?
Gheorghe: Ferma.
Johnny: How do you say ‘sheep’?
Gheorghe: Oaie.
Johnny: How do you say…‘cock’?
Gheorghe: Cock.

Johnny: Gheorghe did eggs and that.
Deirdre: Did he?
Johnny: He’s a good lad. He’s gonna stay on for a bit.
Deirdre: Just so as you’re clear, he’s here to work.
Johnny: Yeah, I know.
Deirdre: Right. Just so you’re clear.
Johnny: I am.

Johnny: Will you go back?
Gheorghe: My country is dead. You can’t throw a rock in most towns without hitting an old lady crying for her children who have gone.
Johnny: I was thinking…I’m not sure what’s gonna happen now with our dad the way he is, but how would it be if you stayed on, like?
Gheorghe: I’ve told you, I can stay.
Johnny: Yeah. I guess I just mean for longer.

Deirdre [to Johnny]: He left. I’m guessing you had summat to do with it. So what are we gonna do now, clever clogs?
Johnny: We’ll manage.

Deirdre: You should get some rest, lad.
Johnny: I’m fine. I can cope.
Deirdre: You mean, like your dad did?

Johnny [to his father]: I’m sorry. I can’t do what you want me to. I can make this work but… the way that I want to do it, not you. I’ve got to go get him. I want to go and get him.

Deirdre [to Johnny]: You forgetting summat?

Johnny: I must’ve fallen asleep. I tried to stay awake, but I was dead tired, like.
Gheorghe: What are you doing here?
Johnnny: I wanted to see you.
Gheorghe: What is it?
Johnny: I got that antiseptic for the sheep. She’s doing a lot better.
Gheorghe: Good.
Johnny: I thought you’d be pleased.
Gheorghe: I’m pleased you’re helping the sheep.

Johnny: Why did you just leave?
[the look on Gheorghe’s face tells him why]
Gheorghe: You shouldn’t have come. I’m not the answer.
Johnny: Yeah. I know. But I needed to see you.
Gheorghe: And now you do.
Johnny: I thought if I could see you talk to you I could make things better. You know? Try at least.
Gheorghe: Is that it? Nothing else?
Johnny: I should…Yeah. OK. I’m trying to do this. Don’t you see? I’m…I’m trying to sort it out. And I’ve come all this way up here, on a coach and everything. And I want you to come back. With me. And I want us to be together. I don’t want to be a fuck-up anymore. I want to be with you. And that’s what I needed to say.
Gheorghe: You’re a freak.
Johnny: So are you.
Gheorghe: Faggot.
Johnny: Fuck off…faggot.[/b]

The “welfare state”.

Talk about conflicting goods. Few things are either embraced or loathed more than this particular political contraption. And how can everything not revolve here around your own particular experiences with it out in any one particular world?

This tale unfolds in modern day Britain. And we all know that a welfare state exists there. But what few of us will know is the extent to which there is a gap between what is portrayed in this film and what is likely to unfold “in reality” for the majority of those who do employ the welfare state there in the course of sustaining their lives from day to day.

Is it or is it not actually this “Kafkaesque”? Is this or is this not likely to happen?

After all, there is a liberal rendition of “the welfare state” and a conservative rendition. And, for the conservatives, the narrative generally falls along the lines of the individual being responsible for his or her own welfare. You are either able to manage on your own or you are not. And, if you can’t, it’s basically all your own damn fault. And, for some, it then becomes perfectly reasonable to hold those “on welfare” in contempt.

It all becomes entangled in one or another depiction of the “class struggle”. And, let’s face it, the global economy being what it is, the “welfare state” is [increasingly] being chipped away at year in and year out. Across the globe as it were.

At the heart of the matter is the realization that a bureaucracy revolves around a one-size-fits-all set of rules while each of us as individuals is embedded in our own very much unique set of circumstances. And here we have the bureaucrats from hell. That and the fact the state often does make qualifying for welfare a fucking nightmare for many.

As The Clash once put it of the British system:

“And number two
You have the right to food money
Providing of course
You don’t mind a little
Investigation, humiliation
And if you cross your fingers
Rehabilitation”

youtu.be/5lfInFVPkQs

Another film in which the characters speak English and yet following their conversations can often be an ordeal. Thank god for subtitles on this one.

IMDb

[b]The film was shot in chronological order. Lead actress Hayley Squires was not given the entire script to read before filming. She only was given fragments as accompanying scenes were shot.

At the Cannes premiere, Ken Loach and his team were greeted with a rapturous 15-minute standing ovation after the official screening of I, Daniel Blake (2016).

In the film Daniel is offered a drink from the water cooler in the Jobcentre. Water coolers were removed from jobcentres in 2010 as part of the Tory cuts.

Director Ken Loach is the oldest Palme d’Or winner ever. When he won on 22nd May 2016 for I, Daniel Blake (2016), he was 79 years old.

From the end credits: A very special thanks to workers within the DWP [Department for Work and Pensions] and PCS [Public and Commercial Services] Union who provided us with invaluable information but who must remain anonymous.

All the women who work for the public agencies have the same haircut: bangs with a mid length straight bob.

The woman helping Hayley Squires’ character, Katie, in the much-discussed food bank scene was not an actor - she worked in the food bank, and was not told what was going to happen in the scene.

The incident involving Katie at the foodbank really happened to a woman in Glasgow who Paul Laverty met while researching his script. [/b]

at wiki: en.wikipedia.org/wiki/I,_Daniel_Blake
trailer: youtu.be/ahWgxw9E_h4

I, Daniel Blake [2016]
Directed by Ken Loach

Amanda: Good morning, Mr Blake. My name’s Amanda. I’ve got a couple of questions here for you today to establish your eligibility for Employment Support Allowance. It won’t take up much of your time. Could I just ask firstly, can you walk more than 50 metres unassisted by any other person?
Daniel: Yes.
Amanda: Okay. Can you raise either arm as if to put something in your top pocket?
Daniel: I’ve filled this in already on your 52-page form.
Amanda: Yeah, I can see that you have but, unfortunately, I couldn’t make out what you had said there.
Daniel: Yes.
Amanda: Can you raise either arm to the top of your head as if you are putting on a hat?
Daniel: I’ve telt you, there’s nowt wrong with me arms and legs.
Amanda: Could you just answer the question, please.

And on and on and on.

[b]Daniel [to Amanda]: Listen, I’ve had a major heart attack. I nearly fell off the scaffolding. I wanna get back to work, too. Now, please, can we talk about me heart? Forget about me arse, that works a dream.

Daniel: When can I go back to work?
Doctor: Ah, not yet, that’s for certain.

Daniel [on the phone]: D’you know how long I’ve been on this phone? One hour, forty-eight minutes. Jesus Christ, that’s longer than a football match. It’ll cost a fortune.
Bureaucrat: I’m sorry, sir, but it’s been very busy.
Daniel: There must be some mistake. I’ve got a serious heart condition. I’m in rehab and the doctor’s told us I cannae go back to work. Now, I was getting the benefits fine until that bloody assessment.
Bureaucrat: I see you’ve only scored twelve points, er, and you need 15 to obtain benefits.
Daniel: Oh, points, that’s your game?
Bureaucrat: I’m sorry, sir, but according to our health, er, health care professional, you’ve been deemed fit for work.
Daniel: So she knows better than my doctor, a consultant surgeon and a physio team? Well, I wanna appeal.
Bureaucrat: Well, that’s fine, but you’ll have to first request a mandatory reconsideration.
Daniel: What the bloody hell does that mean?
Bureaucrat: It means the decision maker will reconsider it and if he comes to the same decision, you can then appeal.
Daniel: Right, well put us down for that, then.
Bureaucrat: Okay, sir, but you must wait to get a call from the decision maker.
Daniel: Why?
Bureaucrat: To tell you what the decision is.
Daniel: But that’s already been decided.
Bureaucrat: It is, but you’re supposed to get the call, before the letter.
Daniel: Well, is he gonna change his mind?
Bureaucrat: No, the call’s just to discuss the decision.
Daniel: Well, I know what the decision is, I’ve got the letter here in front of us. [/b]

And on and on and on.

Bureaucrat [at the government office]: If you’re ill, you have to apply for Employment and Support, get an assessment carried out.
Daniel: Well, I’ve done that but they’ve knocked us back.
Bureaucrat: Right, well if you’ve been deemed fit for work, your only option is Jobseeker’s Allowance. Or proceed with the appeal on Employment and Support.
Daniel: Well, can you give me a form for…You know, erm, Jobseeker’s Allowance and then an appeal form Employment and Support?
Bureaucrat: You have to apply online, sir.
Danieal: I cannot do that.
Bureaucrat: Well that’s how it is, sir. Or you can phone the helpline.
Daniel: Listen, you know, you give me a plot of land, I can build you a house. But I’ve never been anywhere near a computer.
Bureaucrat: D’you know what, we’re digital by default.
Daniel: Oh, here we gan. I hear this all the time on the phone, “I’m digital by default.” Well I’m pencil by default.

And on and on and on.

[b]Government worker [teaching Daniel to use the computer]: And, here we are. “Claim Jobseeker’s”. Okay? So double-click on that one. All right. And then we need to scroll right the way down here to continue. And that’s your, that’s your form there for you. So you need to run the mouse up the screen, click into there and pop your postcode in.
Daniel [takes the mouse and physically runs it up the screen]: Run the mouse up the screen, yeah? Okay. Yeah.
Woman: No. No, not quite like that.

Woman: What you need to do is get your cursor…
Daniel: “Your cursor”? It’s a fucking apt name for it.

Daniel [aloud to himself]: Oh, bloody hell. What’s this now? “Error”?

Daniel: This is driving me mental, this. I mean, what have I done now?
Man [trying to help him]: It’s frozen. Yeah.
Daniel: It’s frozen? Well…Well, can you defrost it?
Man: No, mate, I can’t.

China: Dan, don’t know why you’re applying for that after your heart attack. Right, now I’m printing your appeal form for Employment and Support Allowance. But you can’t appeal till they carry out a mandatory reconsideration.
Daniel: You mean, they could have given it to me just like that?
China: Dan, they’ll fuck you around, I’m warning you. Make it as miserable as possible. No accident. That’s the plan. I know dozens who have just given up.

Woman [on phone]: I have a note on the screen, sir, that you’re awaiting a call from the decision maker.
Daniel: Jesus, 55 minutes to hear all this again. Am I in a time warp?
Woman: You can’t proceed to the appeal or the mandatory reconsideration till you have the call from the decision maker.
Daniel: Well, can you ask him to phone us now, because I’ve got no income. I’ve got no pension and I’ve still got the bedroom tax.
Woman: I’ll make a note on my screen, sir.
Daniel: Well can you not give him the note now? You know, put it in his hand?
Woman: This is a call centre, sir.

Government employee: This is the Claimant Commitment form. You must commit yourself to spending 35 hours a week looking for work. Now that can be newspapers, agencies, and online via the Universal Job Match. You just fill in the details. But you must prove that you’ve done this as well, mind.
Daniel: Well I’ve been told by my doctor that I’m not supposed to go back to work yet.
Woman: Then you should apply for Employment and Support Allowance.
Daniel: I have, but I’ve been knocked back by some quack and now I’m trying to appeal.
Woman: Okay. Well that’s your choice, Mr Blake.
Daniel: No, it’s not my choice. I’ve got no other form of income.
Woman: Do you want to sign this or not? [/b]

And on and on and on.

Woman: Now can I have a look at your CV?
Daniel: “CV”?
Woman [holding up a phamphlet]: You still don’t get this, do you, Mr Blake? This is an agreement between you and the State.
Daniel: I’m desperate to go back to work.
Woman: If you’re desperate to get back to work…

And on and on and on.

Man [running the CV workshop]: Ten seconds. Ten short seconds. That’s how much a typical employer spends flipping through a CV. Fact. Sixty applications for every low-skilled job. Fact. For a skilled job, it’s twenty to one. Fact. Costa Coffee advertised eight jobs. D’you know how many applications they got from that? Over 1,300. Fact. So, what does that mean?
Daniel [to the man next to him]: We should all be drinking a lot more bloody coffee.
Speaker: Yeah, d’you wanna share that with us?
Daniel: I said, we should all be drinking a lot more bloody coffee then.
Speaker: This is serious business and people have only got one shot at this, all right?
Daniel: Well if you can count, it’s obvious. There’s not enough jobs. Fact.

CVs? Note: “In Britain the document that you use to apply for a job is called a CV. That stands for ‘curriculum vitae’, which in Latin means ‘(the) course of (my) life’. In America, this document is called a resumé, which is basically French for ‘a summary’.”

[b]Daisy: Mum, what’s going on?
Katie: It’s okay. It’s okay I’m just really hungry. Okay, don’t look at me.
Daniel: No, no, no, it’s okay, it’s okay. There’s no harm done.
Katie: I can’t cope, Dan. I feel like I’m going under.
Daniel: Look, you’ll get through this, darling. Katie, listen to me. This isn’t your fault. You’ve done amazing. Dumped up here, on your own with two kids. You’ve done nothing to be ashamed of.

Harry [on the phone]: Hi, Daniel, it’s Harry Edwards here. We spoke the other day at the garden centre when you came down and handed your CV. I tell you what, mate, I’ve been going through all the CVs I’ve had handed over the last couple of weeks. And I really like the look of yours. Erm, you’ve got the experience I’m looking for. I was wondering if you could possibly, er, pop by tomorrow and that for an interview?
Daniel: Oh… I’m really sorry, er, Mr Edwards, but, you know, er, my doctor’s told us I cannae come back to work yet.
Harry: So you’re not actually looking for work, then?
Daniel: Well, it’s hard to explain, you know.
Harry: So, well, what’s the point of handing in your CV if you’re not looking for work?
Daniel: Well it’s the only way I can get me benefits, you know?
Harry: “Benefits”? So you prefer to be on benefits than do a day’s graft? You know, I thought you were a genuine bloke. You know, I’ve spent a lot of time going through them all. I’ve… I was gonna put some graft your way. You’ve just wasted my time completely. Why don’t you just sod right off!
Daniel: Listen, that’s not…
[Harry hangs up]

Sheila [Government worker]: Well that’s not good enough, Mr Blake. And how do I know you’ve actually been in contact with all these employers?
Daniel: Well, I walked round the town. I gave out me CV by hand.
Sheila: Well, prove it.
Daniel: How?
Sheila: Well, did you get a receipt? Take a picture with your mobile?
Daniel: I give you my word that’s what I did.
Sheila: That’s not good enough, Mr Blake…I’m afraid I’m gonna have to refer you to a decision maker for a possible sanction for four weeks. Your payment will be frozen. You may be entitled to Hardship Allowance if you apply. Do you understand? And if you are sanctioned, you must continue to look for work and sign on. If you don’t, you may be sanctioned again. And it’s likely to be for thirteen weeks on the second occasion, and thereafter. And likely to be the maximum of up to three years. [/b]

Meanwhile, all the time he has been forbidden to return to work by his doctor!

Daisy: The girls at school are making fun of me.
Katie: Why are they making fun of you?
Daisy: My shoes fell apart.
Katie: Oh, did they? But we glued them back together. Mmm. They fell apart again? All right, we can get you a new pair of shoes.
Daisy: We don’t have the money.
Katie: Don’t you worry about that, we can get you a new pair of shoes.

How you might ask.

[b]Ivan [on the phone]: Hello?
Katie: Hello, is that Ivan?
Ivan: It is, yeah. Who’s that?
Katie: It’s, it’s Katie, the girl at the supermarket. You gave me…You gave me your phone number.
Ivan: Okay, I remember you.
Katie: Yeah, I was, erm…I was ringing about the work that you were talking about.

Katie [who in desparation has turned to prostitution]: Oh, no, Dan.
Daniel: Katie, you don’t need to do this.
Katie: You shouldn’t see me like this. I’m sorry…This is separate. Can you…You need to get out.
Daniel: Listen, I couldn’t speak to you in the flat, I need to speak to you now.
Katie: Dan, please, get out.
Daniel: Oh, Katie, please, I need to speak to you. I just wanna speak to you. Katie!
Katie: Dan, please, just go. Dan, please, I don’t want you here! Will you just go, please!
DanieL This is breaking my heart.
Katie: Dan, please, just leave me alone. I’ve got 300 quid in my pocket. I can buy the kids fresh fruit. If you can’t deal with it, I can’t see you any more. Listen, I’ve gotta go back inside. D’you understand? I don’t wanna speak to you any more. And don’t show me any more love. Cos you’re gonna break me, Dan.

Ann: I don’t understand. So what jobs have you actually applied for?
Daniel: It’s a monumental farce, isn’t it? You sitting there with your friendly name tag on your chest, Ann, opposite a sick man looking for nonexistent jobs, that I can’t take anyway. Wasting my time, employers’ time, your time. And all it does is humiliate me, grind me down. Or is that the point, to get my name off those computers?

Ann: Please listen to me, Dan. It’s a huge decision to come off JSA without any other income coming in. Look, it… It could be weeks before your appeal comes through. You see, there’s no time limit for a mandatory reconsideration. I’ve got a time limit. And you might not win. Please, just keep signing on. Get somebody to help you with the online job searches. Otherwise, you could lose everything. Please don’t do this. I’ve seen it before. Good people, honest people, on the street.
Daniel: Thank you, Ann. But when you lose your self-respect, you’re done for.

Daniel [with a can of black spray paint to the government buidling walls]: I DANIEL BLAKE DEMAND MY APPEAL DATE BEFORE I STARVE…AND THE SHITE MUSIC ON THE PHONES

Daisy [through the mail slot]: Dan. Dan! Come, I need to talk to you. We called you loads of times. Dan! Mum’s been so sad lately. Why don’t you speak to her? Don’t you have credit on the phone? I see you. We understand what happened to your heart. Mum spoke to one of your neighbours. We didn’t know about it. It’s cold out here. I’m freezing.
Daniel [from inside]: Please, Daisy, I’m not feeling very well.
Dasiy: I made you some couscous. And Dylan sent you his lollipop. He’s really missing you, too.
Daniel: Just go, Daisy, please.
Daisy: Can I ask you one question, Dan? Did you help us?
Daniel: I suppose so.
Daisy: So why can’t I help you?

Lawyer: Daniel, your appeal will be heard by a legally qualified chairperson and a doctor.
Daniel: Aye, fingers crossed. If I lose this appeal, I’m out on the streets.
Lawyer: Well, we’ve got some updated reports here from your GP, your own consultant and your physiotherapist. And they’re all furious. You’re gonna win this, Dan. I do this every week. Just be yourself, answer the questions and relax. I’m really confident.

Katie [in church after Daniel dies of a heart attack]: They call this a “pauper’s funeral” because it’s the cheapest slot, at 9:00. But Dan wasn’t a pauper to us. He gave us things that money can’t buy. When he died, I found this on him. He always used to write in pencil. Erm… And he wanted to read it at his appeal but he never got the chance to. And I swear that this lovely man, had so much more to give, and that the State drove him to an early grave. And this is what he wrote. “I am not a client, a customer, nor a service user. I am not a shirker, a scrounger, a beggar, nor a thief. I’m not a National Insurance Number or blip on a screen. I paid my dues, never a penny short, and proud to do so. I don’t tug the forelock, but look my neighbor in the eye and help him if I can. I don’t accept or seek charity. My name is Daniel Blake. I am a man, not a dog. As such, I demand my rights. I demand you treat me with respect. I, Daniel Blake, am a citizen, nothing more and nothing less.” Thank you.[/b]

Molly’s game is poker. And her game attracted any number of celebrities, high rollers and corporate executives. And then, over time, this attracted the Russian mob.

And we know all this because Molly’s game is based on a true story. Molly Bloom’s story: en.wikipedia.org/wiki/Molly_Bloom_(author

A rather extraordinary life to say the least.

Anyway, Molly’s game was eventually busted by the FBI. Why? Because, along with the Russian mob, gambling itself is construed by different people in different ways. And while in some parts of the world it is all perfectly legal, in other parts it’s not. Even within any particular country there conflicting jurisdictions.

And the laws here are often all over the board. What exactly can you do and what exactly can’t you do? Even the lawyers themselves can be flummoxed at times.

Anyway, gambling it seems is a pursuit that some take to in a big, big way. It can take over their life. It can steer it in any number of ominous directions. It can even destroy it. Whereas, for folks like me, I don’t get it. I’ve never been attracted to it all. And I really don’t understand the mentality of those who are. And I’m not alone:

Jessica Chastain knows very little about gambling and has no interest in it. IMDb

And then the part where gambling gets intertwined in a post modern technology the authorities now have access to. Who really knows what information can be garnered from what device.

A lot of narrating here. And while some will find it annoying, I rather enjoyed it. Not much you won’t learn about the world of high-stakes poker. And, as with other worlds of this sort, there are a lot of things that most of us don’t really know at all. On the other hand, as a few reviewers point out, the movie is really just a “dumbed down” version of the book.

IMDb

[b]Molly Bloom is banned from Canada because she pleaded guilty to a federal crime in the United States. She was granted a 48-hour pass to visit Canada for the movie’s premiere at TIFF. Ironically, the film was shot in Canada.

According to Molly Bloom, the most money she’d ever seen lost in a card game session in one night was $100 million. The losing player settled the debt the following day.

All of the extras in the card games are professional poker players. First-time director Aaron Sorkin wanted realism, right down to the way players handled cards during games.

The amount of money that the FBI took from Molly, and the fine she paid, was substantially larger in the movie.[/b]

trivia at IMDb: imdb.com/title/tt4209788/tr … tt_trv_trv
at wiki: youtu.be/Vu4UPet8Nyc
trailer: youtu.be/Vu4UPet8Nyc

Molly’s Game [2017]
Written and directed by Aaron Sorkin

[b]Molly [voiceover]: A survey was taken a few years ago that asked 300 professionals one question: “What’s the worst thing that can happen in sports?” Some people answered losing a Game 7. And other people said getting swept in four. Some people said it was missing the World Cup. But one person answered that the worst thing that can happen in sports was fourth place at the Olympics. This is a true story, but except for my own, I’ve changed all the names and I’ve done my best to obscure identities for reasons that’ll become clear.

Molly [voiceover]: I have a BA in Political Science from the University of Colorado where I graduated Summa Cum Laude with a 3.9 GPA. The median L-SAT score at Harvard Law School is 169. My score: 173.

Molly [voiceover]: When I was 12 years old, for no particular reason, my back exploded. Less than ten minutes later, I was in the back of an ambulance. I had what’s called rapid onset scoliosis. My spine was curved at 63 degrees and I’d need a 7-hour surgical procedure that involved straightening my spine, extracting bone from my hip, fusing 11 vertebrae together and fastening steel rods to the fused segments.

Molly [voiceover]: My boots are basically welded to my skis. Right…so how does this happen? It happened because I hit a pine bough that had become frozen in the snow. And I hit it so precisely that it simply snapped the release of my bindings. Right in that moment, I didn’t have time to calculate the odds of that happening because I was about to land pretty hard on my digitally remastered spinal cord which is being held together by spare parts from an Erector Set…None of this has anything to do with poker. I’m only mentioning it because I wanted to say to whoever answered that the worst thing that could happen in sports was fourth place at the Olympics…seriously, fuck you.

Larry [Molly’s father interviewing her as a child]: Who are the heroes or heroines in your life? Who uh, who do you really respect?
Molly: I don’t have any heroes.
Larry: You don’t have any heroes.
Molly [voicover]: How’s this for hubris? I don’t. Because if I reach the goals I’d set out for myself, then the person I become, that’ll be my hero. Even by teenage girl standards, I would appear to be irrationally angry at nothing in particular. It would be another 22 years before I’d find out why.

Molly [voiceover]: Like I said, the day started by being about bagels. But that would abruptly change.
Dean: My weekly poker game’s moved to the Cobra Lounge. Tomorrow night and then every Tuesday night. You’ll help run it. Take these names and numbers. Tell 'em to bring 10 grand in cash for the first buy-in, the blinds are 50-100.

Molly [voiceover]: I’d regarded Dean as a nitwit when I regarded him at all. But on that pad were nine names along with phone numbers of some of the most wealthiest and most famous people in the world.

Molly [voiceover]: I’d just finished counting out $90,000 in cash. I was in a room with movie stars, directors, rappers, boxers. They were going all-in all the time, burning through their buy-ins over and over. I Googled every word I heard that I didn’t know. Flop, river, fourth street, tilt, cooler, boat, nuts…

Charlie [a lawyer]: I read your indictment after I got your call last night and I bought your book. I’m only on page 112, but Molly, did you commit a felony and then write a book about it?
Molly: I haven’t run a game in two years. Not to spoil the ending, but that’s when the government raided my game and took all of my money, assuming all of it was made illegally which it wasn’t.

Charlie: Have you seen the other names in your indictment? Nicolas Koslovsky, Peter Druzhinsky, Peter Antonovich, the Gershen brothers, I mean, come on, Molly, just how deep into the Russian mob were you? Because your book doesn’t say.

Molly: I’ve never hurt anyone in my life.
Charlie: Your friends have.
Molly: I’ve never heard of 90 percent of the names in the indictment.
Charlie: And the other 10 percent?
Molly: I didn’t know they were connected. I had no idea who they really were.

Charlie [to Molly]: We regularly lend out our best litigators like me to the ACLU, Southern Poverty Law Center, veterans groups, but I don’t think I can convince my partners to take a flyer on the Poker Princess.

Molly [voiceover]: The game had regulars and the game had guests. And four of the regulars were famous actors. And I’m gonna call one of them Player X. Player X subscribed to the belief that money won was twice as good as money earned. He lived to beat people and take their money.

Molly [voiceover]: Player X was the best player at the table and tonight this guy was the worst. He’s staring at his cards. Even a reasonably good amateur would know it was mathematically the best hand which in poker is called the nuts. There was $47,000 in the pot and the guest was holding the nuts but he was starting to get confused because a movie star was talking to him.

Molly [voiceover]: A fish is a particular kind of player. A fish has money. A fish plays loose and doesn’t fold a lot. A fish is good but not too good.

Molly [voiceover]: My job security was gonna depend on bringing Player X his fish. But where would I find people with a lot of money who didn’t know how to spend it and liked to be around celebrities?

Molly [voiceover]: Poker was my Trojan horse into the highest level of finance, technology, politics, entertainment, art. All I had to do was listen.

Charlie: You extended credit. You’re destitute and you leave two and a half million dollars on the street?
Molly: I had to.
Charlie: Didn’t anyone try to buy your debt sheet?
Molly: Everyone tried to buy my debt sheet, is this the right time…?
Charlie: Why didn’t you sell it like you sold your clothes?
Molly: I couldn’t.
Charlie: Why?
Molly: I couldn’t be sure how they were gonna collect.
Charlie: I was afraid you were gonna say that.

Molly [voiceover]: There was a track star in the 1930’s named Matthew Robinson. Matthew Robinson shattered the Olympic record in the 200 at the Berlin Games in 1936. Absolutely shattered the Olympic record…and came in second. The man who came in first was Jesse Owens. Jesse Owens went on to be a legend. Matthew Robinson went on to be a janitor at a whites-only middle school in Pasadena. The difference was four-tenths of a second. As if that wasn’t enough, Matthew Robinson had a little brother who was also an athlete. His name was Jackie.

Larry: What did everyone learn in school today?
Molly [as a highschooler]: Uh, I learned that Sigmund Freud was both a misogynist and an idiot and anyone who relies on his theories of human psychology is a quack.
Larry: I don’t know why you’d say that.
Molly: You asked me what I learned in school today.
Larry: Is this Mrs. Linwood?
Molly: Yep.
Larry: Did she happen to mention anything about his work on the unconscious mind?
Molly: His dream analysis has the credibility of a horoscope, but what got my attention was that he opposed the women’s emancipation movement. He believed that a woman’s life is about her reproductive function.
Larry: So you’re really getting to the nuts and bolts of why middle-class suburban white girls have been oppressed for centuries.
Molly: Mrs. Linwood was just teaching us…
Larry: Barbara Linwood doesn’t like men, Molly.
Molly: She doesn’t like dicks, Dad, there’s a difference.

Dean: Is he cheating?
Molly: No.
Dean: How would you know?
Molly: I’d know.
Dean: He and Diego aren’t in bed together?
Molly: No.
Dean: What about him and you?
Molly: A 52 card deck produces hundreds of millions of random patterns but every time one of you loses two weeks in a row, you’re sure something fishy’s going on?

Molly: You’re gonna stop paying me to do that job because I’m making too much money doing my second job and if I say no I’ll lose both jobs because “it doesn’t seem fair”?
Dean: Business is bad right now. Welcome to the real world.
Molly: All right, here it is. Banks are loaning you money and they shouldn’t. You’re a bad risk, they know it. So the debt service on your loans is close to 20 percent which is crazy. 20 percent is barely survivable if it’s a bridge loan but like, for instance, it’s taken you ten years to build seven houses, all of which are worth less than they were before you built them because the housing market is on a downward trajectory for the first time in the history of houses and that’s why business is doing bad, not because you’re paying me $450 a week.

Player: Where’s Dean?
Molly: I’ll be hosting a game in this suite every Tuesday night. If you play tonight, you’ll be guaranteed a chair for a year. If you prefer to play at the Cobra Lounge, there’ll be no hard feelings.

Molly [voiceover]: The game was mine now.

Lawyer: Are you taking a rake?
Molly: No.
Lawyer: Then you’re not breaking the law. Can I give you some advice?
Molly: Please.
Lawyer: There’s a saying in my business. Don’t break the law when you’re breaking the law. Molly: What do you mean?
Lawyer: No drugs, no prostitutes, no muscle to collect debts.
Molly: Oh, I don’t do anything like that. But you just said I wasn’t breaking the law.
Lawyer: Keep it that way, because you don’t want to break the law when you’re breaking the law.
Molly: Am I breaking the law?
Lawyer: Not really.
Molly: We’re able to find out for sure, aren’t we? Laws are written down.
Lawyer: You’re not taking a percentage of the pot?
Molly: No.
Lawyer: You’re running a square game.

Player X: Are you fuckin’ nuts? Donnie Silverman won the World Series of Poker.
Molly: You can watch it online. He took 11 hands at the final table. But he had the nuts on eight of them. And three of those…three were two-outers with four players still in the hand. He ran hot. He doesn’t lock his chips down, he’s reckless, he gives tons of action, and he’s got 12 million dollars.
Player X: You know, I don’t like playing poker.
Molly: Why do you play?
Player X: I like destroying lives. Give him a chair.

Molly [voiceover]: Bad Brad had raised 700 million dollars for a fund that traded oil futures. And every week, he came to the game. Lost $100,000 and tipped me $5,000 so he could play the next week. He wasn’t getting any better. And the guys were feasting on him.
Brad: Can I get another fifty?
Molly: Can we talk for a second?
Brad: Sure.
Molly: Brad, this game might not be for you.

Molly [voiceover]But first…Harlan Eustice. Player X said he met Harlan at the Commerce Casino and that he’d be good for the game but I wasn’t seeing what he was seeing. He played tight, folding after the hole cards 64 percent of the time. It wasn’t clear where his money came from. He produced backyard wrestling videos and other low-rent productions. But worst of all, Harlan Eustice was a good card player. Why would Player X want someone at the game who could beat him? I’d learn the answer to that one the hard way.

Charlie: This is the Russian mafia. And the three are tied together in the indictment through… A poker game.
Molly: Were they tapping my phones?
Charlie: No.
Molly: Thank God.
Charlie: They were tapping the phones of everyone you talked to. They’ve got you confirming that you ran rake games at the Plaza Hotel and various locations in New York. They’ve also got a confidential informant confirming that you ran raked games at the Plaza Hotel and various locations in New York. You were in violation of 1955, which is the part of the U.S. Code that makes it illegal to run an illegal gambling business. You know what you did? You finished writing a book before the good part happened.

Charlie: I need your hard drives.
Molly: Going back how far?
Charlie: What do you mean?
Molly: Well, I kept my hard drives when I’d buy a new laptop.
Charlie: You’re kidding.
Molly: No, it had a record of who owed what and spreadsheets on the players.
Charlie: It has more than that. Every time you charge your phone by plugging it into the computer, the computer takes a record of all your text messages and e-mails.
Molly: My laptop has a record of all text messages and e-mails received years ago on phones that have been smashed with an aluminum bat?

Charlie: I want to run forensic imaging on your hard drives.
Molly: Oh, no, thanks anyway, but I’ll be destroying those hard drives.
Charlie: Well, you can’t do that, they’re evidence.
Molly: Well, I’m gonna blow 'em up, I am literally gonna use explosives and scatter the remains in the sea.
Charlie: Except you told me they exist.
Molly: You’re gonna have to pretend I didn’t tell you.
Charlie: Can’t do that.
Molly: Yes, you can.
Charlie: You were the one who wanted a lawyer that wasn’t even a little bit shady.
Molly: New information has come to light, now I see that that was stupid. There are no hard drives.
Charlie: If you destroy evidence and obstruct justice on top of the charges already brought against you in this case, you will be, I promise, incarcerated.
Molly: You don’t understand what’s in those text messages.
Charlie: I understand you’ve had boyfriends and there’ll be some exchanges that are a little bit, you know, embarrassing.
Molly: I don’t care about embarrassing text messages from boyfriends as there’s not left a small corner of my private life that isn’t available for public scrutiny. There are messages that would destroy other lives. There are messages that would end careers and obliterate families. f those text messages were to be made public,
Charlie: They won’t be.
Molly: If they were…
Charlie: They won’t be.
Molly: …it would be catastrophic for many people.
Charlie: I’m a lawyer. I’m legally…listen to me…I am legally prohibited from disclosing anything…
Molly: Someone leaked my last deposition to the National Enquirer, Charlie.

Molly [after Charlie tooses her his phone]: What is this for?
Charlie: It’s got every text message and e-mail I sent in the last year as well as a variety of incriminating evidence about my clients. Now, if anything of yours gets leaked, you can sell my phone to the highest bidder and I’ll lose my job and get disbarred.
Molly: So, in order to demonstrate the sanctity of your attorney/client confidentiality, you’re betraying the confidentiality of all your other clients.
Charlie: I know you’re not gonna look at it.
Molly: How do you know?
Charlie: I don’t know.

Molly [voiceover]: I liked Harlan. But nobody else like him except Player X. He played tight, didn’t give a lot of action and always got his money in good which means he was running the odds. In other words, he was playing poker and the others were gambling. And he won. By midnight, Harlan had tripled his original $50,000 buy-in but everything came off the rails with one hand. And that’s how it happens. That’s how you go full tilt. Harlan, the best player at the table, the best player at most tables, was about to get bluffed off the win by, of all people, Bad Brad. How? Because Harlan had never played with Brad before and didn’t know yet that Brad was bad. Harlan’s got a boat, nine’s full. Brad’s got nothing but his pre-flop betting made it look, entirely accidentally, like there was a chance he had pocket kings, which, if true, would give him the better full house. Brad’s counting off 20 thousand which means he’s gonna call and Harlan knows that if Brad’s gonna call and not raise it means he didn’t have the boat and he’s betting a high two-pair, probably kings and queens. But then instead of calling the bet, Brad pushes 72 thousand dollars into the pot. Harlan looks a Brad. Every tell Harlan knows about, carotid artery pumping, stiff hands, Brad’s doing the opposite. Brad’s betting had represented a huge hand by calling on the flop, check-raising the turn and bombing the river. Of course, Harlan didn’t know that Brad didn’t know what any of that meant. So Harlan, always a good sport, said, Nice bet. I’m laying this down. As he tossed in what he didn’t realize was the winning hand. Brad tosses in his cards too and one of them flips over and Harlan sees…
Harlan: You didn’t have pocket kings?
Brad: I didn’t have any kings. Except the one in the middle.
Harlan: You had two pair?
Brad: I had one pair, the nines in the middle.

Molly: You’re on tilt. Everybody knows it. You’re playing without the weapons you need to win.
Harlan: You’re right. Just give me 500,000. I just gotta get back to even.
Molly [voiceover]: That should be the second line of every gambler’s obit. “Mr. Feldstein died while trying to get back to even.” Harlan never did.[/b]

You can say that again.

[b]Player X: I think we should talk about capping your tips.
Molly: You want to get together with the other players, who on my tax return are called clients, and discuss putting a ceiling on my wages?
Player X: That’s right.
Molly [voiceover]: Right there, right then, that fast, I lost the game. It was the next Tuesday, game night. He waited until he knew I’d be on the way to the hotel and then sent me a text. It said, “We’re playing at Dave’s tonight. No need to show up.” And I knew the truth even before I answered the call that came next.
Player X [on the phone to Molly]: You are so fucked.

Molly: I’m refusing you permission to seek a minor role reduction. I’m refusing you permission to invalidate my entire career. I built a successful…
Charlie: Hey, do you want kids? You interested in having a family?
Molly: Very much.
Charlie: I don’t get you some point reductions and the sentencing recommendation guidelines say 8 to 12 years and that’s before they try to jam you up more for money laundering.
Molly: Money laundering? Are you…
Charlie: The moment you changed the Russians’ money for chips.
Molly: I would’ve had to have been aware where the money was…
Charlie: Find me 12 men and women who’ll believe that you weren’t aware of exactly who was sitting at your table and where their money came from. So, that’s it. You were a cocktail waitress.

Molly [voiceover]: When I lost the L.A. game, I told myself it was no big deal. It was just supposed to be an adventure and a way to meet influential people. And I’d saved over $200,000. But that was just a weak firewall I’d hastily built to keep out the humiliation and depression I knew was coming. It had to end sometime. I just thought it would be on my time. The game had given me an identity, respect, and a defined place in a world that was inaccessible and in one irrational heartbeat it was taken away. I was irrelevant and forgotten overnight. It’d been two weeks since I lost the game and I made an appointment to see someone because now the humiliation and depression had given way to blinding anger at my powerlessness over the unfair whims of men. It was that there weren’t any rules. These power moves weren’t framed by right and wrong, just ego and vanity. Selfish whims with no regard for consequence. No fairness, no justice. And that giggling, cackling call from Player X. You are so fucked. I couldn’t lose to that green-screened little shit and I didn’t want a therapist to make me feel okay about it. You know what makes me feel okay about losing? Winning. I got on a plane to New York.

Molly [voiceover]: Wall Street, Madison Avenue, Fifth Avenue, the Dakota, the San Remo… the players were here, I just had to bait the hook. This time, I didn’t have movie stars. This time, I used Playboy Playmates.

Molly [voiceover]: We couldn’t promise anyone they’d rub elbows with movie stars. But New York has one thing Hollywood doesn’t. The Yankees. And there was one Yankee in particular that every man in America would line up to lose to.

Molly [voiceover]: It took only seven weeks of recruiting to get ten players and seven on a waiting list. And in these circles, that was more than enough to start the mythology. By morning, gamblers would be telling and hearing stories about this game in London, Tokyo, and Dubai. All in. At the end of that year, I reported an income of four million, seven hundred and seventy-three thousand dollars. Every square inch of it legal and on the books. I was the biggest game runner in the world. All tips. I still hadn’t taken a rake. And I still hadn’t accidentally recruited members of a Russian crime syndicate.

Molly [voiceover]: Casinos had discovered that certain scents make people more likely to place big bets. The casinos pump those scents in through the ventilation. I had custom candles made.

B: Your exposure’s crazy. It’s not if, it’s when. You’re gonna get blown up. Your risk is nuts.
Molly: If I took a rake, this game would no longer be legal.
B: And if you can’t cover, this game will no longer exist. You’re the bank now. You’re guaranteeing the game.

Molly [voiceover]: There was now 3 million dfollars on the table. B was right, I was extending credit, big numbers. And it’s not like Harlan Eustice hadn’t already put the fear of God into me. If I couldn’t pay, one time, that’d be the end of the game. I was the house. That’s how quickly I made the decision. And just as quickly, B calculated two percent of the pot and took it off the table. That was it. I’d just taken a rake, in violation of U.S. Criminal Code 1955.[/b]

Cue the Russians?

[b]Molly [voiceover]: People have asked, “Wasn’t there any way to tell that some of the players at your game are connected to one of the darkest, deadliest, and far-reaching organized crime syndicates in the world?” No. There wasn’t.

Charlie: The government is expressing an interest in you being a cooperating witness.
Molly: You don’t say. Who could have possibly seen that coming? Let’s have the conversation. It’ll be short because I don’t know anything at all that can help them.
Charlie: You don’t know anything that can help them convict the Russians but you know things that can help them.
Molly: Did you know that 97 percent of federal cases never make it to trial? Even though the chances of being convicted at trial is a little more than one in a hundred.
Charlie: If you want to go to trial, that’s fine but it’s gonna cost you in the area of three and a half million dollars.
Molly: Which the Justice Department knows I don’t have because they took all of my money in a civil forfeiture which they can do without a warrant because my property doesn’t have a presumption of innocence. Then after I’m arrested by 17 agents holding automatic weapons, totally necessary and not at all meant to intimidate me, I’m given two days to hire a lawyer and appear in a courtroom on the other side of the country.
Charlie: If you are saying that everything that happens from the moment you are arrested is designed to persuade you to plead guilty, you are correct.

Charlie: So, to be clear, you’re not interested in entering a cooperation agreement with the prosecutors.
Molly: If I had testimony that would lead to the conviction of a bad guy, no one would have to coerce me into cooperating. But I don’t. I have dirt. I have dish. I have gossip. So my value to the prosecution is exactly the same as it is to Hollywood. I’m here to ensure the New York Post covers the trial. I’m here to sell tickets.

Molly [voiceover]: I felt like I was in a hole so deep, I could go fracking. It didn’t feel like depression, it felt more violent. I was tired of living in the frat house I’d built for degenerates. I was tired of the greed-- mine, not theirs. Everybody’s. I was sick of being high all the time. I was sick of living in the gray area. I couldn’t recognize myself and what I recognized, I couldn’t stand.

Russian mob thug [to Molly after beating her up]: It wasn’t an offer they made. It wasn’t a suggestion. This’ll be your only reminder.

Molly [voiceover]: I couldn’t call a doctor or go to an E.R. They’d take one look at me and call the police. My eyes were swollen and black. my lips were cut and bloody. I couldn’t feel my face.

Charlie [to the prosecutors]: This woman does not belong in a RICO indictment. Are you out of your minds?! She does not belong in a mob indictment, she raked a game, that’s it, for seven months two years ago! And why? Because she was giving credit in the millions and she didn’t want to use muscle to collect. She has had opportunity after opportunity to greatly benefit herself by just telling the real stories that she knows. Okay? I have the forensic imaging going back to 2007. And I’m talking about text messages, e-mails, movie stars, rock stars, athletes, billionaires, all explicit, some married with kids, and that’s just the tip of the iceberg. What about the guy who comes this close to being the U.S. Ambassador to Monaco? He’s withdrawn from consideration at the last minute. No one knows why. She does. CEOs with college-age mistresses, an SVP of an investment bank who wanted Molly to put a marked deck in a game, the head of a movie studio who texted her that a particular star was too black for his liking, I mean, J. Edgar Hoover didn’t have this much shit on Bobby! You know, she could’ve written a bestseller and been set for life, easy, she’s got the…she’s got the winning lottery ticket and she won’t cash it. Your office took every dollar she has in a constitutionally fucked up seizure and then put the IRS on her to tax what you seized? I mean, I’ve been in those strategy meetings. You broke her back so she couldn’t possibly afford to defend herself. And now she has an opportunity to guarantee her freedom by “providing color” and she still won’t do it. This woman doesn’t belong in a RICO indictment, she belongs in a box of Wheaties. So, yes, Harrison, I am imploring you to do the right thing. She knows nothing about the three Petes. Nothing about Rachniana. Nothing about RGO or insurance fraud. Between the two of us, we’ve appeared in front of this judge 28 times as prosecutors and not once has he deviated from our sentencing recommendations, he’s not gonna start now. I know you’ve been putting this bust together for three years and there’s no one who doesn’t want to see mobsters go to jail including and especially the one person in the room who’s had one of them put a gun in her mouth. Probation. Community service. Or better yet, just consider that all she did is run a poker game exactly the same way every casino in America does and drop the goddamn charges.

Larry [to Molly]: You tripped over a stick. Okay? Twelve years ago you tripped over a stick. It was a one-in-a-million thing. You tripped over a stick. That’s what you did wrong.

Charlie: There’s a new offer on the table. We hand over the hard drives. We hand over the forensic imaging of the e-mails and texts in exchange for uh…
Molly: What could they possibly offer for me to do that?
Charlie: Your money back. They’ll give you all your money back plus interest. It’s over 5 million dollars.
Molly: Is that why they took it in the first place? So they could offer it back to me?
Charlie: Yeah. For what it’s worth, if we went to trial you’d have to hand over the forensic imaging in discovery.
Molly: But that’s different from voluntarily handing it over.
Charlie: Sure, but it’s not really voluntary anymore when the alternative is prison. And that’s what they’re gonna recommend, 42 months.
Molly: Why do you keep breaking eye contact with me?
Charlie: I-I’m looking right at you.
Molly: You think I should do it.
Charlie: You gotta let me keep you out of prison.
Molly: You’ve seen what’s on those hard drives.
Charlie: Yeah. Yeah. It’s a lot more than a little color. Yeah, but complete immunity. All right? You get all your money back. You’ll be the first defendant to walk out of a courtroom better off than when you walked in.
Molly: Careers will be ruined. Families. Wives, lives on both coasts…
Charlie: Hey, when a rich guy goes to jail he spreads his money around. His-his lawyer knows how to take care of that. He spreads his money around. You don’t have any! The composition of female inmates in federal prison…they did not commit financial crimes. They’re drug dealers. They get raped by prison guards. You…you will not be anonymous, Molly. You will be a target!
Molly: Children will read their father’s text messages saying he wished he’d never had kids. Charlie: These guys…These guys, where are they? Why are you in this alone? Where are your friends? Where is the one guy saying, “Hey, you know, Molly, I know you’re doing everything to save my life, what can I do for you? Let me buy you a sandwich. Where are they, Molly?” You kept their secrets. Where are the people you’re protecting by not telling the whole story in the book, by settling the Brad Marion suit, by not taking five million dollars of your own money, by going to jail? Where did everybody go?![/b]

She doesn’t buy it. Why? To protect her good name.

[b]Judge: Understanding everything you’ve been told, do you now wish to enter a plea?
Molly: Yes, sir.
Judge: How do you plead to the charge?
Molly: Guilty, Your Honor.

Molly [voiceover]: And then something happened.

Judge: Would the defendant please rise for sentencing.
[Molly stands]
Judge: Based on all available information, this court manifestly disagrees with the government’s sentencing recommendation. This courthouse is located within spitting distance of Wall Street. I know this from my personal experience trying to spit at it. The men and women who work there will commit more serious crimes by lunchtime today than the defendant has committed in this indictment. I simply don’t see how either the people or the cause of justice are served by locking Molly Bloom in prison…Ms. Bloom, this court sentences you to two hundred hours of community service, one year of supervised probation, drug testing and a two hundred thousand dollar fine. This case is adjourned.

Molly [voiceover]: And that was that. It was crying and hugging, jokes from my brothers. Tough talk about how no one messes with the Blooms and level-headed talk about Christmas miracles. Steaks and beer bought by my father and full reenactments. And in the middle of it all, as grateful as you are, the reality starts creeping toward you like the tide. And that’s the first time you have the thought… “What do I do now?”

Molly [voiceover]: I’m a felon. I’m 35 years old, unemployed, and pled guilty in a mob indictment. I owe the government close to two million dollars in taxes assessed on the civil forfeiture plus the two hundred thousand dollar fine. And you better believe they’re gonna come get it. I have a quarter of a million dollars in legal bills. I don’t know what I’d say in a job interview, or if I’ll ever be given a job interview. And for some reason, I’m not allowed to go to Canada.

Molly [voiceover]: Did anything good come of this? Not really. But I learned something encouraging. I’m very hard to kill. Winston Churchill defined success as The ability to move from failure to failure with no loss of enthusiasm. So, I guess I’m pot-committed. [/b]

What seems like centuries ago, I toyed with the idea of becoming a “Maoist”. So, as a consequence, I was ever keen on figuring out how life actually did unfold for “the ordinary people” who were embedded both historically and existentially in the revolutionary upheals unfolding in China back then.

Well, as they say, that’s all over. China today [politically] may well still basically be in the hands of an autocratic few, but the economy [like the social interactions] is anything but what it once was “back then”.

It appears that the “cultural revolution” has given way [almost unimaginably] to a rendition of “state capitalism” that some argue will soon become the dominant economy around the globe.

So, naturally, I’m curious once again to understand what life might be like for the “ordinary people” now that these enormous changes continue to reconfigure what I once thought was into what I think might be now.

In Old Stone, “a Chinese taxi driver finds himself plunged into a Kafkaesque nightmare where no good deed goes unpunished…in a society rife with bone-chilling callousness and bureaucratic indifference.”

On the other hand, as with Daniel Blake’s travail in England above, is the ordeal endured by Lao Shi in China basically a snapshop of the world to come for all of us? Is this the path we are all headed down? And how typical is this sort of thing in modern day China?

Stil, as with Daniel Blake, in turn, it’s just a single snapshot of a particular narrative revolving around a particular context. So, by and large, we will generally take out of it only that which we first put into it: our own unique sense of reality.

Here’s how one reviewer [Manohla Dargis] reacted:

His first mistake is reporting the accident; his second is trying to help the bleeding victim instead of splitting. No good deed goes unpunished in this vision of contemporary China, a dog-eat-dog world in which the strong don’t just consume the weak, they also suck the marrow out of every last bone.

What else is there until someone is able to tell us definitively that which all “rational and virtuous” men and women are obligated to think and to feel.

Until then, we’re on our own.

This is basically the story of an honest and decent man who tumbles down into a set of circumstances that reconfigures him into something altogether different. Then it’s only a matter of asking yourself, “what would I have done?”

And this is also a world in which, yet again, as with Daniel Blake above, Lao Shi’s own unique set of circumstances [as a teeny tiny individual] get dumped into a labyrinthian procession of one or another official “procedures”.

at wiki: en.wikipedia.org/wiki/Old_Stone
trailer: youtu.be/1CGfmjazFz4

Old Stone [Lao Shi] 2016
Written and directed by Johnny Ma

[b]Doctor: We need to get him registered first so we can perform surgury. The cashier is over there.
Lao Shi: But isn’t this covered by insurance?
Doctor: Hurry!

Sign on the wall in the hospital: HAVE YOU SMILED TODAY?

Cashier: It’s 234 rmb for this bill. And this one is 12,340 rmb.
Lao Shi [shocked]: how can it be so expensive.
Cashier: The surgery alone is over 8,000. And the emergency room is 1,000.[/b]

He may as well live in America.

[b]Lao Shi [to the police]: I was driving, and I had a passenger who was very drunk. He grabbed my arm all of a sudden causing me to swerve. That’s how I hit the motorcycle.

Police: It’s against procedure to leave the scene before we’ve arrived.
Lao Shi: I had no choice. The doctor said he would have died if I had been any later.

Wife: What’s wrong? You’ve been acting strange all day.

Insurance agent: Normally the driver should report the accident to the company as soon as possible. Then the company reports to us. That’s the procedure. Now, the most important thing is the police accident report.
Lao Shi: I tried to save someone. I didn’t have time to wait for some report.
Taxi company official: We have our procedures, so does the insurance company. They can’t just pay if we don’t follow the right procedure.
Insurance agent: Mr. Shi, without the accident report, we cannot know if the man’s injuries are from the accident or from you driving him to the hospital. How do we know if it’s our responsibility to pay?
Lao Shi: What are you saying, that I hurt him by helping him?![/b]

So, it’s all about the money there too. And now the guy on the motorcyle is in a coma. With bills mounting everyday.

[b]Captain: What’s that?
Lao Shi [holding a phone]: Someone left it in the cab. I think it belongs to that drunk guy I picked up the other day.

Wife: So what were you doing at the hospital today?

Wife: My husband is a taxi driver, and he had an accident a few days ago. He took the guy directly to the hospital and didn’t wait for the police to arrive. These are the hospital bills. We’ve been paying for everrything so far.
Lao Ma [a lawyer]: This is not a nice thing to say, but if he had died at the scene, this would be a much easier situation. But now this is a lot more complicated.

Wife: How much more have you not told me? What else are you hiding?
Lao Shi: I just didn’t want you to worry.
Wife: How did you know their family doesn’t have money?
Lao Shi: His wife told me.
Wife: His wife?! What about your own wife?!

Wife: So what do you propose we do now?
Lao Shi: I already told them I would pay.

Lao Shi: Nurse, I wanted to ask…how often do people in his condition wake up?
Nurse: It’s hard to say. Some after a few days, others a few months. But the one on the 9th floor, he’s been laying there for five years. Still asleep. The ones who are asleep, they have it easy. It’s the ones who are awake that are suffering.

Cashier [after swipting Lao Shi’s credit card]: It says you don’t have enough funds.
Lao Shi: I just used it yeaterday.
Cashier: Do you have another card? It says there are “insufficient funds”.

Lao Shi [on phone]: What happened to all the money in the account?
Wife: I took it all out. If you’re not going to protect this family, I will.

Lao Shi: You took my taxi. Do you remember?
Taxi passenger [the drunk who caused the accident]: Taxi? Oh, right…to the airport.
Lao Shi: You were pretty drunk that day.
Passenger: I left my phone in the taxi.
Lao Shi: That’s why I’m here, to give it back.
[the man tries to offer him money]
Lao Shi: No, no, no. I didn’t bring your phone because of money. I need to talk to you…when you took my cab, we got into an accident. The injured person has been in the hospital all this time, and hasn’t woken up. I’ve been paying the medical bills for months now.
Passenger: How’s this my problem?
Lao Shi: You can’t possibly forget. You were so drunk that day, and you grabbed my arm, causing me to swerve…
Passenger: I grabbed your arm?
Lao Shi: Yes.
Passenger [aruptly]: Thank you for returning my phone, but I really have to go now, really.[/b]

Nope, he’s not nearly so foolish as Lao Shi. There’s what’s true and there’s what’s in his own best interest.

Passenger: Why are you following me? Even if I was responsible as you say, can you prove it? You go ahead and try.
Lao Shi: I know your address…and I know about your bastard kid.
Passenger: What do you want from me?
Lao Shi: Not much. Just come to the police station with me and make a statement. And I’ll never bother you again. Simple as that.

Though not quite as simple [and dumbfounding] as what comes next.

Lao ma [to Lao Shi]: Even though the patient has been discharged from the hospital, his head wounds have not fully healed. His future expense will continue to be your responsibility. If something should ever happen, and you default on your legal obligation to pay then the debt will be transferred to your family. You need to stop dragging them down with you.

Of course all the while we are reacting to this as someone who knows where the truth really lies here.

[b]Man from the motorcycle accident: Where you from? You look kind of familiar.
Lao Shi: Just passing through.

Man from the motorcycle accident [yanking off his head bandage]: I’m sick of wearing this all the time just to get an extra bit of money.

Man from the motorcycle accident: Help! Help! Murderer! Don’t come any closer…stop right there. What did I ever do to you?![/b]

Cue the really grim [and really ironic] ending.

Just as there are arguments regarding the best movie ever made, there are arguments regarding the worst.

And there are a lot to choose from: en.wikipedia.org/wiki/List_of_f … _the_worst

And, apparently, The Room might just be that film. But the weird thing is that, over time, some of these films actually become beloved [more pr less] precisely because they are considered to be so bad.

This is a movie about the making of the movie The Room. About all the “weird and mysterious” characters involved. One in particular.

The idea being that just because the powers that be in Hollywood reject you, that doesn’t mean the film is not going to be made. And many are able to convince themselves that what they imagine in their head is, if not pure genius, close enough. But then once the film is made you still have to deal with, among other things, the reaction of the audience. And just because you pride yourself on being “independent” doesn’t mean that the film won’t stink. Still, not every so-called “bad movie” becomes [in the opinion of some] "the cult film equivalent of Citizen Kane".

You know, whatever that means.

In other words, while some might imagine the film will be mocking Tommy Wiseau and The Room, it’s actually just the opposite: a celebration of them.

Then it’s up to us to decide if it really should have been the other way around.

On the other hand, how many people will there be [like me] who knew nothing at all about either one? I have absolutely no idea how to react to them myself. Tommy sees himself and the world around him from his “very own planet”. He’s just fucking weird.

For some the film is an all-time classic. But from Tommy’s point of view, for all the wrong reasons. So now he has to learn to laugh along with them. Even though he suspects that many of them are really laughing at him.

Look for Tom Cruise. And Tom Berenger. Sort of.

IMDb

[b]To promote the film the distributor rented the same billboard on Highland Avenue in Los Angeles that Tommy Wiseau rented for five years to promote The Room (2003), mimicking the layout of the original billboard and including a phone number to RSVP to screenings.

James Franco spoke like Tommy Wiseau throughout each day’s filming, and even directed using Wiseau’s distinctive voice and syntax, though Jason Mantzoukas said that Franco did not direct in character and only spoke like Wiseau.

James Franco recalled driving in Los Angeles after 2003 and seeing the giant billboard for the film that Wiseau rented for five years. Franco said he initially thought it might be for a cult, because of the phone number on the billboard.

Tommy Wiseau himself appears in the post credit scene as an invented character named Henry. The scene was written and filmed as one of the conditions for selling his life rights to the film.

In the rehearsal scene of “Waiting For Godot,” the director says that it’s pronounced “Guh-DOH,” not “GOD-oh.” However, Samuel Beckett stated that “GOD-oh” is in fact the correct pronunciation, thus the actor was actually correct, though that was in all likelihood not the intent here. [/b]

trivia at IMDb: imdb.com/title/tt3521126/tr … tt_trv_trv
at wiki: en.wikipedia.org/wiki/The_Disaster_Artist_(film
trailer: youtu.be/cMKX2tE5Luk

The Disaster Artist [2017]
Directed by James Franco

[b]Celebrity narrator: If you were to ask the five best filmmakers in the world right now to make a movie like this… it… it wouldn’t even be in the same universe.

Celebrity narrator: I was blown away. Like, like three minutes into it, I figure this is the fucking greatest movie I’ve ever seen in my life.

Celebrity narrator: It has withstood, like ten years? And people are still watching a movie and talking about a movie. People aren’t doing that about whatever won the Oscar for best picture ten years ago.

Celebrity narrators: What genius is behind this? Tommy wanted to break barriers in filmmaking. I think that he had a very clear vision. He is a figure of mystery where, you know, you do wanna learn more about him.

Celebrity narrators: Who is this man? Who is this auteur? The kind of sheer ambition of it… is…is in-incredible. The numbers probably prove how unlikely it is that you’ll make it. If I had a time machine…I would go back and try and get on that set just to watch and feel what it was like 'cause it has to be…unbelievable.

Tommy [moaning and groaning, climbing the wall, writhing on the stage floor]: Stella… Stella… Stella! Stella! Stella! Stella! Stella! Stella. Stella! Stella! Stella! Stella! Don’t ever leave me, baby.

Tommy: Why you pullin’?
Greg: No, just, you know, none of my friends have a car this nice.
Tommy: ‘Cause all your friends little kids.
Greg: You know, I just mean it’s expensive, It’s nice, that’-that’s all.
Tommy: Don’t talk about me. What I drive. What I say, what I do. Don’t tell anybody. You understand, yeah?
Greg: Yeah. No, I-I won’t.
Tommy: 'Kay. And don’t look at robot crab. He’s shy.

Tommy: I don’t see point.
Greg: Okay, um. All right, listen, when um, when I… When I get up on stage in front of people… It’s like all I could think about is uh… “what if-what if they laugh at me? Or if I embarrass myself?” Mm-hmm. Um, but you, man, you’re like fucking fearless! And I just-- I-I wanna feel that too. I just, I want–I want that.[/b]

Fearless? Cue the scene in the restaurant.

[b]Greg: Your accent threw me off.
Tommy: What accent?

Tommy: I don’t want career.
Greg: You don’t want a career? I thought that’s…
Tommy: I want my own planet.

Greg: You know he died just a little bit south of here? I wanna go one day to the crash site. Pay my respects.
Tommy: Why don’t we go now?
Greg: Now? Now, Tommy, it’s not that close. It’s like 300 miles away.
Tommy: 300 mile, who care? We just do it.
Greg: It would take hours, man…Tommy, are you serious?
Tommy: Yeah, I’m serious. Greg, the Dean won’t come to you. You have to go to the Dean. Road trip!
Greg: Road trip!

Woman [at an audition]: Am I hearing an accent?
Tommy: Uh, no, no, what do you mean?
Woman: 'Cause I’m hearing a kinda eastern European accent.
Tommy: Nah, that, uh, that’s from New Orleans.
Woman: Where? What?
Tommy: New Orleans, you heard? You know? The Big Easy?
Woman: Oh, New Orleans! I thought, I didn’t know what you were saying. Okay, yeah, well… Can we just try to lose the accent?[/b]

He sort of loses it.

[b]Tommy: You heard of Konstantin Stanislavski?
Greg: Of course, yeah, he’s like the greatest acting teacher of all time.
Tommy: Yeah, and now he Tommy acting teacher. He seen something special in me, you know, maybe you know, I become big star. So I have first class this evening.
Amber: I’m pretty sure Stanislavski’s dead.

Friend: Fire that fuckin’ spooky friend of yours. That fuckin’ vampire-lookin’ motherfucker. It’s like…
Greg: Tommy?
Friend: Who is-who is he?
Greg: He’s just-I don’t know, he’s a friend. He’s my roommate.
Friend: ‘Cause he’s fuckin’…You can’t go anywhere with that dude. Hollywood’s pussy dries up when you walk in with this dude. I… I… I… They just fuckin’ clamp shut like a fuckin’… Hollywood puts on a fuckin’ chastity belt around him.[/b]

Cue Tommy auditioning Shakespeare in a Hollywood restaurant.

[b]David [a Hollywood producer]: Tommy? Just because you want it doesn’t mean it can happen. Okay? It’s one in a million, even if you have Brando’s talent. It’s not gonna happen for you. Okay?
Tommy: Maybe…
David: I’m not saying maybe. I’m saying not in a million years.
Tommy: And after that?

Tommy: This town, Greg. They don’t want me. They don’t understand me. Maybe I don’t have what it take.
Greg: Yeah, man, I know what you mean.
Tommy: You do?
Greg: Yeah. My agent won’t return my calls, and…all I hear is no all day, every day, it’s… it’s fuckin’ hard, man.
Tommy: Nobody like me, Greg. Nobody give me chance. My whole life.

Greg: All right, we said we were gonna push each other. Never give up on our dreams, right?
Tommy: I just don’t know how, Greg.
Greg [wistfully]: I wish we could just make our own movie.
Tommy [the light blub turning on]: That great idea.

Greg: You finished?
Tommy [slamming The Room script on the table]: It’s my masterpiece. Greatest drama since the Tennessee Williams.

Tommy: And of course, you play Mark.
Greg: What? You want…you want me to play Mark in this? Hey, big role.
Tommy: Second lead. Yeah, it’s a huge role.
Greg: Are you-are you sure?
Tommy: Well, you don’t wanna do it, fine. Maybe Johnny Dapp available.

Tommy: We don’t rent, we buy.
Greg: Is that not normal?
Birns and Sawyer: Industry standard is pretty much that you would rent the equipment because it’s so prohibitively expensive to own it.
Tommy: Okay. I said no problem. Okay, I guess we’ll buy.
Birns and Sawyer: You wanna shoot 35 or HD?
Tommy: Well, we’ll shoot both on this film.
Birns and Sawyer: Digital and film? But you’d need twice the crew, uh, twice the equipment. I mean…they’re lit differently. It’s just not done.
Tommy: I have vision.
Greg: Tommy, the pioneer, man. He–that’s–He wants to go outside the box. It’s what he does.

Tommy [explaining his “vision” of the movie to the cast and crew]: Okay, everyone gather round. Everyone gather round. Come on, don’t be shy…Today our top of mountain day. Today we take first steps on a great journey. After today, which one of ourselves will ever be same? This play work if chemistry between character make sense. Human behavior. Betrayal. It applies to all of us. It’s in ourselves. You love someone. What is love? You need to have spirit, hope. Be optimist. But can you handle all your human behavior and behavior of others? Right? Right, see what I’m saying? You don’t wanna be good. You wanna be great.

Tommy: We do alley scene.
Sandy: This set of the alleyway looks exactly like the real alley out there.
Tommy: That’s right. That’s what we do in Hollywood movie, right?
Sandy: Well, why don’t we just shoot in the real alleyway?
Tommy: Because is real Hollywood movie.

Sandy: I’d like to cash this check if uh, possible.
Bank teller: Okay. Uh, is 20’s okay?
Sandy: Went through?
Bank teller: Yeah.
Sandy: That is shocking. There’s actually money in there?
Bank teller: This account…It’s like a bottomless pit.

Sandy: Take 67. Action!

Sandy: Cut! Oh, God.
[he walks over to Tommy]
Sandy: Uh. Hey, uh… So… the story he’s telling you…the one you… yourself wrote…
Tommy: Yeah?
Sandy: It’s not a funny story, Tommy. I thought this was a serious scene, Tommy? Why are you laughing?
Tommy: Well, some-sometimes people do crazy things, right? Human behavior.
Sandy: Okay, fair enough. Maybe just get one…where you don’t laugh at the story, okay?[/b]

Nope, doesn’t happen.

[b]Tommy [to no one in particular]: It’s human behavior.

[Tommy watches himself being discussed on the documentary video]
Raphael: He knows nothing about filmmaking. He’s a complete idiot. I don’t even think he’s seen a movie.
Sandy: Clearly never been on a set before.
Raphael: Have you ever heard of someone producing, directing…
Tommy [to himself]: This guys doesn’t know anything.
Raphael: Who gives this guy money?
Sandy: Oh, I don’t even wanna get into that, that’s something I don’t even want to probe.

Greg: This is not necessary.
Tommy: No, very necessary. I need to show my ass to sell this movie.
Greg: Maybe uh, at least we have a closed set?
Tommy: Not closed set, open set. Life is not closed set. I want everyone to see. You especially.
Juliette/Lisa: What? Why? What?
Tommy: Brad Pitt do this in “The Legend of the Falls.”

Greg: What’s going on with you?
Tommy: Stanley Kubrick, he nice to actors? Alfred Hitchcock? Let me tell you something, Greg. He do this movie, “Birds.”
Greg: Yeah, I’m aware of The Birds.
Tommy: On this movie, he terrify actors. He locked them in room. He throw-he throw birds at them. Real birds! Th-Th-Th… Nasty stuff. The actors, they cry every day. But this movie win every award. Is Mr. Hitchcock bad man? No. He great director.
Greg: Yeah, but he was an asshole. And I bet he didn’t direct with his fucking dick out!

Juliette: I think you’re aiming a little bit high.
Tommy: I aim where I aim. Just do the scene.
Sandy [watching the scene]: Why is he having sex with her belly button? He knows where her vagina is, right?

Tommy [to the whole crew]: Where Markus? Markus! This Mar–film now. This Markus, I hire him do documentary “The Making of The Room.” He capture every comment. “Oh, yeah, Tommy weird.” “Tommy like Frankenstein.” “He like, he like vampire rapist.” I hear everything. I have ears everywhere. I hear your whispers in your souls. You’re on my planet. Okay?

Tommy [to camerman]: Make sure you see my ass!

Cast member: Hey, Greg. Can we ask you something?
Greg: Yeah.
Cast member: What is this movie about?

Tommy: I take you to Los Angeles, give you place to stay. I write you this part. I do this whole movie for you, Greg?..Don’t betray me, Greg.
Greg: I’m not betraying you.
Tommy: What I say? We do this together? Now you betray me.
Greg: So, are you gonna let me do it or not?
Tommy: Not up to me, Greg. Up to you. You have to choose. You do this TV show, “Little Malcolm.” Or you do the movie. Our movie, Greg.

Sandy: Let’s go to a bar and erase the memory of today.

Tommy: Greg! Dammit, why you throw this tricky stuff?
Greg: All right, man, you wanna get real? You wanna get real for the cameras, let’s get real. Hey, you guys gettin’ this? Yeah, good. Let’s get real. Where were you born, Tommy?
Tommy: No… Greg, that not part of scene.
Greg: Where are you from? It’s a simple question.
Tommy: I’m from New Orleans. New Orleans. From the bayou.
Greg: You guys hear that? This guy with this fuckin’ accent is from “the bayou.”
Tommy: Greg…
Greg: Oh, you want an easier question? Let’s see…where does the money come from, huh?
Tommy: Greg, stop! This on camera!
Greg: I know it’s on camera just like you wanted. All right, just tell me this one thing…How old are you?
Tommy: I’m your age, Greg.
Greg: You’re my age? You’re my age?! I’m just your friend…There is no fucking way you’re in your 20’s, all right? You are a fucking villain! Fucking Frankenstein-looking motherfucker!
Tommy: I not villain!

Tommy: You didn’t RSVP.
Greg: Yeah, I’m not coming. And…honestly, maybe…maybe you shouldn’t have a premiere at all.
Tommy: Greg. We made pact. Remember? To never lose sight of our dream. Well, on Friday… they premiere a movie. Our movie, Greg. In real live theater. I know you don’t like me anymore. So don’t do it for me. Do it for you, Greg. You’ll finally get to see yourself on big screen. This was your dream too, Greg.

Raphael [at the movie premier]: That was fucking weird.
Sandy: Yup. At this point, it would be fucking weird if he didn’t do something that was fucking weird.[/b]

Audience reaction at the premier? Brutal. Really brutal. They are basically howling with laughter.

Greg: Hey, Tommy.
Tommy: They hate it. I know. I know, they’re…
Greg: They’re just- they’re just laughing.
Tommy: Yeah, they’re laughing. Laughing at me. Maybe it’s true, you know. Maybe everybody right, maybe… Maybe I just big joke. Ha ha.
Greg: Come on, Tommy.
Tommy: I tried to open my heart, show them my soul, and… they just hate me. Even you hate me, Greg.
Greg: Hey, hey, hey. Listen to me, all right? All right, that thing up there? That’s your movie. You made that. All right, like you said, you did that all by yourself.

So, is that consolation enough?

[b]Greg [to Tommy]: Maybe it didn’t turn out exactly as you hoped. But just listen for a second… Look how much fun they’re having. They fucking love it, man…How often do you think Hitchcock got a response like this?

Audience [shooting at the screen…the scene where Tommy puts the gun in his mouth]: Do it! Do it! Do it! Do it! Do it! Do it! Tommy! Tommy! Tommy! Tommy! Tommy! Go, man![/b]

Cue the standing ovation.

[b]Tommy [standing up on the stage, the audience cheering]: Okay. Wow. I’m glad you like my comedic movie! Exactly how I intended.

Title card: The Room was released in one theater on June 27th, 2003. Tommy paid to keep it there for 2 weeks in an effort to qualify for the Academy Awards. Though the exact figures remain confidential, its production budget is alleged to have exceeded 6 million dollars. It grossed $1,800 on its opening weekend. It has since gained cult status and turned a profit, regularly playing to sold out midnight screenings around the world. To this day no one knows where Tommy is from. Or where he made his money. Or how old he is.

Title card: Tommy Wiseau and Greg Sestero still speak everyday. They continue to write, act and produce together. They are best know for The Room.[/b]

Liberals just love the Washington Post. And why not? With respect to almost all “social issues”, the Post [like the New York Times] can be depended on to toe the progressive line.

On the other hand, as with the New York Times, when it comes to Wall Street at home and American foreign policy abroad, both papers are solidly embedded in the ruling class. Here they are part and parcel of the military industrial complex; of policies that basically revolve around the interest of those corporations that butter their bread. Through, for example, advertising. The media industrial complex in America is there for all to see. The dots are clearly there to be connected.

Consider:
americanfreepress.net/washington … g-silence/
politico.com/blogs/media/20 … men-124074

This is simply how “the system” works. But don’t expect editorials in the Washington Post or the Times to actually own up to this. Let alone it being a focus in the movie rendition.

You see it today with Trump v. Press. In some respects, the media industrial complex go after him. But in other respects they will almost certainly leave him alone. To the extent that Trump attempts to reconfigure such things as “free trade” or the liberal rendition of American foreign policy, he is pummeled. But make no mistake that with respect to the war economy and a foreign policy that revolves around securing cheap labor, natural resources and lucrative markets, Trump and the Post are basically just two sides of the same crony capitalist coin.

Newspapers, after all, are a business. Businesses revolve around the bottom line. And that intertwines them with, among others, bankers and advertisers and shareholders. Only this business revolves around selling “the news”. The potential for a conflict of interest here is built right into the relationships themselves. And, occasionally, we are nudged in that direction here. But nudged is all.

Anyway, you tell me: Is the United States government telling us lies about the “war on terror” today? In, say, the manner in which they lied to us about the wars in Vietnam, Afghanistan and Iraq?

IMDb

[b]In his memoir, the real Daniel Ellsberg claimed that walking out of RAND with the Pentagon Papers (and returning them) over the course of months was a calculated risk, since he had never had his bag checked by security, but he did not know for sure if it was not policy to do so.

In the scene showing Vietnam War protesters, the words spoken by one of them are taken from Mario Savio’s “Put your bodies upon the gears” speech during the 1964 Free Speech Movement at the University of California at Berkeley.

Though the movie is not about Watergate, it is fitting that the movie ends with the depiction of the Watergate break-in, since it is arguably true that the Watergate break-in would not have happened without the publication of the Pentagon Papers. Nixon’s creation of the infamous “Plumbers” group was a direct response to the leaking of the Pentagon Papers (the Plumbers first major effort being breaking into the office of Daniel Ellsberg’s psychiatrist in an effort to find discrediting information on him). It would be the major figures in the Plumbers who would hatch and execute the plot to break into the Democratic National Committee offices in the Watergate.

The New York Times had published the Pentagon Papers before The Washington Post and had set the stage for legal battle that ended with the Supreme Court ruling in favor of the newspaper in the the case New York Times Co. v. United States (403 U.S. 713) . In June 2011, the entire Pentagon Papers were declassified and made public. In the 6-3 Court decision, Justice Hugo Black wrote, “Only a free and unrestrained press can effectively expose deception in government. And paramount among the responsibilities of a free press is the duty to prevent any part of the government from deceiving the people and sending them off to distant lands to die of foreign fevers and foreign shot and shell.”[/b]

trivia at IMDb: imdb.com/title/tt6294822/tr … tt_trv_trv
at wiki: en.wikipedia.org/wiki/The_Post_(film
trailer: youtu.be/mfe0bnCiVDM

The Post [2017]
Directed by Steven Spielberg

[b]Soldier [in the field]: Who’s the long hair?
Soldier: That’s Ellsberg–works with Langsdale at the Embassy. He’s observing.

McNamara: I’ve read every one of Ellsberg’s reports, and I’m telling you, it’s just not the case. Dan, you know Mr. Komer. He’s been discussing the war with the President and, well, his sense is that we’ve made real progress over the past year, but I’ve been doing my own review and it seems to me that things have gotten worse. But neither of us have been in the field-- you have–you’re the one who knows so, what do you say? Are things better or worse?
Ellsberg: Well, Mr. Secretary, what I’m most impressed by is how much things are the same.

Reporter: Mr. Secretary, I’m wondering if the trip left you optimistic or pessimistic about our prospects in this war and our ability to win it?
McNamara: Well, you asked whether I was optimistic or pessimistic. Today, I can tell you that military progress over the past 12 months has exceeded our expectations. We’re very encouraged by what we’re seeing in Vietnam. In every respect, we’re making progress.[/b]

What is known as a government lie.

[b]Man [handing Times employee a folder marked “Project X”]: Tell 'em it’s from Sheehan. Don’t walk.

Ben: Intern! You uh, workin’ on anything important, chief?
Intern: Uh, no, Mr. Bradlee. Well, everything we do is important…at The Post.
Ben: Here’s $40, I want you to take the first train up to New York and go to the-- go to The Times building on 43rd—don’t tell ‘em who you work for but find a reporter by the name of Sheehan.
Intern: Uh, Neil Sheehan?
Ben: Yeah, yeah, find out what Neil Sheehan is workin’ on.
Intern: Is that legal?
Ben: Well, what is it you think we do here for a living, kid?

Arthur [after a board meeting]: Kay, it’s your decision. But in my opinion, if you want this to be more than a little family paper, it has to be more than a little family business.

Kay: The Nixon White House is nothing if not vindictive. Just this morning, they barred us from covering Tricia Nixon’s wedding.[/b]

Nixon and the Post then, Trump and the Post now. Only back then the Post was still basically just a “local paper”.

[b]McNamara [at Kay’s home]: Kay, I wanted to tell you and I want you to hear from me first. There’s an article about me coming out in The Times tomorrow. It’s not flattering.

Kay [on the phone]: I’m sorry to bother you so late, but listen. Were you able to make any headway with Mr. Sheehan?
Bob: No, no, no. I haven’t.
Kay: I just had an odd conversation with Bob McNamara. And…I think The Times may have a big story tomorrow. You know, he wouldn’t give me any details, but Bob said it was quite… detrimental to him.

Newspaper headline in the New York Times, June 13, 1971: Vietnam Archive: Pentagon Study Traces 3 Decades of Growing U.S. Involvement

Nixon [on phone or from the tapes]: Nothing else of interest in the world?
Haig: Yes, sir, very significant this uh, goddamn New York Times expose of the most highly-classified documents of the war.
Nixon: You mean that…that was leaked out of the Pentagon? The-the whole study that was done for McNamara. This is a devastating, uh, security breach of the greatest magnitude of anything I’ve ever seen.
Haig: Well…Well, what, uh, what’s being done about it, then?[/b]

Of course today we know damn well what was done about it.

[b]Nixon [on phone or from the tapes]: Uh, Henry, that thing to me is just unconscionable-- this is treasonable action on the part of the bastards that put it out.
Kissinger: I’m absolutely certain that this violates all sorts of security laws.
Nixon: People have got to be put to the torch for this sort of thing.

Newspaper man [reading the Times piece]: Christ! McNamara knew we couldn’t win in '65-- that’s six goddamn years ago.
Ben: Well, at least we got the wedding.

Newspaper man: Ben, come on, it’s one story.
Ben: No, it’s 7,000 pages detailing how the White House has been lying about the Vietnam war for 30 years. It’s Truman and Eisenhower and…Jack…LBJ lying…lying about Vietnam. And you think that’s one story?

Kay: Bob McNamara’s an old friend. He’s going through a lot in his life right now. I just…he’s probably said all he wants to say. Why, do you think?
Ben: Why? Why? Why is he talking to you?
Kay: Well, I just told you he’s my friend, and…
Ben: Well, is he talking to any other friends?
Kay: I’m not sure I appreciate the implication of what you just…
Ben: McNamara is talking to you because you are the publisher of…
Kay: That’s not true! -
Ben: …of The Washington Post.
Kay: No. That is not why.
Ben: Because he wants you to bail him out.
Kay: No, there’s no ulterior…
Ben: Because he wants you on his side.
Kay: No, Ben, that’s not my role. You know that. I wouldn’t presume to tell you how to write about him. Just as I wouldn’t take it upon myself to tell him he should hand over a classified study, which would be a crime, by the way, just so he can serve as your source.
Ben: Our source, Katharine.
Kay: No, I–no. I’m not. I’m not going to ask Bob for the study.
Ben: I…I get it, you have a relationship with Bob McNamara. But don’t you think you have an obligation as well to the paper and to the public?
Kay: Let me ask you something. Was that how you felt when you were palling around with Jack Kennedy? Where was your sense of duty then? I don’t recall you pushing him particularly hard on anything.
Ben: I pushed Jack when I had to…I never pulled any punches.
Kay: Is that right? 'Cause you used to dine at the White House once a week. All the trips to Camp David. Oh, and that drunken birthday cruise on the Sequoia you told me about. Hard to believe you would’ve gotten all those invitations if you didn’t pull a few punches.

Newscaster: Street protests broke out today across the country after the publication of more excerpts of a classified Department of Defense study in The New York Times. The study commissioned by former Secretary of Defense Robert McNamara has ignited further debate over the ongoing war in Vietnam. As it makes clear that Kennedy and Johnson as well as Eisenhower and Truman deeply misled the country on Vietnam.

Nixon [on phone or from the tapes]: You know, Sheehan’s a bastard-- he’s been a bastard for years.
Ehrlichman: Mr. President, the Attorney General’s called a couple of times about these New York Times stories.
Nixon: You mean to prosecute The Times? Hell, my view is to prosecute the goddamn pricks that gave it to him.
Ehrlichman: If you can find out who that is.
Nixon: Yeah, I know. I mean, could The Times be prosecuted?
Ehrlichman: Apparently so.
Nixon: As far as The Times is concerned, hell, they’re our enemies, I think we just ought to do it.

Kay [on the phone]: Hey, listen, I’ve…I’ve got tomorrow’s headlines. John Mitchell contacted The Times, seems the President’s going to seek an injunction
Ben: No shit! This means we’re in the goddamn ballgame. Because if The Times get shut down…
Kay: If they get shut down, there is no ballgame. Ballgame’s over.
Ben: But Katharine, any-anybody would kill to have a crack at this.
Kay: Well, sure, but not if it means breaking the law. If a federal judge stops The Times from publishing, well, I don’t see how we could publish–even if we could get hold of a copy.
[Ben says nothing]
Kay: So. Ben? You have something?
Ben: No.
Kay: Okay, so then there’s nothing to talk about, really.
Ben: No. Nothing to talk about at all, but uh… But thank you for the tip.

Cronkite [on TV]: The New York Times late today was barred at least until Saturday from publishing any more classified documents dealing with the cause and conduct of the Vietnam war. The Times, true to its word, said it would abide by the decision of federal judge Murray Gurfein but will resist a permanent injunction at a hearing Friday. The Nixon administration had charged that the final two parts of The Times’ series would result in irreparable injury to the national defense.
Reporter: Hell, why bother fighting the communists?
Reporter: I think Jefferson just rolled over in his grave.
Reporter: Have the courts ever stopped a paper from publishing before?
Reporter: Not in the history of the Republic.
Reporter: Good thing we’re not part of this mess.
Ben: I’d give my left one to be in this mess.

Bagdikian [looking at stacks and stacks of pages]: What the hell?
Daniel: Well, we were all former government guys. Top clearance, all that. McNamara wanted academics to have the chance to examine what had happened. He would say to us, “Let the chips fall where they may.”
Bagdikian: Brave man.
Daniel: Well, I think guilt was a bigger motivator than courage. McNamara didn’t lie as well as the rest. But I-I don’t think he saw what was coming, what we’d find, but it didn’t take him long to figure out–well, for us all to figure out. If the public ever saw these papers, they would turn against the war. Covert ops, guaranteed debt, rigged elections, it’s all in there. Ike, Kennedy, Johnson… They violated the Geneva Convention, and they lied to Congress and they lied to the public. They knew we couldn’t win and still sent boys to die.
Bagdikian: What about Nixon?
Daniel: He’s just carrying on like all the others. Too afraid to be the one who loses the war on his watch. Someone said this at some point about why we stayed when we knew we were losing. Ten percent was to help the South Vietnamese. Twenty percent was to hold back the commies. Seventy percent was to avoid the humiliation of an American defeat. Seventy percent of those boys just to avoid being humiliated? That stuck with me.

Bagdikian: They’re gonna lock you up, Dan.
Daniel: Wouldn’t you go to prison to stop this war?
Bagdikian: Theoretically, sure.
Daniel [warily]: You are gonna publish these documents?
Bagdikian: Yeah.
Daniel: Even with the injunction.
Bagdikian: Yes.
Daniel: Well, it’s not so theoretical then, is it?

Ben: So, can I ask you a hypothetical question?
Kay: Oh, dear, I don’t like hypothetical questions.
Ben: Well, I don’t think you’re gonna like the real one, either.

Ben: You know, the only couple I knew that both Kennedy and LBJ wanted to socialize with was you and your husband. And you own the damn paper. It’s just the way things worked. Politicians and the press, they trusted each other so they could go to the same dinner party and drink cocktails and tell jokes while there was a war raging in Vietnam.
Kay: Ben, I don’t know what we’re talking about. I’m not protecting Lyndon.
Ben: No, you got his former Secretary of Defense Robert McNamara, the man who commissioned this study----he’s one of about…
Kay: I’m not protecting him.
Ben: …a dozen party guests out on your patio.
Kay: I’m not protecting any of them. I’m protecting the paper.

Ben: I never… I never thought of Jack as a source. I thought of him as a friend. And…And that was my mistake. And it was something that Jack knew all along. We can’t be both, we have to choose. And uh…And that’s the point. The days of us smoking cigars together down on Pennsylvania Avenue were over. Your friend McNamara’s study proves that. The way they lied. The way they lied. Those days have to be over. We have to be the check on their power. If we don’t hold them accountable, then, my God, who will?
Kay: Well, I’ve never smoked a cigar. And I have no problem holding Lyndon or Jack or Bob or any of them accountable. We can’t hold them accountable if we don’t have a newspaper.
Ben: When I get my hands on that study, what are you going to do, Mrs. Graham?[/b]

Cue, among other things [still today], the White House Correspondence Dinner?

[b]Kay [at home]: How you could just lie to us all.
McNamara: Well…i-it’s easy for the papers to characterize us as liars, we were just trying to push back…
Kay: Yeah, but you let it go on, and on, and----My son is home now and safe thank God. But you watched him go. You knew we couldn’t win over there for years and years and years, and yet you let me…You let so many of our friends send our boys off…
McNamara: Kay, we were doing the best we could. It was domino theory, containment. And eventually, we felt that military pressure was the only thing that was gonna drive Ho Chi Minh to the table. Our decision-making process was…
Kay: “Flawed.” It was flawed. That’s what your study said.
McNamara: Yes.

Lawyer: They will argue it’s a violation of the Espionage Act. That is a felony, Ben.
Ben: That’s only-only if the documents we print could damage the United States.
Lawyer: There’s a federal judge in New York who seems to think that they could.
Ben: Well, I’ve got six seasoned journalists in the next room who’ve been reporting on this war for the last ten years. And I’ll lay odds that they have a better idea of what could damage the United States than some judge who is just now wading in this territory for the first time.

McNamara: Look, Kay, I know why The Times ran the story. But you need to understand, the study was for posterity. It was written for academics in the future and right now, we’re still in the middle of the war. The papers can’t be objective. I suppose the public has a right to know. But I would prefer that the study not be made widely available until it can be read with some perspective. You understand.
Kay: Mm.

McNamara: You know, I worked in Washington for ten years I’ve seen these people up close. Bobby and Lyndon, they were tough customers. But Nixon is different. He’s got some real bad people around him. And if you publish, he’ll get the very worst of them the Colsons, and the Ehrlichmans and he’ll crush you.
Kay: I know, he’s just awful, but I…
McNamara: He’s a–Nixon’s a son of a bitch! He hates you, he hates Ben. He’s wanted to ruin the paper for years. And you will not get a second chance, Kay. The Richard Nixon I know will muster the full power of the presidency. And if there’s a way to destroy your paper, by God, he’ll find it!

Fritz: You’re talking about exposing years of government secrets. I can’t imagine they’re gonna take that lightly. You could jeopardize the public offering. You could jeopardize our television stations. You know a felon can’t hold a broadcast license.
Ben: You think I give two shits about the television stations?
Frtiz: You should, they make a hell of a lot more money than you do. And without that revenue, we’d be forced to sell. If the government wins and we’re convicted, the Washington Post as we know it will cease to exist.
Ben: Well, if we live in…in a world where the government could tell us what we can and cannot print, then the Washington Post as we know it has already ceased to exist.

Art [on phone]: Hello, it’s Art. Uh, Ben, there are concerns here that are frankly above your pay grade.
Ben: Well, there’s a few above yours. Like fucking freedom of the press.
Art: Let’s just be civil if we can.
Ben: Do you think Nixon is going to be civil? He is trying to censor the goddamn New York Times.
Art: Yes, The Times, not The Post.
Ben: It’s the same damn thing! This is an historic fight. If they lose, we lose… Due respect, we all have everything to lose if we don’t publish. What will happen to the reputation of this paper? Everyone will find out we had the study. Hell, I bet half the town knows already. What will it look like if we sit on our asses?
Art: It’ll look like we were prudent.
Ben: It will look like we were afraid. We will lose. The country will lose. Nixon wins. Nixon wins this one, and the next one. And all the ones after that because we were scared. Because the only way to assert the right to publish is to publish.

Kay [on phine]: Fritz, i-is Fritz-Fritz there? Fritz are you on?
Fritz: I’m here, Kay.
Kay: W-What do you think? W-What do you think I should do?
Fritz: I think… there are arguments on both sides. But I guess I wouldn’t publish.
Kay [after groping to think it through]: Let’s-Let’s go. Let’s-Let’s do it. Let’s-Let’s-- Let’s go, let’s go, let’s go. Let’s-- Let’s publish.

Fritz: You, you got half an hour. I’m uh, I’m not sure how much thought you put into this decision, but we still have time. The print deadline’s not till midnight.
Kay: I know when the print deadline is.
Fritz: Look, I’m still, uh, learning how to do this, but everything I know about business tells me you’re making a serious mistake here. One that will cost you and your paper dearly. And hurt every person gathered here, not to mention the hundreds of others who work for you.
Kay: I’m just trying to put my thoughts together.
Fritz: Kay, all I want is-is what is best for you and your business. But I just got off the phone with a couple of bankers, and they think it’s possible, likely even, that a number of their institutional investors will pull out if you go ahead and publish, and if they pull out… Kay. You got a couple of hours. For your sake and for the sake of everyone of your employees, I hope you will reconsider.

Roger [the lawyer]: If you got the study from the same source, that would amount to collusion.
Bagdikian: Yeah, we could all be executed at dawn.
Roger: And we could be held in contempt of court. Which means Mr. Bradlee and Mrs. Graham could go to jail. Mr. Bagdikian, how likely is it that your source and The Times’ source are the same person?
Bagdikian: It’s likely.
Roger: How likely?
Bagdikian: Very. It’s very likely.

Kay: You know, I just wanted to hold on to the company for you and Don and Willie and Stephen.
Daughter: You did. You have.
Kay: Well. You know that quote-- The quote, “A woman preaching is like a dog walking on its hind legs, it’s not done well and you’re surprised to see it’s done at all.” Samuel Johnson.
Daughter: Oh, Mummy. That’s a bunch of nonsense.
Kay: No, but that’s the way we all thought then. You know. I was never supposed to be in this job. When my father chose your dad to run the company, I thought it was the most natural thing in the world. I was so proud because, you know, Phil was so brilliant and he was so gifted and but I thought that was the way it was supposed to be. Everybody thought that way then.

Arthur: I disagreed with you earlier, but I thought it brave, but this? If we were to publish knowing this, it would just be irresponsible.
Fritz: Fritz, do you agree?
Fritz: Well, I don’t particularly like the idea of Kay as a convicted felon. And then there’s the issue of the prospectus. Based on the conversations I’ve had with my friends at Kravath, I believe a criminal indictment would qualify as a catastrophic event. And given the likelihood of indictment now… Kay, it could–
Kay: Yes, I…I understand. We uh, we have a responsibility to the company, to the- all the employees and to the long term health of the paper.
Fritz: Absolutely, Kay.
Kay: Yes. However, um… The prospectus also talks about the mission of the paper which is outstanding news collection and reporting, isn’t that right? And it also says that the newspaper will be dedicated to the welfare of the nation and to the, uh…principles of a free press. So, one could argue that the bankers were put on notice.

Rehnquist [on phone]: Good morning, this is William Rehnquist from the office of legal counsel at Justice. Yes, sir. Mr. Bradlee, I have been advised by the Secretary of Defense that the material published in The Washington Post this morning contains the information relating to the national defense of the United States and bears a top secret classification. As such the publication of this information is directly prohibited by the Espionage Act, Title 18 of the United States Code, Section 793. As publication will cause irreparable injury to the defense interests of the United States, I respectfully request that you publish no further information of this character. And advise me that you have made arrangements for the return of these documents to the Department of Defense.
Ben: Well, thank you for the call, Mr. Rehnquist. But I’m sure you understand, I must respectfully decline.

Kay: What’s next?
Fritz: We’re going to court. Today. If we get a ruling in our favor or The Times does, we’ll be at the Supreme Court sometime next week.[/b]

And let’s just say that the ideological makeup of the court back then was rather different.

[b]Supreme Court Justice: Would The Post have published military plans for D-Day if they’d had them in advance?
Roger: Well, I don’t think there’s any comparison between a pending invasion of Europe and a historical survey of American involvement in the Vietnam war.

Cronkite [on TV]: I asked him what he considers the most important revelations to date from the Pentagon documents.
Daniel: I think the lesson is the people of this country can’t afford to let the President run the country by himself-- even foreign affairs any more than domestic affairs without the help of Congress. I was struck in fact by President Johnson’s reaction to these revelations as close to treason. Because it reflected to me the sense that what was damaging to the reputation of a particular administration—a particular individual was, in itself, treason which is very close to saying, “I am The State.”

Meg [to the Post staff]: Listen up, everybody, listen up. Uh, Justice Black’s opinion. “The Founding Fathers gave the free press the protection it must have to fulfill its essential role in our democracy. The press was to serve the governed, not the governors.”

Kay: Oh, thank God, the court ruling was very clear.
Ben: Yeah, yeah, I know. I’m sure Nixon will fall right in line.
Kay: Good. Because you know I don’t think I could ever live through something like this again.

Nixon [on the phone or from the tapes]: I want it clearly understood that from now on, never no reporter from The Washington Post is ever to be in The White House. Is that clear?
Aide: Absolutely.
Nixon: Never, never in The White House. No church service. Nothing with Mrs. Nixon does, you tell Connie. Don’t tell Mrs. Nixon 'cause she’ll approve it. No reporter from The Washington Post is ever to be in The White House again. And no photographer either. No photographer, is that clear? None ever to be in. That is a total order. And if necessary, I’ll fire you. You understand?
Aide: I do understand.
Nixon: Okay. All right. Good.[/b]

Cue Frank Wills.

D.C. Police, 2nd Precinct.
Wills: Yes, hello, this is Frank Wills. I think we might have a burglary in progress at the Watergate.

Fashion.

The clothes that we wear. Some [like me] couldn’t possibly care less about the threads on our backs. I actually wear the same thing day after day after day. It’s strictly functional. End of story. The only thing that changes is the seasons. For others though “fashion” is more akin to a calling. Among other things, they worship and adore those “designers” who make the outfits they wear. And, back in the early 1950s, in and around London, “movie stars, heiresses, socialites, debutantes and dames” all flocked to “the distinct style of the House Of Woodcock”.

And Reynolds Woodcock was the owner. With him, women would come and go as he went about the business of dressing them in “the height of fashion”.

Until that day when one woman in particular…

He is much older than her. A distinguished gentleman. And she is young and pretty. He is nearer to the top rung in the class struggle, while she is “just a waitress”. Not all that uncommon in films of this sort.

And that is basically what this is all about. A man goes about the task of diligently sustaining the fixture that he has become. Until “she” comes along and changes everything. In other words, his “carefully tailored life is disrupted by love.”

So, here, everything revolves around how you react to these two characters. And the extent to which their evolving relationship comes to intrigues you. Their romance is said to be “suspenseful”. Which, for me, revolved around the extent to which Alma either is or is not being “calculating”. She is clearly meant to meld herself entirely into his world. Will she? In other words, in being calculating she will likely be manipulating as well. Then it all comes down to her intentions. And [of course] to the way things play out. There are parts of any relationship of this sort that can seem glorious. But then the day to day interactions bring out other parts considerably less so.

And yet as with so many films of this sort that will only be construed from a point of view. Thus here — imdb.com/title/tt5776858/re … ef_=tt_urv — you come across reactions that could not possibly be more completely at odds. They are all watching the same film, of course, but only, one by one, from within the parameters of a “sense of reality” that they have concocted “inside their head”.

How then to pin down the implications of that? The philosophical significance perhaps?

Truth be told, I had once myself been rather contemptuous of those “slaves to fashion”. Now, however, such value judgments have become considerably more muddled. For the better and for the worse.

IMDb

[b]Director Paul Thomas Anderson got the initial idea for the film while he was sick in bed one day. His wife, Maya Rudolph, was tending to him and gave him a look that made him realize that she had not looked at him with such tenderness and love in a long time.

In preparation for the film, Daniel Day-Lewis watched archival footage of 1940s and 1950s fashion shows, studied famous designers, consulted with the curator of fashion and textiles at the Victoria and Albert Museum in London, and apprenticed under Marc Happel, head of the costume department at the New York City Ballet. He also learned how to sew, and he practiced on his wife Rebecca Miller, trying to recreate a Balenciaga sheath dress that was inspired by a school uniform.

Daniel Day-Lewis and Lesley Manville became real-life friends for six months prior to filming began in order to establish the close relationship between Cyril and Reynolds.

Many of the staff of the Woodcock couture house, as well as other bit parts, are played not by professional actors but by real seamstresses or persons connected with the fashion world.[/b]

trivia at IMDb: imdb.com/title/tt5776858/tr … tt_trv_trv
at wiki: en.wikipedia.org/wiki/Phantom_Thread
trailer: youtu.be/xNsiQMeSvMk

Phantom Thread [2017]
Written and directed by Paul Thomas Anderson

[b]Alma: Reynolds has made my dreams come true. And I have given him what he desires most in return.
Doctor [off camera]: And what’s that?
Alma: Every piece of me.
Doctor: He’s a very demanding man, isn’t he? Must be quite a challenge to be with him.
Alma: Yes. Maybe he is the most demanding man.

Johanna: Try these. Reynolds? They’re delicious.
Reynolds: Remember I told you, Johanna? No more sludgy things.
Johanna: I didnt know that. You may have told it to someone else.

Johanna: Where have you gone, Reynolds? There’s nothing I can say…to get your attention aimed back at me is there?
Reynolds: I cannot begin my day with a confrontation. Please? I’m delivering the dress today and I can’t take up space with a confrontation. I simply don’t have time for confrontations.

Henrietta [a countess of her new dress]: Yes?
Reynolds: Let’s take it for a walk.

Cyril: Well, what do you want to do about Johanna? I mean, she’s lovely, but the time has come. And she’s getting fat sitting around waiting for you to fall in love with her again. I’ll give her the October dress. That’s all right?
[Reynolds barely nods]

Reynolds: Do you have a photograph of your mother?
Alma: Yes.
Reynolds: Will you let me see it?
Alma: Not here, at home.
Reynolds: Carry it with you. Always carry her with you.
Alma: Where’s yours? Your mother?
Reynolds [tapping his suit jacket]: She’s here in the canvas.
Alma: What do you mean?
Reynolds: Hm. You can sew almost anything into the canvas of a coat. Secrets. Coins. Words, little messages. When I was a boy, I started to hide things in the linings of the garments. Things that only I knew were there. And over my breast, I have a lock of my mother’s hair. To keep her close to me always. She’s quite a remarkable woman. She taught me my trade. So, I try to never be without her.

Alma: If you want to have a staring contest with me, you will lose.
Reynolds: Hm.
Alma: You are a very handsome man. You must be around many beautiful women.
Reynolds: Yes.
Alma: Why are you not married?
Reynolds: I make dresses.
Alma: You cannot be married when you make dresses?
Reynolds: I’m certain I was never meant to marry. I’m a confirmed bachelor. I’m incurable…Marriage would make me deceitful, and I don’t ever want that.
Alma: You sound so sure about things.
Reynolds: I’m sure about that.
Alma: I think you are only acting strong.
Reynolds: No, I am strong.
Alma: For who? Not for me, I hope.
Reynolds: I think it’s the expectations and assumptions of others that cause heartache.

Reynolds [taking her measurements]: You have no breasts.
Alma: Yes, I know. I’m sorry.
Reynolds: No, no, you’re perfect. My job to give you some. If I choose to.

Cyril: You have the ideal shape.
Alma: I do?
Cyril: Hm. He likes a little belly.

Reynolds: I feel as if I’ve been looking for you for a very long time.
Alma: You found me.
[and then after a pause]
Alma: Whatever you do…do it carefully.

Alma [voiceover]: But in his work, I’ve become perfect. And I feel just right. Maybe that’s how all women feel in his clothes.

Alma [to the doctor off camera]: Sometimes, we wake up at four in the morning…after we’d gone to bed at midnight. And then he’s ready to start again. And I can stand endlessly. No one can stand as long as I can.

Cyril: Alma, this fabric is adored by the women who wear our design. It’s perfect for this dress.
Reynolds: Cyril is right. Cyril is always right. It’s not because the fabric is adored by the clients that Cyril is right. It’s right because it’s right. Because it’s beautiful. Maybe one day you will change your taste, Alma.
Alma: Maybe not.
Reynolds: Maybe you have no taste.
Alma: Maybe I like my own taste.
Reynolds: Yeah, it’s just enough to get you into trouble.
Alma: Perhaps I’m looking for trouble.
Reynolds [abruptly]: Stop!

Reynolds: Please, don’t move so much, Alma.
Alma: I’m buttering my toast. I’m not moving too much.
Reynolds: Well, it’s too much. It’s a distraction. It’s very distracting.
Alma: Maybe you pay too much attention to it.
Reynolds: It’s hard to ignore. It’s as if you just rode a horse across the room. It’s too much movement. It’s entirely too much movement at breakfast.

Cyril: Perhaps you should take your breakfast after him. Or in your room?
Alma: I think he’s being too fussy.
Cyril: His routine when he’s in it is best not shaken. This is a quiet time. Not to be misused. If breakfast isn’t right, it’s very hard for him to recover for the rest of the day.
Alma: I didn’t know that.
Cyril: No, of course you didn’t. But you do now.

Alma [to the doctor off camera]: You see, when you…when you love your work…and you can give like he does you need to come down again. And then, he’s…he’s a baby, he’s…like a spoiled little baby. When he’s like this, he’s…very tender. Open.
Doctor: How long would these episodes last?
Alma: Only a few days and then he’s well again.

Alma: What if the mushrooms are yellow underneath and white on top?
Housekeeper: The poisoned ones have gills. Look at the book in the kitchen.

Reynolds: I would like the dress back.
Woman: Ms. Rose is sleeping.
Reynolds: She’s sleeping. In the dress?
Woman: Well, yes.
Reynolds: Go and take the dress off her and bring it to me right away.
Woman: I don’t think so.
Reynolds [angrily]: Take the fucking dress off Barbara and bring it to me or I’ll do it myself!

Alma [to the woman]: It’s no business of ours what Mrs. Rose decides to do with her life. But she can no longer behave like this in a dress by the House of Woodcock!

Cyril: I would advise against dinner this, Alma.
Alma: Why?
Cyril: Because he doesn’t like surprises.
Alma: He does.
Cyril: Well, he won’t like this one.
Alma: I’m trying to surprise him. And love him the way that I want to.
Cyril: Well, if you’re looking for something kind to do perhaps, you could think of something else. No, I really must advise against this, Alma. I don’t think there could be a more inappropriate time to try something new.
Alma: This is what I want to do. And I think it will be very nice. I respect to your advice, Cyril, but I have to know him in my own way. And this is what I want to do for him.

Alma: Do you like it?
Reynolds: I do.
Alma: No, you don’t. You don’t like it at all. Usually, you always tell me what you think.
Reynolds: What is this?
Alma: You’re lying.
Reynolds: As I think you know, Alma, I prefer my asparagus with oil and salt. And knowing this, you’ve prepared the asparagus with butter. Now, I can imagine in certain circumstances being able to pretend that I like it made this way. Right now, I’m just admiring my own gallantry for eating it the way you’ve prepared it.
Alma [more to herself]: I don’t know what I’m doing here. I…I don’t know what I’m doing here. I’m just waiting around like a idiot for you.
Reynolds: This was an ambush, Alma. To what purpose?
Alma: This is not…I know it’s not going as I expected, I…I didn’t mean these things to come out. I’m sorry, but it was meant to be nice.
Reynolds: Well, what did you expect?
Alma: I wanted time with you. I wanted to have you to myself.
Reynolds: You have me all the time.
Alma: No!
Reynolds: What are you talking about?
Alma: I don’t! I…there…there are always people around. And if not, then there’s something between us.
Reynolds:Something between us? What?
Alma: Some…
Reynolds: What?
Alma: Distance!

Reynolds: What happened to make you behave like this? Is it because you think I don’t need you?
Alma: Yes.
Reynolds: I don’t.
Alma: Why, that’s very predictable of you. Don’t act so tough. I know you are not.
Reynolds: Yeah, that’s right, that’s right. If I don’t protect myself, somebody will come in the middle of the night and take over my corner of the room and ask me about their fucking asparagus!
Alma: Don’t be a bully. You’re being a bully.
Reynolds: There are other things I’d like to do with my time. It’s my time. My time!
Alma [again more to herself]: I have no idea what I’m doing here in your time. What am I doing here? I’m standing around like an idiot waiting for you.
Reynolds: Waiting for what?
Alma: Waiting for you.
Reynolds: Waiting for what?
Alma: Waiting for you to get rid of me. So, tell me. So I don’t stand around like a fucking fool.

Reynolds: Asparagus. Is this all about your asparagus?
Alma: No, it is not about asparagus.
Reynolds: What the hell is it about? Are you a special agent sent here to ruin my evening and possibly my entire life?
Alma: Why are you so rude to me? Why are you talking to me like this?
Reynolds: Is this my house? This is my house, isn’t it?
Alma: Yes, this is your house.
Reynolds: Is this my house? Or did somebody drop me on foreign soil behind enemy lines. Alma: You brought me here. I’m surrounded on all sides. It’s you who brought me here.
Reynolds: When the hell did this happen? Who are you? Do you have a gun? You’re here to kill me? Hm, do you have a gun?
Alma: Stop it!
Reynolds: Where’s your gun?
Alma: Stop being a child.
Reynolds: Where’s your gun? Show me your gun.
Alma: Stop playing this game.
Reynolds: I’m not playing a game. What game am I playing? What game? What precisely is the nature of my game? You tell me.
Alma: Oh, this whole…All your rules and your walls and your doors and your people and your money and all this clothes and everything! This! This! This game! Everything here! The whole pfff! Nothing is normal or natural or…Everything is a game!!
Reynolds: If it’s my life that you’re describing it’s entirely up to you whether you choose to share it or not. If you don’t wish to share that life as apparently it’s so disagreeable to you in every respect, why don’t you just fuck off to back where you came from?

Cyril: Would you like me to ask Alma to leave?
Reynolds: No, why?
Cyril: Well, if you’re going to make her a ghost go ahead and do it, but please don’t let her sit around waiting for you. I’m very fond of her.
Reynolds: Oh, you’re very fond of her, are you? Well, in that case…
Cyril: No, don’t turn it on me. I don’t want your cloud on my head.
Reynolds: Oh, shut up, Cyril.
Cyril: No, you can shut right up. Don’t pick a fight with me. You certainly won’t come out alive. I’ll go right through you and it’d be you who ends up on the floor. Understood?

Reynolds [after having been poisoned?]: I’m scared, Alma.
Alma: Yes, of course you are.
Reynolds: Do you think I’ll ever get better?
Alma: Of course. I’ll take care of you.

Cyril: The doctor’s here.
Alma: What doctor?
Cyril: The doctor I sent for.
Alma: Oh, no, but he’s…
Cyril: He needs to be examined.
Alma: No.
Cyril: Yes.
Alma: No, he’s not dying.
Cyril: He needs to be examined.
Alma: He’s sleeping now, that’s what he needs.
Cyril: Let me be unambiguous. Come out of the room and downstairs immediately.

Doctor: Hello, Mr. Woodcock. May I examine you?
Reynolds: Keep your hands off me.
Doctor: Well, I would just like to take your temperature.
Reynolds: Alma? There’s a strange boy in the room, can you get him out, please?
Doctor: I admit, I do look young…
Reynolds: Fuck off.
Cyril: Reynolds, please, just let him examine you.
Alma: I think this is clear, hm? He wants you to fuck off.

Reynolds [the next morning]: I love you, Alma. I don’t ever want to be without you.
Alma: I love you.
Reynolds: I have things I want to do. I thought my days were unlimited. The mistakes I’ve made…I’ve made again. They can no longer be ignored. There are things nagging at me. Things that now must be done. Things I simply cannot do without you. To keep my sour heart from choking. To break a curse. A house that doesn’t change is a dead house. Alma, will you marry me? Will you marry me? What the bloody hell are you thinking about? Will you marry me? No?
[Alma says nothing at first but there is a smile on her face]
Alma: Yes. Will you marry me?
Reynolds: Yes, I will.

Lady Baltimore [To Reynolds]: Your wife has got that gorgeous glow you get with a first marriage. It seems my godson’s rather enjoying that glow as well.

Alma: It’s a stupid game anyway.
Reynolds: Well, maybe it seems stupid to you now as you’re currently losing, but I dare say, if you were victorious, I’m confident that you’d see it in a different light. Now, they need your chair for my next opponent. Next.
Lady Baltimore: Me, please.
Reynolds [to Alma]: What? What are you so cranky about?
Alma [walking away in a huff]: Have fun with your next opponent.
Reynolds: Well, I-I think I will. A lot more than I did with you.

Lady Baltimore [after Alma is gone]: Gosh, she’s really very rude, isn’t she? My heart breaks for you.
Reynolds: Oh, really?
Lady Baltimore: Being married to a toddler. I don’t mean to be racist, but, I mean…Is there some sort of custom at this time of the night in her country where…I mean, what’s she doing?Reynolds: What’s your point?
Lady Baltimore: I don’t know…She’s stealing things or attacking people, I mean.

Alma: I want to go dancing.
Reynolds [absently]: When?
Alma: Right now.
Reynolds: You’re joking.
Alma: No, I’m not. It’s New Year’s Eve.
Reynolds: Well, I’m not going dancing.
Alma: There’s a party at the Devonshire Hall to celebrate the New Year. And I want to go. We need to go dancing. So, what are you going to do about it?
Reynolds: I’m going to stay right here and I’m going to work.

Reynolds: Where has Henrietta Harding been?
Cyril: She’s been to another house.
Reynolds: Which one? Why didn’t you tell me?
Cyril: Because I didn’t want to.
Reynolds: Is there something that I’m unaware of? Because as far as I can remember, all I have done is to dress her beautifully.
Cyril: I don’t think that matters to some people. I think they want what is fashionable and chic.
Reynolds: Chic? Oh, don’t you start using that filthy little word. Chic? Whoever invented that ought to be spanked in public. I don’t-I don’t even know what that word means. What is that word? Fucking chic? They should be hung, drawn and quartered. Fucking chic.
Cyril: It shouldn’t concern you.
Reynolds: It does concern me. It concerns me very much, Cyril because it’s hurt my feelings. It’s hurt my feelings.
Cyril: So, what’s all this moaning about?
Reynolds: I am not moaning. I do not like to be turned away from.
Cyril [calmly]: Nobody does. But I don’t want to hear it because it hurts my ears.

Reynolds: I’ve made a terrible mistake in my life, Cyril. I’ve made a- I made a terrible mistake. I need you to help me.
Cyril: What do you want me to do?
Reynolds [as Alma enters the room]: I can’t work. I can’t…concentrate. I have no confidence. She does not fit in this house. We built this house. The two of us. Now she’s turning the whole bloody place upside down. She’s turning me inside-out. She’s turning you and me against each other. Her arrival has cast a very long shadow, Cyril.
Alma [from behind him]: Mrs. Vaughan is satisfied with the dress.
Reynolds [angrily]: No one gives a tinker’s fucking curse about Mrs. Vaughan’s satisfaction!
Cyril [looking past Reynolds]: Thank you Alma.
Alma [calmly]: Not at all.
[she turns and walk out of the room]
Reynolds: What a model of politeness you two are. There is an air of quiet death in this house. And I do not like the way it smells.

Alma [to Reynolds who is chewing on her poisoned omelot]: I want you flat on your back… helpless… tender… open…with only me to help. And then I want you strong again. You’re not going to die. You might wish you’re going to die, but you’re not going to. You need to settle down a little.
Reynolds: Kiss me, my girl, before I’m sick.

Reynolds [now very sick again]: I think perhaps you should telephone that boy doctor of yours, just in case.
Alma: You don’t trust me?
Reynolds: No, I do trust you, it’s just…
Alma: If you wish. But I will make you well again. I will.
Reynolds: I love you.
Alma: I love you too.

Alma [to the doctor]: If he didn’t wake up from this, if he wasn’t here tomorrow…no matter. For I know he’d be waiting for me in the afterlife…or some safe celestial place. In this life… and the next… and the next one after. And for whatever there is on the road that follows from here. It would only require my patience to get to him again. You see to be in love with him makes life no great mystery…Someimes I jump ahead in our life together. And I see a time near the end. I can predict the future and everything has settled. And all our lovers and children and friends come back…and are welcome. And we have large gatherings where everyone is laughing and playing games.

Alma: I am older and I see things differently. And I finally understand you. And I take care of your dresses. Keeping them from dust and ghosts and time.
Reynolds: Yes, but right now, we’re here.
Alma: Yes, of course we are.
Reynolds: And I’m getting hungry.[/b]

You’re only young once.

So, you either make the most of it or you don’t. On the other hand, making the most of it often revolves around actual options available. You may want something, you may want someone…but are they within reach?

And this may well get all the trickier when you are leaning more toward the gay end of the sexual spectrum. There just aren’t as many opportunities around when only a small percentage of the population is likely to be willing to make the most of it with you.

Unless, of course, serendipitiously, someone just falls right into your lap.

Unless, of course, you are bi-sexual. Then the options can increase rather dramatically. Here you’re not entirely certain who is what.

But then there’s the circumstances in which the most of it is being made. After all, there are still any number of places where homosexuality is very much frowned upon. And, in some locations, it can even be dangerous.

Here the year is 1983, the place, a villa nestled in a rural community in Northern Italy. Also, the main characters are generally educated, sophisticated and really, really tolerant. And [of course] drop dead gorgeous.

So, here we go again: another “coming of age” saga in which you either will or will not sink down empathetically into the relationship unfolding. A “first love” narrative in which that yawning gap between an educated mind and an uneducated heart make for all manner of yearning, perplexity and, at times, uncertainty.

That and the perfect ending.

Later.

IMDb

[b]Timothée Chalamet learned to speak Italian and play the classical piano pieces used in the film.

Despite various sexual scenes in the film, Armie Hammer stated in an interview that the most uncomfortable he ever felt during filming was when he was filming the dance scenes.

The film is dedicated to actor Bill Paxton, who died in February 2017. Brian Swardson, the husband of one of the film’s producers, Peter Spears, was Bill Paxton’s best friend and agent. He is also the agent for Timothée Chalamet. Paxton visited the set in Italy and became friends with director Luca Guadagnino. Guadagnino decided to honor Paxton by dedicating the film to him.

Despite considering casting gay actors, Luca Guadagnino cast what he felt were the best actors for role and ended up with two straight actors in the lead roles.

Regarding the peach scene, director Luca Guadagnino went to Timothée Chalamet and told him that he had tried masturbating with a peach himself and found that it was indeed possible to do so. Therefore, he thought they should do the scene. Chalamet responded that he had also tried it and agreed to do the scene.[/b]

trivia at IMDb: imdb.com/title/tt5726616/tr … tt_trv_trv
at wiki: en.wikipedia.org/wiki/Call_Me_b … Name_(film
trailer: youtu.be/Z9AYPxH5NTM

Call Me By Your Name [2017]
Directed by Luca Guadagnino

[b]Elio [to Oliver asleep from exhaustion]: My room is now your room. I’ll be next door. We have to share the bathroom. It’s my only way out.

Oliver: So, what does one do around here?
Elio: Wait for the summer to end.
Oliver: Yeah? What do you do in the winter? Wait for summer to come?

Oliver: Thought you were Jewish.
Elio: Well, we are Jewish, but also American, Italian, French. Somewhat atypical combination. Besides my family, you’re probably the only other Jew to set foot in this town.
Oliver: I’m from a small town in New England. I know what it’s like to be the odd Jew out.

Professor [Elio’s father]: The origin of our Italian albicocca is al-barquq. It’s amazing that today in Israel and many Arab countries, the fruit’s referred to by a totally different name, mismish.
Oliver: I may have to disagree with you there, Professor. I’m gonna talk etymology, so just bear with me a second. You’re right in the case that most Latin words do find their origins in Greek words. However, in the case of “apricot,” it’s a little bit more of a complicated journey.
Professor: How so?
Oliver: Well, here, the Greek actually takes over from the Latin. Latin word being praecoquum or precoquere. So it’s, “precook” or “pre-ripen,” as you know. To be precocious or premature. And the Byzantines, to go on, then borrowed praecox, which became prekokkia, which then became berikokki, which is how the Arabs got al-barquq. That’s courtesy of Philology 101.

Elio: Don’t you think he’s impolite when he says, “Later”? Arrogant.
Father: I don’t think he’s arrogant.
Elio: Just watch. This is how he’ll say good-bye to us when the time comes. With his… “Later.”
Mother: Meanwhile, we’ll have to put up with him for six long weeks. Won’t we, darling?
Father: I think he’s shy. You’ll grow to like him.
Elio: What if I grow to hate him?

Oliver: That sounds different. Did you change it?
Elio: Well, I changed it a little bit.
Oliver: Why?
Elio: I just played it the way Liszt would have played it if he’d altered Bach’s version.
Oliver: Play that again.
Elio: Play what again?
Oliver: The thing you played outside on the guitar.
Elio: You want me to play the thing I played outside?
Oliver: Please.
Elio [playing the piano]: Of course.
Oliver: I can’t believe you changed it again.
Elio: I changed it a little bit.
Oliver: Yeah. Why?
Elio: I just played it the way Busoni would’ve played it if he’d altered Liszt’s version.
Oliver: And what is wrong with Bach the way Bach would’ve played…
Elio: Bach never wrote it for the guitar. In fact, we’re not even sure Bach wrote it at all.
Oliver: Forget I asked.

Oliver: Listen to this drivel. Tell me what you think. “For the early Greeks, Heidegger contends, this underlying hiddenness is constitutive of the way beings are, not only in relation to themselves but also in relation to other entities generally. In other words, they do not construe hiddenness merely or primarily in terms of entities’ relations to human beings.” Does that make any sense to you? Doesn’t make any sense to me. I don’t think it makes any sense to your dad, either.
Elio: Maybe it did when you wrote it.
Oliver: That might be the kindest thing anybody has said to me in months.

Elio [aloud to himself holding one of Oliver’s book]: The Cosmic Fragments by Heraclitus.
[he finds something that Oliver had written]
Oliver: “The meaning of the river flowing is not that all things are changing so that we cannot encounter them twice, but that some things stay the same only by changing.”

Elio: My mom’s been reading this 16th-century French romance. She read some of it to my dad and I the day the lights went out.
Oliver: Yeah, about the knight that doesn’t know whether to speak or die?
Elio: Right.
Oliver: So, does he or doesn’t he?
Elio: “Better to speak,” she said. But she’s on her guard. She senses a trap somewhere.
Oliver: So, does he speak?
Elio: No. He fudges.
Oliver: It figures. He’s French.

Oliver: Is there anything you don’t know?
Elio: I know nothing, Oliver.
Oliver: Well, you seem to know more than anybody else around here.
Elio: Well, if you only knew how little I know about the things that matter.
Oliver: What things that matter?
Elio: You know what things.
Oliver: Why are you telling me this?
Elio: 'Cause I thought you should know.
Oliver: Because you thought I should know?
Elio: 'Cause I wanted you to know?
Oliver: Because I wanted you to know. Because I wanted you to know. 'Cause I wanted you to know.
Elio: Because there’s no one else I can say this to but you.
Oliver: Are you saying what I think you’re saying?
[Elio nods]

Elio: Shouldn’t have said anything.
Oliver: Just pretend you never did.
Elio: Does that mean we’re on speaking terms but not really?
Oliver: It means we can’t talk about those kinds of things. Okay? We just can’t.

Elio: So you won’t, I guess.
Oliver: You really that afraid of what I think? You’re making things very difficult for me.

Elio: I love this, Oliver.
Oliver: What?
Elio: Everything.
Oliver: Us, you mean?
Elio: It’s not bad. It’s not bad.
[they begin to touch and kiss each other…but Oliver pulls away]
Oliver: Better now?
[Elio rolls onto him, kissing him more passionaitely]
Oliver: No, no, no. We should go.
Elio: Why?
Oliver: I know myself. Okay? And we’ve been good. We haven’t done anything to be ashamed of, and that’s a good thing. I wanna be good. Okay?
[Elio reaches over and grabs him at the crotch]
Elio: Am I offending you?
Oliver [pulling his hand away]: Just don’t.

Mother: You like him, don’t you? Oliver?
Elio: Everyone likes Oliver.
Mother: I think he likes you too. More than you do.
Elio: Is that your impression?
Mother: No, he told me.
Elio: When did he say that?
Mother: A while ago.

Elio [aloud to himself as Oliver closes the door between them]: Traitor…traitor.

Marzia: Do you really read a lot? I love reading too, but I don’t tell anyone.
Elio: Why not?
Marzia: I don’t know. I think people who read are kind of secretive. They hide who they really are.
Elio: Do you hide who you really are?
Marzia: No, not with you.
Elio: Not with me?
Marzia: Well, maybe a bit.
Elio: What do you mean?
Marzia: You know exactly what I mean.
Elio: Why do you say that?
Marzia: Why? Because I think you’re going to hurt me, and I don’t want to be hurt.

Father: No misbehaving tonight. No…No laughing. When I tell you to play, you’ll play. You’re too old not to accept people for who they are. What’s wrong with them?
Elio: What’s wrong with them?
Father: You call them Sonny and Cher behind their backs.
Elio: That’s what Mom calls them…
Father: Then you accept gifts from them. The only person that reflects badly on is you. Is it because they’re gay or because they’re ridiculous?

Oliver [about to have sex with Elio for the first time]: Off, off, off, off, off. Just pull it. Or I’ll pull it.
[afterward they lay embracing]
Oliver: Call me by your name, and I’ll call you by mine.
Elio: Elio.
Oliver: Oliver.
Elio: Elio.
Oliver: Oliver.

Elio [to Oliver]: You wore that shirt the first day you were here. Will you give it to me when you go?

Oliver: Are you gonna hold what happened last night against me?
Elio: No.

Oliver: Elio. Come here. Take your trunks off.
[Oliver bends down and fellates him]
Oliver: Well, that’s promising. You’re hard again. Good.
[then he closes the door between them]

Oliver: You’re not sick of me yet?
Elio: No, I just…just wanted to be with you. I’ll…I’m gonna…I’ll go.
Oliver: Do you know how happy I am that we slept together?
Elio: I don’t know.
Oliver: Of course, you don’t know. I don’t want you to regret anything. And I hate the thought that maybe I may have messed you up or…I don’t want either of us to pay for this, one way or another.
Elio: No, I… It’s not like I’m gonna tell anyone. You’re not gonna be, like, getting in trouble.
Oliver: That’s not what I’m talking about.

Oliver: What did you do?
Elio: Nothing.
Oliver [holding the “used” peach]: No? Oh, I see. You’ve moved on to the plant kingdom already.

Elio: God, we wasted so many days. Why didn’t you give me a sign?
Oliver: I did. I did.
Elio: You didn’t give me a sign. When?
Oliver: You remember when we were playing volleyball and I touched you? Just to show you that I liked you? And the way you reacted made me feel like I’d molested you.
Elio: I’m sorry. I’m sorry…

Father: You two had a nice friendship. You’re too smart not to know how rare, how special what you two had was.
Elio: Oliver was Oliver.
Father [more to himself]: Because it was him. Because it was me.
Elio: Oliver may be very intelligent but…
Father: He was more than intelligent. What you two had, had everything and nothing to do with intelligence.

Father [to Elio]: Look, you had a beautiful friendship. Maybe more than a friendship. And I envy you. In my place, most parents would hope the whole thing goes away. Pray their sons land on their feet, but I am not such a parent. We rip out so much of ourselves to be cured of things faster, that we go bankrupt by the age of 30. And have less to offer, each time we start with someone new. But to make yourself feel nothing so as not to feel anything. What a waste.

Father: I may have come close but I never had what you two have. Something always held me back or stood in the way. How you live your life is your business. Just remember, our hearts and our bodies are given to us only once, and before you know it, your heart’s worn out. And as for your body, there comes a point when no one looks at it much less wants to come near it. Right now, there’s sorrow, pain. Don’t kill it, and with it, the joy you felt.
Elio: Does Mom know?
Father: I don’t think she does.

Oliver [on the phone from America]: I have some news.
Elio: News? What, you’re getting married? I suppose.
Oliver: I might be getting married next spring, yeah.
Elio: You never said anything.
Oliver: Been off and on for three years.
Elio: That’s wonderful news.
Oliver: Do you mind?
[before he can answer his parents are on the line]

Elio [on the phone]: They know about us.
Oliver: I figured.
Elio: How?
Oliver: Well, from the way your dad spoke to me. He made me feel like I was a part of the family. Almost like a son-in-law. You’re so lucky. My father would have carted me off to a correctional facility.
Elio: Elio. Elio. Elio. Elio. Elio. Elio. Elio. Elio. Elio.
Oliver: Oliver. I remember everything. [/b]