tag:blogger.com,1999:blog-78216312609089171552024-02-07T12:44:13.667+08:00Somewhere in the Depths of CinemaNotes of a film enthusiastUnknownnoreply@blogger.comBlogger193125tag:blogger.com,1999:blog-7821631260908917155.post-28700308732063952792017-10-02T22:15:00.002+08:002021-04-28T05:36:06.110+08:00A Knight in Shining Wonder<div style="text-align: justify;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7e7sNkZEfXOj-ZpG8le-Z0thX2c1KHLEm5i4nYtD8riX80YWyIjHrILmh4TYxcDZXLoMYe1fxDVRryT-oSYKLQsbO7T8dmP0E_h3g8sFLnxVwI7Set78RZcWib1NdtYfuc34G98U1atw/s1600/Wonder_Woman_sword_blue_dress.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="329" data-original-width="640" height="328" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7e7sNkZEfXOj-ZpG8le-Z0thX2c1KHLEm5i4nYtD8riX80YWyIjHrILmh4TYxcDZXLoMYe1fxDVRryT-oSYKLQsbO7T8dmP0E_h3g8sFLnxVwI7Set78RZcWib1NdtYfuc34G98U1atw/s640/Wonder_Woman_sword_blue_dress.png" width="640" /></a></div>
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<b>WONDER WOMAN</b></div>
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Patty Jenkins, 2017</div>
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Superman saves the Metropolis. Batman saves Gotham. Wonder Woman saves the world.</div>
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I am not exactly a fan of superhero movies, although I've seen quite a lot already. I don't read comic books either. Nevertheless, I was thrilled to see <b><i>Wonder Woman</i></b>.</div>
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Created by William Moulton Man-Whore... oops, I mean, Marston, <i>Wonder Woman</i> was based on his wife (Elizabeth Holloway) and his mistress (Olive Byrne). Marston and his playthings, I mean, his women lived together as a threesome.</div>
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Anyway, Jenkins' <i>Wonder Woman</i> is said to be a refreshing take on superhero movies. Finally, here's a superhero movie about a super strong woman with supernatural powers. Super! In such a superior way, our female superhero (otherwise known as Diana Prince a.k.a. Princess of Themyscira) superbly fights the super bad guys because that's what superheroes do, right?</div>
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Gal Gadot shines as Wonder Woman. Basically, <i>Wonder Woman</i> is <b><i>Xena: the Warrior Princess</i></b> on steroids. Allegedly molded out of clay by her mother, Queen Hippolyta (Connie Nielsen), Diana grows up in a land that only exists in my sapphic dreams — the all-women island of Themyscira. A world so heavenly... until men ransacked and destroyed it. Thanks, but no thanks, Steve Trevor! (Why must men ruin everything? Such vermin!)</div>
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An American spy for the British intelligence, Steve Trevor (Chris Pine) crashes his plane into the island of Themyscira. Princess Diana fishes him out of the water, saving him just like Miho (Devon Aoki) saved Dwight (Clive Owen) in <b><i>Sin City</i></b>. Afterwards, the bad guys transcend into Themyscira, hunting Steve and eventually clashing with the Amazons.</div>
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Driven to save the world from Ares a.k.a. the god of war, Diana leaves Themyscira for our self-destructive planet called Earth. Accompanying Steve in London, Diana learns the ugly truth about Earth, which is currently under the wrath of World War I. Diana must help Steve in stopping General Ludendorff (Danny Huston) and Isabel Maru a.k.a. Dr. Poison (Elena Anaya) from spreading a chemical weapon. At the same time, Diana learns the truth about herself.</div>
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<a name='more'></a><span style="font-size: large;"><b>Gal Gadot and The Film's Technical Aspect</b></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoZ-ee1UVw90t9sNJru9i8f4t0t_s_AC6qHHWUBpidJbcMgolDJLagWqTW-hrIgSeBCgV0OIxvkuc2V9xhhnPOVh7-rrsLAjemcWB7blP3fyvA0smawDpiigl2EUonIdfU0CZrm7AGmoA/s1600/Wonder_Woman.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="557" data-original-width="780" height="456" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoZ-ee1UVw90t9sNJru9i8f4t0t_s_AC6qHHWUBpidJbcMgolDJLagWqTW-hrIgSeBCgV0OIxvkuc2V9xhhnPOVh7-rrsLAjemcWB7blP3fyvA0smawDpiigl2EUonIdfU0CZrm7AGmoA/s640/Wonder_Woman.jpg" width="640" /></a></div>
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Gorgeous Israeli actress Gal Gadot is perfect as Wonder Woman. I couldn't picture any other actress in the role. Miss Gadot is what happens if Natalie Portman makes love with Claire Forlani. Fabulous! As Diana, Miss Gadot is commendable. The actress was also good during the heavily choreographed fight scenes, which are mostly impossible. But impossible stunts are often seen in superhero movies.</div>
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The music and cinematography also serve as some of the film's strong points. Rupert Gregson-Williams' piece, <i><a href="https://www.youtube.com/watch?v=wSavwX4C240" target="_blank">Wonder Woman's Wrath</a></i>, is just the right theme to musically embody our superheroine. (It's also a good workout music.) The musical piece is spirited and brave, giving you a feeling as if Wonder Woman just punched you in the throat or something. Epic.</div>
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Aside from Miss Gadot, Matthew Jensen's cinematography is also something to behold. Although it is obviously powered by CGI, Themyscira looks like a paradise with its dreamy landscape. I also enjoyed the animation sequence as Hippolyta tells Diana an <a href="https://www.youtube.com/watch?v=NFN4Vh9Nzpg" target="_blank">Amazonian bedtime story</a>. It's like looking at a moving Renaissance painting. By the way, the actual painting was made by an artist named <a href="https://www.artstation.com/artwork/BWErr" target="_blank">Raffy Ochoa</a>.</div>
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Most of the performances are good. <i>Wonder Woman</i> has a solid lineup of thespians from different nationalities. My favorite performances are those by Robin Wright (great to see Jenny/The Princess Bride kicking a**), David Thewlis, Danny Huston, and Elena Anaya. Miss Gadot gives a notable performance, but her character is lacking some emotional depth. Chris Pine's acting is also good, but he is not remarkable as Steve. (I think Pine's best performance is in <b><i>Smokin' Aces</i></b>.)</div>
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<span style="font-size: large;"><b>Important Movie Loaded with Clichés</b></span></div>
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As for the critics' "refreshing take" remark, <i>Wonder Woman</i> doesn't feel refreshing at all. Aside from its female superhero (about time!), its use of reversed gender roles, and the notion of female empowerment, the film has nothing new to offer. <i>Wonder Woman</i> initially felt intriguing and exciting. However, as the film progresses, its intrigue and excitement dissolved into a series of superhero clichés.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg45Oo1KM6otHEVLvJh_IAiGEwvJ1bzey-ZAk-8Kf0ORJ5ZDv15JL_0agX_jGpWaYhUsukWv8vQ69W8dMmONxiGP_fp8DSigPi-9MYlifLXfS0d8oSH0k-dSqwTXLQdWOGeyXFGN71U47U/s1600/wonder-woman-steve-trevor-1000910.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="960" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg45Oo1KM6otHEVLvJh_IAiGEwvJ1bzey-ZAk-8Kf0ORJ5ZDv15JL_0agX_jGpWaYhUsukWv8vQ69W8dMmONxiGP_fp8DSigPi-9MYlifLXfS0d8oSH0k-dSqwTXLQdWOGeyXFGN71U47U/s640/wonder-woman-steve-trevor-1000910.jpg" width="640" /></a></div>
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Diana to Steve: <i>Get dafuq off me, man. I don't need you.</i></div>
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If we're talking about narrative style, the most "refreshing" superhero movie for me is <b><i>Batman Begins</i></b>. Christopher Nolan's film was able to give its superhero a character — not just a personality — but <b><i>a character</i></b>! Because it is imperative for superheroes to have flashy superpowers and personable charm, most writers and directors often fail to give them sufficient characterization. I think that's what Jenkins and Zack Snyder failed to do with <i>Wonder Woman</i>. Diana Prince wasn't given enough depth and characterization. Oftentimes, it was difficult for me to emotionally connect with her. It's not because of Miss Gadot's acting or accent, it's mostly because of her limited characterization.</div>
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Except for the council scene and the French mother begging Diana for help in No Man's Land, I was never emotionally invested in Diana Prince as a character. I was hooked on her as a warrior and a superhero, but never as a character. I was never emotionally moved nor convinced by Diana's love for Steve because their romance escalated quickly. We never got the chance to understand how they fell in love with each other. That's why I can't move myself to cry with Diana when (<b>SPOILER AHEAD</b>) Steve sacrifices himself. Also, their romance felt forced, clichéd, and ordinary because... heteronormativity.</div>
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<b><span style="font-size: large;">Lesbian and Bi Women Invisibility</span></b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEGHPZUMzhbBq3LgUsoNmDNfm4DjIQ-xFrmkAAXfN3BTwtAvwrzv2COyDy1Ep6KOlf1Or6Ra-lD6l8fYI5sinrFQmCb-0R552Yqx_UPy4njfYvViAyN5j2WSq7-cyYj7vgRJyg8eBNPxM/s1600/icymi_featured.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="420" data-original-width="630" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEGHPZUMzhbBq3LgUsoNmDNfm4DjIQ-xFrmkAAXfN3BTwtAvwrzv2COyDy1Ep6KOlf1Or6Ra-lD6l8fYI5sinrFQmCb-0R552Yqx_UPy4njfYvViAyN5j2WSq7-cyYj7vgRJyg8eBNPxM/s640/icymi_featured.jpg" width="640" /></a></div>
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"<i>Lesbian existence comprises both the breaking of a taboo and the rejection of a compulsory way of life. It is also a direct or indirect attack on the male right of access to women.</i>"</div>
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- <a href="http://quotes.lifehack.org/quote/adrienne-rich/lesbian-existence-comprises-both-the-breaking-of/" target="_blank">Adrienne Rich</a></div>
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Speaking of heteronormativity, one of <i>Wonder Woman</i>'s writers <a href="http://www.hollywoodreporter.com/heat-vision/wonder-woman-is-bisexual-writer-933809" target="_blank">confirmed</a> that Diana Prince is indeed bisexual and has been romantically involved with women. (The assistant Etta Candy is <a href="https://en.wikipedia.org/wiki/Etta_Candy#Wonder_Woman:_Earth_One" target="_blank">said to be a lesbian</a> as well.) So, why weren't we able to see some sapphic sweetness in the film? (And I'm not the only one asking <a href="http://www.indiewire.com/2017/06/lgbt-superheroes-wonder-woman-lesbian-gay-queer-1201838274/" target="_blank">such question</a>.)</div>
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Why? Because money. Warner Bros. is still a money-making machine, just like most production companies in Hollywood. If they replaced Steve Trevor with a woman as Diana's love interest, do you think China and other conservative countries would not ban <i>Wonder Woman</i>? If the movie is banned from being shown in some countries, that means less money for the producers. That's why lesbian and bisexual women are continuously erased in mainstream, big-budgeted films like <i>Wonder Woman</i> and <b><i><a href="http://depthsofcinema.blogspot.com/2012/03/delicious-and-heartwarming_30.html" target="_blank">Fried Green Tomatoes</a></i></b>.</div>
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If the film thinks that the useless romance between Steve and Diana is important, what makes Diana's bisexuality less important? You wanted to emphasize love that's why you had to make Diana fall for Steve? There are other ways to exemplify love. It doesn't have to be restricted by the romantic kind. Diana is a warrior who fights for love. The film could've shown a different kind of love instead. There's love for those who suffer. Love for our friends and family. Love for humanity. Romantic love should not always be the standard of love. Love is a many-splendored thing, as the song goes.</div>
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On the other hand, the film has some sapphic undertones:<br />
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(1) Themyscira is an island with no men. What else could be any more lesbian than that?<br />
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(2) Thanks to the quote, "<i>Men are essential for procreation, but when it comes to pleasure... unnecessary</i>" — to which Steve's libido vehemently objects. Hey, Steve, dude. Haven't you heard about <a href="http://www.yourdictionary.com/tribbing" target="_blank">tribbing</a>? Yup, no d*ck necessary.</div>
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For a while, I was shipping for Antiope and Menalippe (Robin Wright and Lisa Loven Kongsli). But I read that they are actually sisters. So, no.</div>
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(3) And then there's Elena Anaya, a lesbian actress who — along with Patricia Yurena — is probably the most beautiful Spanish woman I've seen (if she's not Dr. Poison, of course).<br />
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Straight women may have finally found their representation in <i>Wonder Woman</i>. But what about my lesbian and bisexual ladies? Warner Bros. just had to remove any trace of Diana's bisexuality. Are we going to be erased from existence forever? The lack of representation for lesbian and bisexual ladies proves that women <i>still</i> have a long way to go. I'm beginning to think that my kind does not exist, that we're not real. But we're here, and we are real. I hope that someday lady-loving ladies can be accurately represented in mainstream cinema, putting an end to the unjust and hypersexualized stereotype associated with our sexual orientation.</div>
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<span style="font-size: large;"><b><i>Still</i> A Man's World</b></span></div>
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I appreciate <i>Wonder Woman</i>'s use of reversed gender roles. Unlike most mainstream movies, Miss Jenkins' film has a male character (Steve) as the damsel in distress constantly needing the help of his knight in shining armor (Diana). I like that. It's about time filmmakers do more of this role reversal.</div>
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Although the film aims to empower women and succeeds in doing so, <i>Wonder Woman</i> still has constant reminders that our planet is (sadly) still a man's world, and women merely exist for men.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhP2FC1qyirQDB42DrMhqpOWpbMZs7VX0vlPd8kEgJvQh2pJZs3Ysz_c6Z-MJI-gkjBq81dPcOM3UyBATh-i43CTxWCA2Q1EN7JZbuWuf-V8MRRpwR4yQNFnlZDyz40wdoZYBLDCLXO5wQ/s1600/Wonder-Woman-Trailer-2-Etta-Candy.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="750" data-original-width="1500" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhP2FC1qyirQDB42DrMhqpOWpbMZs7VX0vlPd8kEgJvQh2pJZs3Ysz_c6Z-MJI-gkjBq81dPcOM3UyBATh-i43CTxWCA2Q1EN7JZbuWuf-V8MRRpwR4yQNFnlZDyz40wdoZYBLDCLXO5wQ/s640/Wonder-Woman-Trailer-2-Etta-Candy.jpg" width="640" /></a></div>
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Lucy Davis as Etta Candy</div>
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Diana exists because she has to vanquish Ares. She also exists to help Steve. Etta Candy (Lucy Davis) exists because of Steve and Sir Patrick (David Thewlis). Isabel Maru exists because of Ludendorff. It is so rare in any film that women exist for themselves. A man always has to be in the picture. Like, WTF?!</div>
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I also feel that the film subtly worships the male sex by sexualizing Diana in an unnecessary way. It's not because of Wonder Woman's costume. (I love that costume!) Miss Jenkins squandered some screentime focusing a bit too much on the sexual aspect. Don't even mention that awkward "above average" scene.<br />
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First of all, Diana is not human. She is a goddess, an alien if you may. Why the f*ck would a goddess even bother herself with trivial stuff like sex and penis size?! Of course, she read all the 12 volumes of that sex book. She also hasn't seen a penis before. So what? Is it already mandatory for her to share some sexual tension with a horny human like Steve? Why make her look like a naive slut with musings about the d*ck? What does the male genitalia have to do with Diana's concept of love and world peace?! <b>Nothing</b>. But it's still there because this is still a man's world we're living in. So, whatever. (Somebody please take me to Themyscira!!!)</div>
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<b><span style="font-size: large;">That James Cameron Comment</span></b></div>
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James Cameron is a filmmaker best known for films such as <b><i>Titanic</i></b>, <b><i>The Terminator</i></b> movies, <b><i>Avatar</i></b>, and <b><i>True Lies</i></b>. Recently, Cameron found himself in dispute with <a href="http://www.latimes.com/entertainment/la-et-entertainment-news-updates-lynda-carter-calls-out-james-cameron-1506643207-htmlstory.html" target="_blank">Lynda Carter</a>, the actress who played Wonder Woman in the iconic TV series. The cause of their argument is <a href="https://www.theguardian.com/film/2017/aug/24/james-cameron-well-never-be-able-to-reproduce-the-shock-of-terminator-2" target="_blank">Cameron's remark</a> about Miss Jenkins' film:</div>
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"<i>All of the self-congratulatory back-patting Hollywood's been doing over <b>Wonder Woman</b> has been so misguided. She's an objectified icon, and it's just male Hollywood doing the same old thing! I'm not saying I didn't like the movie but, to me, it's a step backwards. Sarah Connor was not a beauty icon. She was strong, she was troubled, she was a terrible mother, and she earned the respect of the audience through pure grit.</i>"</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgI3i80pYpgQeuNu_UfQOUM-7QD9Nr3nUkJYqMpDqPwDhUtODo3VBt4F0yM7-Kgammu0soZQkqw-4Pp7bWxbFBlcqcbAwxc0GyUCbYFXJWnogCJpf-yo5EfNW3mq75rBu-El_x4zBknrL8/s1600/Sarah_Connor.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1077" data-original-width="1600" height="430" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgI3i80pYpgQeuNu_UfQOUM-7QD9Nr3nUkJYqMpDqPwDhUtODo3VBt4F0yM7-Kgammu0soZQkqw-4Pp7bWxbFBlcqcbAwxc0GyUCbYFXJWnogCJpf-yo5EfNW3mq75rBu-El_x4zBknrL8/s640/Sarah_Connor.jpg" width="640" /></a></div>
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Linda Hamilton as Sarah Connor in <b><i>Terminator 2: Judgment Day</i></b></div>
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As a woman, I wasn't offended by Cameron's comment. Personally, I don't think Cameron meant any harm with it. He was merely giving his constructive criticism about the character and the film. I also don't find him misogynistic or anti-female empowerment. In fact, most of his films have strong and independent women in it. There's Sarah Connor in <i>The Terminator</i> films, Rose in <i>Titanic</i>, and Helen Tasker in <i>True Lies</i>. What he didn't find appealing or empowering is Diana's useless sexualization, which I talked about earlier.</div>
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A woman doesn't need to be sexualized in order to be desirable, because being desirable should be the last thing on her mind. For me, female empowerment is about feeling confident as a woman, not as a sex object. Oftentimes, female empowerment is also about being independent and not needing any man. Men need women (to cook for them, to wash and iron their clothes, to serve as their orifice, etc). </div>
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On the other hand, women don't need men. Money? Women nowadays can earn it themselves. D*ck? Yes, that's mostly the thing men brag about. But do women need it? <a href="http://www.independent.co.uk/life-style/love-sex/heterosexual-women-orgasm-sex-less-other-demographics-lgbt-lesbian-gay-study-chapman-indiana-a7595181.html" target="_blank">Nah, nein, nunca, no</a>. Security? <u>An empowered female is a secure woman</u>. So, that <i>Wonder Woman</i> quote is right: men are unnecessary to women.</div>
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Despite its flaws, <i>Wonder Woman</i> is still a milestone in mainstream cinema. Miss Jenkins' film shows the world that women are no damsels in distress. Women don't need a knight in shining armor nor a Prince Charming, because they are their own knight in shining armor and a Prince Charming is often unnecessary. Women are strong and beautiful creatures who can stand up for themselves, determined to fight for what they believe in.<br />
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<b>Trailer for <i>Wonder Woman</i>:</b><br />
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<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/1Q8fG0TtVAY" width="560"></iframe>
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<b style="font-size: small;"><br /></b> <b style="font-size: small;">DISCLAIMER:</b><span style="font-size: x-small;"> No copyright infringement intended. I don't own or claim to own any of the photos used.</span><br />
<span style="font-size: x-small;"><br /></span> <span style="font-size: x-small;"><br /></span> <span style="font-size: x-small;"><br /></span>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7821631260908917155.post-9703685586942557642017-07-10T10:00:00.000+08:002017-07-12T14:55:53.587+08:00Cinematography: All That Heaven Allows<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJy50REfxL7iRLIBwPFGQyDA0TGNVsuPq1qa4-6WORoUApKu6Fqgffv3Hx4iAR2cyo9T2dr2ZIazZicC0_jj9JdbhOV6BxszaRlzvL5Db51cCObCRHfU4uouApGOXEQiWCWl9xuwZcLho/s1600/All_That_Heaven_Allows.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="731" data-original-width="1339" height="348" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJy50REfxL7iRLIBwPFGQyDA0TGNVsuPq1qa4-6WORoUApKu6Fqgffv3Hx4iAR2cyo9T2dr2ZIazZicC0_jj9JdbhOV6BxszaRlzvL5Db51cCObCRHfU4uouApGOXEQiWCWl9xuwZcLho/s640/All_That_Heaven_Allows.jpg" width="640" /></a></div>
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<b>ALL THAT HEAVEN ALLOWS</b> (1955)<br />
<b>Director:</b> Douglas Sirk<br />
<b>Cinematographer:</b> Russell Metty<br />
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One of the most beautifully shot films, I believe, is Douglas Sirk's <b><i>All That Heaven Allows</i></b>. Starring Jane Wyman and gay icon Rock Hudson, this romantic drama has an upper-class widow (Miss Wyman) and a younger nurseryman (Hudson) falling in love with each other.</div>
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Rainer Werner Fassbinder remade <i>All That Heaven Allows</i> as <b><i>Ali: Fear Eats the Soul</i></b>, while Todd Haynes paid homage to Sirk's masterpiece via <i><b>Far from Heaven</b></i>.</div>
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The film that put Sirk on the Hollywood map, <i>All That Heaven Allows</i> is armed with well-written screenplay and notable performances (especially by Miss Wyman). But the thing that made this a standout classic is Russell Metty's cinematography, which heavily inspired Edward Lachman's work in <i>Far from Heaven</i>.</div>
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Filmed in Technicolor, <i>All That Heaven Allows</i>' most dominant color is blue, although Metty mixes some playful colors throughout the movie.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheqrgNsDdz-5RvpfHLdAt0U7vRtQ-1LyXTwM81S5tbS2jGckflE5l9q9dEtraUq7-SlTuTlcUowmguAxZVNeZun0xVZqtE6yoGASUQnzwB5idQKwzhdByRirgrPTV7IF5uEDZVQIFbTIM/s1600/All_That_Heaven_Allows_title.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="725" data-original-width="1341" height="346" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheqrgNsDdz-5RvpfHLdAt0U7vRtQ-1LyXTwM81S5tbS2jGckflE5l9q9dEtraUq7-SlTuTlcUowmguAxZVNeZun0xVZqtE6yoGASUQnzwB5idQKwzhdByRirgrPTV7IF5uEDZVQIFbTIM/s640/All_That_Heaven_Allows_title.jpg" width="640" /></a></div>
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The opening credits for the film has an aerial shot because it's <i>All That *<b>Heaven</b>* Allows</i>.</div>
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The camera pans to show us around the suburb. The clock strikes at twelve to signify a major turning point in Cary Scott's (Jane Wyman) middle-aged life. Perhaps it aims to point out that she is at "the afternoon of her life," therefore she shouldn't be wasting her time being unhappy.</div>
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Allow yourself to behold such visual heaven...</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7_of_pSkALCP3NTa00wkxOBMTXCXn3XZWaxNe9-meuEuimnM-AEE2W_HFh2dHsl4IKd-MqxWagGegEuvmtWK_-5LZE_wJ89kMgBFFkePM7NpDlK0_ETjGvvLzFlVBI6JBggn-6IsXYkQ/s1600/All_That_Heaven_Allows_barn.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="726" data-original-width="1341" height="346" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7_of_pSkALCP3NTa00wkxOBMTXCXn3XZWaxNe9-meuEuimnM-AEE2W_HFh2dHsl4IKd-MqxWagGegEuvmtWK_-5LZE_wJ89kMgBFFkePM7NpDlK0_ETjGvvLzFlVBI6JBggn-6IsXYkQ/s640/All_That_Heaven_Allows_barn.jpg" width="640" /></a></div>
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Looks like an impressionist painting.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhW-qmmSlLAY80xlwD6bHwEqtHTVarRsYpYqxE1z847Qf6txy5L27bSqPmBnl2yf6b-EaaeRjeFCtmHZfZdCFSF4NBbs3-vf6Cmqm1UvEwJRcZusWvvSwtlpGBDxFhZFCp2cNQzC86O6XE/s1600/All_That_Heaven_Allows_red_barn.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="733" data-original-width="1348" height="348" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhW-qmmSlLAY80xlwD6bHwEqtHTVarRsYpYqxE1z847Qf6txy5L27bSqPmBnl2yf6b-EaaeRjeFCtmHZfZdCFSF4NBbs3-vf6Cmqm1UvEwJRcZusWvvSwtlpGBDxFhZFCp2cNQzC86O6XE/s640/All_That_Heaven_Allows_red_barn.jpg" width="640" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBlvprrIc2moXBp5MfaDeML1uECSKw7ckBoKXjCudrxE4d2umDbL9TNtBFVPkgxIdfNSMBNmwQPgHwP_f0elGVQPLf3jO5D6aFWyJAyRXdm24VKwj9bLj55KC720gLZVPoZ78U033OPfk/s1600/All_That_Heaven_Allows_top.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="731" data-original-width="1343" height="348" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBlvprrIc2moXBp5MfaDeML1uECSKw7ckBoKXjCudrxE4d2umDbL9TNtBFVPkgxIdfNSMBNmwQPgHwP_f0elGVQPLf3jO5D6aFWyJAyRXdm24VKwj9bLj55KC720gLZVPoZ78U033OPfk/s640/All_That_Heaven_Allows_top.jpg" width="640" /></a></div>
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That red barn though.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhkfBwdqn7VRt5UMO0SQT6DLz1k5xoKDdeKm77sI2LZNxuBpeSf3GfYjfiAMHm0AnW_IfznK7-Okp6k0B76oIDRs9-zDxd2nS1tV4boaRY69qtHZqrD0RAHnJWPRCW7bnDpDW2eQK9r38/s1600/All_That_Heaven_Allows_lunch.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="726" data-original-width="1346" height="344" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhkfBwdqn7VRt5UMO0SQT6DLz1k5xoKDdeKm77sI2LZNxuBpeSf3GfYjfiAMHm0AnW_IfznK7-Okp6k0B76oIDRs9-zDxd2nS1tV4boaRY69qtHZqrD0RAHnJWPRCW7bnDpDW2eQK9r38/s640/All_That_Heaven_Allows_lunch.jpg" width="640" /></a></div>
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Mellow yellow.</div>
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This shot oozes warmth it made me like yellow, and I'm not even a fan of such color.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyJhL8so54NRBYKvhE5IH0ESCcE6lvDppQHaO7F36kTxfsZTvM-H3xtVc1AkurkvO-v9V4QpjCE3NAJQzQJsNCNDcZFaMg27-e12qFKzSqqyOlp8KTv21lad8Aicgpx1VOK4VID01rwlU/s1600/All_That_Heaven_Allows_view.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="730" data-original-width="1341" height="348" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyJhL8so54NRBYKvhE5IH0ESCcE6lvDppQHaO7F36kTxfsZTvM-H3xtVc1AkurkvO-v9V4QpjCE3NAJQzQJsNCNDcZFaMg27-e12qFKzSqqyOlp8KTv21lad8Aicgpx1VOK4VID01rwlU/s640/All_That_Heaven_Allows_view.jpg" width="640" /></a></div>
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Cary and Ron's romance bloomed in autumn and then withered during winter. Metty uses blue to emphasize the main characters' cold heartbreak. (Blue is not the warmest color in this case.) Because of social backlash, Cary and Ron experience "the winter blues."</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1Isc8oj7RiWVUuQdypDLrzytgONele1LfTgyTeQ5-StzepKOo8bz2z8ejak0G80B551t14ANJH_X8Cz6KiPEpeErx5Rz0DNfMM0rl2AyFC8RL3ObP_Ch9zaXtmDLAFchziYW_nXwaeFA/s1600/All_That_Heaven_Allows_blue.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="730" data-original-width="1338" height="348" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1Isc8oj7RiWVUuQdypDLrzytgONele1LfTgyTeQ5-StzepKOo8bz2z8ejak0G80B551t14ANJH_X8Cz6KiPEpeErx5Rz0DNfMM0rl2AyFC8RL3ObP_Ch9zaXtmDLAFchziYW_nXwaeFA/s640/All_That_Heaven_Allows_blue.jpg" width="640" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJygVVE2eZzYo7pcaEUiMwgRLH6d8dd4prQPsBmSP4FJPCXfXPHFK94Vo0Ott4GK007rm0Ehkj1mEWun69TPQpuNOiY4kyUUDaqVuuesPd3IMC_bii4hXAWVaWxrvdmWJRlO5a4HwPdeU/s1600/All_That_Heaven_Allows_deer.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="730" data-original-width="1340" height="347" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJygVVE2eZzYo7pcaEUiMwgRLH6d8dd4prQPsBmSP4FJPCXfXPHFK94Vo0Ott4GK007rm0Ehkj1mEWun69TPQpuNOiY4kyUUDaqVuuesPd3IMC_bii4hXAWVaWxrvdmWJRlO5a4HwPdeU/s640/All_That_Heaven_Allows_deer.jpg" width="640" /></a></div>
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More blues...</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgY6WK7lqKsn5j7XXd77Kxedv4jMOsH5K7Xb6bQgMvSitrnggQYvB1a2IQc01bDhaCNExyA7hOmuqCULHMkVFpVhMqAoxUMmiK_aly-YUUk8fE-GejPOb6HC1R9XK_7_2stR0W4vJ7pr8M/s1600/All_That_Heaven_Allows_red_dress.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="725" data-original-width="1333" height="348" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgY6WK7lqKsn5j7XXd77Kxedv4jMOsH5K7Xb6bQgMvSitrnggQYvB1a2IQc01bDhaCNExyA7hOmuqCULHMkVFpVhMqAoxUMmiK_aly-YUUk8fE-GejPOb6HC1R9XK_7_2stR0W4vJ7pr8M/s640/All_That_Heaven_Allows_red_dress.jpg" width="640" /></a></div>
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I like how the blue window complements Cary's red dress.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSxHaxpeWz3JYRcsVrAltig4GjB3WgZYxB0FkevFZiSzHOiopzWtHJCZslQW4Oto0xaZDWTvJHVSNyWNDRyLq-u-gC8bVahA1b0N4AhagZZ2-JE-xsJuPFWHHExSMU40szvPNCF7-ij-Y/s1600/All_That_Heaven_Allows_Agnes_Moorehead.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="730" data-original-width="1346" height="346" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSxHaxpeWz3JYRcsVrAltig4GjB3WgZYxB0FkevFZiSzHOiopzWtHJCZslQW4Oto0xaZDWTvJHVSNyWNDRyLq-u-gC8bVahA1b0N4AhagZZ2-JE-xsJuPFWHHExSMU40szvPNCF7-ij-Y/s640/All_That_Heaven_Allows_Agnes_Moorehead.jpg" width="640" /></a></div>
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This shot perfectly captures Sara's (Agnes Moorehead) blue eyes.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihlsiGCTNgNledmEBqnzpIvnKLvOKs7IvVxgeZlAjL3-2uaXKWKpsXaSN7klq5HSg3ezByiC0WPxHg-iPqdAKsjcVnrAsEHtiPrfFp-ivhlGl59weJt3cT5ecun1VbpsOxsbeDO9G9U-4/s1600/All_That_Heaven_Allows_family.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="726" data-original-width="1344" height="344" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihlsiGCTNgNledmEBqnzpIvnKLvOKs7IvVxgeZlAjL3-2uaXKWKpsXaSN7klq5HSg3ezByiC0WPxHg-iPqdAKsjcVnrAsEHtiPrfFp-ivhlGl59weJt3cT5ecun1VbpsOxsbeDO9G9U-4/s640/All_That_Heaven_Allows_family.jpg" width="640" /></a></div>
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Metty's work inspired a lot of films including <a href="https://depthsofcinema.blogspot.com/2011/02/cinematography-west-side-story.html" target="_blank"><b><i>West Side Story</i></b></a>.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfgY4QtfC1c1w63K1d4ezbFRajQd7cKguYgO6u67tErwpjppCdZjwV3tiZEUT4GPuNlZnbbNLiAkEFEnk2kJTsCPqTLFFrwqWKzOZ2cnFX9kOqw9m36OvrI5XJJ7FFIuveyU1JSKJUPzE/s1600/All_That_Heaven_Allows_rainbow.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="730" data-original-width="1343" height="346" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfgY4QtfC1c1w63K1d4ezbFRajQd7cKguYgO6u67tErwpjppCdZjwV3tiZEUT4GPuNlZnbbNLiAkEFEnk2kJTsCPqTLFFrwqWKzOZ2cnFX9kOqw9m36OvrI5XJJ7FFIuveyU1JSKJUPzE/s640/All_That_Heaven_Allows_rainbow.jpg" width="640" /></a></div>
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Rainbow! Aww... that's my favorite color.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUMiwk4BMC31t6_0Y3eTMs7SxJBF4d_q0k9utTMn0M69IGbESajbH5UvFrYIq26Z8bRRqmHv_wpaYIVaVVXRVMflLzhtnbAoSnczCx4G1PtK5krIR1Lxoutue1uvG9oUy5MPa5IzAhKvI/s1600/All_That_Heaven_Allows_rainbow_face.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="731" data-original-width="1346" height="346" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUMiwk4BMC31t6_0Y3eTMs7SxJBF4d_q0k9utTMn0M69IGbESajbH5UvFrYIq26Z8bRRqmHv_wpaYIVaVVXRVMflLzhtnbAoSnczCx4G1PtK5krIR1Lxoutue1uvG9oUy5MPa5IzAhKvI/s640/All_That_Heaven_Allows_rainbow_face.jpg" width="640" /></a></div>
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Rainbow is often considered as a happy color.</div>
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This shot contradicts that happiness as Kay (Gloria Talbot) cries against the rainbow reflection.</div>
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Some more color combinations...</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDDdEJvybtIWI4yRpYMuTmdVktzVdR0KPW8hN-6cu49kvBMgHZ8MNnn0B9yxINVRy2hVlL1GNQ2C-2I5NgHD2nS8opdk95uPQopwWVuwAEF8gs-eBn870brB97djqfNG2f-KtBCc4hVHQ/s1600/All_That_Heaven_Allows_party.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="725" data-original-width="1336" height="346" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDDdEJvybtIWI4yRpYMuTmdVktzVdR0KPW8hN-6cu49kvBMgHZ8MNnn0B9yxINVRy2hVlL1GNQ2C-2I5NgHD2nS8opdk95uPQopwWVuwAEF8gs-eBn870brB97djqfNG2f-KtBCc4hVHQ/s640/All_That_Heaven_Allows_party.jpg" width="640" /></a></div>
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Blue, red, silver (blonde lady's dress), and some green</div>
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Blue, yellow, and some pink.</div>
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(Hi, *deer*!)</div>
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Cary's mirror image...</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMJfMJagBf8dg93ULa9Ovs36kf6m_2_JFJQmmOoIrDcIirbb2DbFvAsscpuITnNnlYEm7HGvpbHqfUSIaxROn58wlkRKwvd7En2BI-htygVsYeZtZ5th1q9zCu8aMNg5iuWdh-03YFExY/s1600/All_That_Heaven_Allows_mirror.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="725" data-original-width="1341" height="346" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMJfMJagBf8dg93ULa9Ovs36kf6m_2_JFJQmmOoIrDcIirbb2DbFvAsscpuITnNnlYEm7HGvpbHqfUSIaxROn58wlkRKwvd7En2BI-htygVsYeZtZ5th1q9zCu8aMNg5iuWdh-03YFExY/s640/All_That_Heaven_Allows_mirror.jpg" width="640" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGZeQ7v1HFPqYBcpAafYgIMDGKWCh_61QMXbnnRlL_e6B3y5wRgywovXMi7RJsunEiN2SGHYUHbPk83sTL3s9KiYm38XOFe6BG_nPWRyV9AJFHRzza6Encsw7tJ7HngW0ZFdzqmFONh3Q/s1600/All_That_Heaven_Allows_mirror_dos.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="726" data-original-width="1339" height="346" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGZeQ7v1HFPqYBcpAafYgIMDGKWCh_61QMXbnnRlL_e6B3y5wRgywovXMi7RJsunEiN2SGHYUHbPk83sTL3s9KiYm38XOFe6BG_nPWRyV9AJFHRzza6Encsw7tJ7HngW0ZFdzqmFONh3Q/s640/All_That_Heaven_Allows_mirror_dos.jpg" width="640" /></a></div>
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Wish I could make a GIF of this particular shot.</div>
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It's smart how the camera focuses on the mirror as Cary greets her children.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJsKME4V0xbRy86Jtew0bsyyvfy6AULTsqwCJ5iEXXSWRAVFSBcQE-QsV9bh4eh_sIzGMunWK2sjabfbUwJ-zxxH0HFO3-QdDCZ_WoUCgcUptpRxhhdRveYCAmHLj5X8Edf8qC8Q107kw/s1600/All_That_Heaven_Allows_piano.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="731" data-original-width="1346" height="346" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJsKME4V0xbRy86Jtew0bsyyvfy6AULTsqwCJ5iEXXSWRAVFSBcQE-QsV9bh4eh_sIzGMunWK2sjabfbUwJ-zxxH0HFO3-QdDCZ_WoUCgcUptpRxhhdRveYCAmHLj5X8Edf8qC8Q107kw/s640/All_That_Heaven_Allows_piano.jpg" width="640" /></a></div>
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We often see Cary's mirror image, but we never see her look at it. Cary is trapped in society's norms, keeping up appearances so that everyone's happy — therefore she refuses to "look at her real self."</div>
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The obscured Ned...</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisBRseet8wQoRqyNDuWK6Dy53hwg7XLLUOzSYpD-96AFZUXgBM6j19O8Nd8hJb6pDDS9-O2Jbtum8q9eKnv_a_lhidmTxWbPKTK1SIxMgPNoXQ_ir5PpgByP1deZMj-Q7yK-p0C-ohO7E/s1600/All_That_Heaven_Allows_Ned_uno.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="730" data-original-width="1345" height="346" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisBRseet8wQoRqyNDuWK6Dy53hwg7XLLUOzSYpD-96AFZUXgBM6j19O8Nd8hJb6pDDS9-O2Jbtum8q9eKnv_a_lhidmTxWbPKTK1SIxMgPNoXQ_ir5PpgByP1deZMj-Q7yK-p0C-ohO7E/s640/All_That_Heaven_Allows_Ned_uno.jpg" width="640" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrDJnuKIYtjW2YtGeptF4KaKvdUVs6Xgt0S7ZzGIggPU9FGJR774hMBYNmnNBjWcWg0LR0dGTgBmgl4BcVoCZY18oL5WF3NpNNBgC0aCCrH9re_kBMLSNPN7vONfr-OWALS5wgLoC7xfI/s1600/All_That_Heaven_Allows_Ned_dos.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="731" data-original-width="1342" height="348" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrDJnuKIYtjW2YtGeptF4KaKvdUVs6Xgt0S7ZzGIggPU9FGJR774hMBYNmnNBjWcWg0LR0dGTgBmgl4BcVoCZY18oL5WF3NpNNBgC0aCCrH9re_kBMLSNPN7vONfr-OWALS5wgLoC7xfI/s640/All_That_Heaven_Allows_Ned_dos.jpg" width="640" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEha-TYGdADtXvdYHojhX3BjZoFPKCMu3I32RPiOlSysVSU6ov8WN9eneGRXS46mubKWBP0sp0ERVmLGG5cMYiCf9qzWHgGXov0IciAtIcT8vlxdeaYTqgE0HfyKut6xDn-UJCKlRZpEHg0/s1600/All_That_Heaven_Allows_Ned_tres.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="731" data-original-width="1349" height="346" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEha-TYGdADtXvdYHojhX3BjZoFPKCMu3I32RPiOlSysVSU6ov8WN9eneGRXS46mubKWBP0sp0ERVmLGG5cMYiCf9qzWHgGXov0IciAtIcT8vlxdeaYTqgE0HfyKut6xDn-UJCKlRZpEHg0/s640/All_That_Heaven_Allows_Ned_tres.jpg" width="640" /></a></div>
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During the mother-son confrontation, Ned (William Reynolds) is always obscured. That's because his mind is obscured by social ideals. He chose to "stay in the shadow" and conceal the truth that his mother is "unconventionally in love."</div>
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In this shot, Cary is the one who is obscured as a silhouette after she finally succumbs to society's norms...</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIHzIl0m-FuaFVFHJl6vCGIPs4TfMN-XOgIYW6jglU-yUtVVMVw4DxlRJkWBfvzw5pE12kTF4dTxmeW9bqmBK07DYCMIQWH4qDIoS1gyhrCxF1YSGeYCtNiuJutbh9JIhAs8mWQiKFws0/s1600/All_That_Heaven_Allows_Cary_obscured.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="730" data-original-width="1343" height="346" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIHzIl0m-FuaFVFHJl6vCGIPs4TfMN-XOgIYW6jglU-yUtVVMVw4DxlRJkWBfvzw5pE12kTF4dTxmeW9bqmBK07DYCMIQWH4qDIoS1gyhrCxF1YSGeYCtNiuJutbh9JIhAs8mWQiKFws0/s640/All_That_Heaven_Allows_Cary_obscured.jpg" width="640" /></a></div>
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Cary is on the right side of the shot. After breaking up with Ron, she might be on the "right side of society" again, but she is "in the dark"... shrouded by social norms.</div>
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Metty and the art of silhouettes...</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZjx1aQvcbPs7Z5RzMC79BNIIgsvTDIWz1iyX6RJVdhhv0rSPDrcW6tG6rbwAmuo3U6ljV_SW-ZwylJKvgOsrXLVUMwVa51sYLOOgB557gXfSbYwsWik9saPX82ysYbUaUiFQqkii4r0c/s1600/All_That_Heaven_Allows_door.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="728" data-original-width="1336" height="348" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZjx1aQvcbPs7Z5RzMC79BNIIgsvTDIWz1iyX6RJVdhhv0rSPDrcW6tG6rbwAmuo3U6ljV_SW-ZwylJKvgOsrXLVUMwVa51sYLOOgB557gXfSbYwsWik9saPX82ysYbUaUiFQqkii4r0c/s640/All_That_Heaven_Allows_door.jpg" width="640" /></a></div>
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Dramatically beautiful.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj67buuOwQrrqM6Mk10mOKizW6yRBfWQZgGBei_WiFvjScZpT_hgD9sQIKux439CZG8v9Jag98r8EFUzaROSaWYYZd3F5UtanVTiqz1KMGJJlP-z8YeyYSko_42RAhf_3nWm7JuVwwxo94/s1600/All_That_Heaven_Allows_breakup.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="730" data-original-width="1344" height="346" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj67buuOwQrrqM6Mk10mOKizW6yRBfWQZgGBei_WiFvjScZpT_hgD9sQIKux439CZG8v9Jag98r8EFUzaROSaWYYZd3F5UtanVTiqz1KMGJJlP-z8YeyYSko_42RAhf_3nWm7JuVwwxo94/s640/All_That_Heaven_Allows_breakup.jpg" width="640" /></a></div>
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Ron's Silhouette: "Oh, Cary, please don't leave."</div>
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(I'm sorry, Mr. Hudson, but I think your silhouette is a better actor.)</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiu3D7VL-MOO847tfIocYmHpEAFOBQAhVLaiqjKui2mNULqO_aP3WfYOzD-uTIPfa2HMkGiF2lPcTP1Du0b3vUwZQWQddJtjaUtB3PtbiFYLe3vz7jSgInLNmMwywaXSf9epEG4VMozVvA/s1600/All_That_Heaven_Allows_silhouette.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="730" data-original-width="1343" height="346" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiu3D7VL-MOO847tfIocYmHpEAFOBQAhVLaiqjKui2mNULqO_aP3WfYOzD-uTIPfa2HMkGiF2lPcTP1Du0b3vUwZQWQddJtjaUtB3PtbiFYLe3vz7jSgInLNmMwywaXSf9epEG4VMozVvA/s640/All_That_Heaven_Allows_silhouette.jpg" width="640" /></a></div>
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Love and silhouettes.</div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7821631260908917155.post-11493235939213203822017-05-22T20:00:00.003+08:002021-10-30T22:25:46.974+08:00The Male-Inspired Lesbian Orgasm<div style="text-align: justify;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiX4RL8HQtmx0biZjroGb1S-wfp4Zk7DcYyDj37CYYMiP7PAiSfTdGRbs-PEJkPhxBAuDaduGiswqKZNyt5tXIQ4OopJm5Ty6KJNjp502gSngFJGC7qzyLQVvYYKU5Y_wh0qAo1i3PKYVI/s1600/Below_Her_Mouth.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="359" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiX4RL8HQtmx0biZjroGb1S-wfp4Zk7DcYyDj37CYYMiP7PAiSfTdGRbs-PEJkPhxBAuDaduGiswqKZNyt5tXIQ4OopJm5Ty6KJNjp502gSngFJGC7qzyLQVvYYKU5Y_wh0qAo1i3PKYVI/s640/Below_Her_Mouth.jpg" width="640" /></a></div>
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<b>BELOW HER MOUTH</b></div>
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April Mullen, 2016</div>
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<b><i>Below Her Mouth</i></b> was marketed as "a lesbian movie that finally has the female gaze." And then there's Erika Linder as one of the lead characters. I was excited to watch the film because of its alleged female gaze and the androgynous beauty of Miss Linder. Unexpectedly, my lezzie excitement turned into dykey disappointment.</div>
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Allow me to explain why.</div>
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Jasmine (Natalie Krill) and Dallas (Miss Linder) are two women on the opposite sides of everything. If we're talking about stereotypes, Jasmine is the femme and Dallas is the butch. Jasmine works in the hyper-feminine fashion industry, while Dallas has an uber-masculine carpentry business. Jasmine is engaged to a man, while Dallas just broke up with her girlfriend. Want labels? Okay. Jasmine is straight (or so she thought), and Dallas is a lesbian (with a certain fascination for the phallic — f*ck that sh*t).</div>
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The moment their horny worlds collide, Jasmine and Dallas begin a salacious love affair. From there, we watch and listen as the film stumbles and mumbles its way into boredom and underachievement. To begin with, the film has the usual "straight-girl-falls-for-a-lesbian" plot. Nothing new. Audiences have already seen Piper Perabo fall for Lena Headey in <b><i>Imagine Me & You</i></b>. And if you're a well-versed lesbian, chances are you've already seen such plot in <b><i>Desert Hearts</i></b>.<br />
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Nevertheless, such tale as old as time could've been less predictable and more exciting if the director only knew how to tell it in a different, more original way.</div>
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<b><span style="font-size: large;">Needs More Lezzie Passion</span></b><br />
<b><span style="font-size: large;"><br /></span></b><i>Below Her Mouth</i> is supposed to be a passionate love story between two women. All I got was another softcore porn movie, the kind that you watch when you can't access PornHub. The film is in dire need of style and substance. The film also feels like a rejected episode of <b><i>The L Word</i></b>, or a desperate Canadian attempt to copy Julio Medem's <i><b>Room in Rome</b></i>.<br />
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Elena Anaya between Natasha Yarovenko's legs. A yummy scene from <i>Room in Rome</i>.</div>
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(Dallas can learn from Elena. She knows how to pleasure a woman sans anything phallic.)</div>
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Director April Mullen wasted a lot of opportunities to turn the film into a landmark lesbian movie. The promise of the premise was right there, but Miss Mullen wasn't able to make the story remarkable and meaningful.</div>
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Erika Linder exuded authenticity as Dallas because she's also lesbian and Swedish in real life. But maybe because she's a first-time movie actress, Miss Linder seemed to be having a hard time portraying Dallas in a compelling manner. (I guess the screenplay is also to blame.) </div>
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Meanwhile, Natalie Krill is a talented actress and dancer. (And daym. She's got that dancer's body, alright.) Unfortunately, one may not be able to see her acting talent in this film. Her character, Jasmine, is too stereotypical and predictable — just like the film itself. Miss Krill's acting talent was wasted because of Jasmine's narrow characterization.</div>
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Together, Miss Linder and Miss Krill looked good. But that's just it. They just look good together. Nothing more. There was no chemistry nor connection.</div>
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If you're looking for passionate and female-friendly lesbian love scenes, I recommend <b><i>Elena Undone</i></b>, <b><i>Fingersmith</i></b>, and <b><i>Kyss Mig</i></b>.<br />
<b><span style="font-size: large;"><br /></span></b> <b><span style="font-size: large;"><br /></span></b> <b><span style="font-size: large;">The Pointless (Fake) P*nis</span></b></div>
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Lesbian erotica often caters to the male orgasm. And Miss Mullen's film is no different. <i>Below Her Mouth</i> doesn't have the "female gaze" that it claims. It's just another lesbo fest straight men like to ogle at. (I even found <b><i>Blue is the Warmest Color</i></b> more lesbian-oriented despite its male gaze.) As a lesbian, I wasn't convinced of the film's supposed female gaze. In fact, majority of the film seemed to target the male audience. It's because of Dallas' fake d*ck. That is so unnecessary.</div>
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(Yeah. But having a fake d*ck doesn't make you a legit lesbo.)</div>
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WTF was it with Dallas' dildo?! ("Dallas' dildo." Gee. That kinda rhymes.) What's the point? The film failed to express the point of the fake peen. The p*nis is pointless, especially if you're a full-blown lesbo like Dallas. The fake peen just doesn't fit well into the orifice of the movie's plotline.</div>
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"<i>A cinematic voice to the female orgasm</i>" is what some critics called the film. To me, <i>Below Her Mouth</i> felt like "a cinematic mumble about the male-inspired lesbian orgasm." It just doesn't feel like a lesbian movie for lesbian and bisexual women. I bet if you take out Erika Linder from the cast and replace her with someone like Lea Seydoux, <i>Below Her Mouth</i> would look and feel like your usual lesbian movie with a male gaze — which, apparently, is what it is.</div>
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So yeah, don't hold your breath to see what's "below her mouth" — because below her mouth is just her chin. Don't even bother ruminating about the title's meaning because it doesn't have any.<br />
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<b>Trailer for <i>Below Her Mouth</i>:</b><br />
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<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/UlahbaaJqog" width="560"></iframe>
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<b style="font-size: small; text-align: justify;">DISCLAIMER:</b><span style="font-size: x-small; text-align: justify;"> No copyright infringement intended. I don't own or claim to own any of the photos used.</span><br />
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<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7821631260908917155.post-86678087799639663952017-04-10T10:00:00.000+08:002017-04-11T02:35:37.664+08:00Beauty and the Boy<div style="text-align: justify;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDL3mVx5PicGuGpsVndLoptKTelMt03ewvfCIdhbDEu21kgQ-1upZwQjZp_eSU072oe8snxRa0ZFqn18CFr3kJBbWfOYmAJtq5dm92zMfM2zVGvTjl6pyZoBOD38cH0j443rle8MX7UyQ/s1600/Malena_Virgin_Mary.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="358" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDL3mVx5PicGuGpsVndLoptKTelMt03ewvfCIdhbDEu21kgQ-1upZwQjZp_eSU072oe8snxRa0ZFqn18CFr3kJBbWfOYmAJtq5dm92zMfM2zVGvTjl6pyZoBOD38cH0j443rle8MX7UyQ/s640/Malena_Virgin_Mary.jpg" width="640" /></a></div>
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<b>MALENA</b></div>
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Giuseppe Tornatore, 2000</div>
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<i>She walks in beauty, like the night</i><br />
<i>Of cloudless climes and starry skies;</i><br />
<i>And all that's best of dark and bright</i><br />
<i>Meet in her aspect and her eyes:</i><br />
<i>Thus mellow'd to that tender light</i><br />
<i>Which heaven to gaudy day denies.</i><br />
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- Lord Byron, <b><i>She Walks in Beauty</i></b><br />
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Filmmaker Giuseppe Tornatore explores the theme of beauty and heartbreak in <b><i>Malena</i></b>. Set in Sicily during World War II, the film is a coming-of-age story about unrequited love and the curse of being beautiful.<br />
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<a href="http://68.media.tumblr.com/aec239a0a26d89aa79a9f2e41896f334/tumblr_mkyra4y8551qkg5u5o6_500.gif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="272" src="https://68.media.tumblr.com/aec239a0a26d89aa79a9f2e41896f334/tumblr_mkyra4y8551qkg5u5o6_500.gif" width="640" /></a></div>
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Played by Italian goddess Monica Bellucci, Maddalena Scordia a.k.a. Malena is the main attraction of Castelcuto.* She is the wife of a soldier who is presumed dead. Men lust after her. Women envy her. The world becomes a lonely place for Malena. Because of loneliness, Malena's beauty becomes her tragedy. Little does she know she has a stalker/secret admirer, an adolescent boy named Renato Amoroso (Giuseppe Sulfaro). Through the eyes of Renato, we see and experience the tragic world of Malena. With Renato as a careful observer, Tornatore humanizes the objectified Malena.<br />
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Malena serves as a catalyst to Renato's transition from puberty to adolescence. He fantasizes about her, imagining movie scenes with him as the main actor, and Malena as his leading lady. Most people confuse strong sexual desires with love. So, was it love? Yes. He loved every inch of her... from a distance.<br />
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Unlike most men in the movie (with the exception of the soldier husband), Renato fell in love with Malena the human being, not Malena the sexpot. Renato was the only one who got intimate with the real Malena, the emotionally reclusive Malena who suffered the brutal judgment of the village people. I'm not talking about physical intimacy — more like soul intimacy. Renato chose to see Malena as a human being worthy of love and respect.<br />
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<b><span style="font-size: large;"><br /></span></b> <b><span style="font-size: large;">Patriarchy as the Predator, Women as the Prey</span></b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9-hPzoqyaAGrQjOrrkkGR95DcXFmLnCwdN3hyphenhyphen0lU9gDIWREnNIhO4sloSgL7-aDWhcMtxNebLkCaDxxGx2aIe_gtfNSt3gPVdSlxAzkhJr3SHutKNGb3JQv6auOrU0NieS_ZIVFtNOFk/s1600/Malena_boys.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="281" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9-hPzoqyaAGrQjOrrkkGR95DcXFmLnCwdN3hyphenhyphen0lU9gDIWREnNIhO4sloSgL7-aDWhcMtxNebLkCaDxxGx2aIe_gtfNSt3gPVdSlxAzkhJr3SHutKNGb3JQv6auOrU0NieS_ZIVFtNOFk/s640/Malena_boys.jpg" width="640" /></a></div>
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<b><br /></b><b>Renato:</b> "<i>What's her name?</i>"<br />
<b>Boy #1:</b> "<i>Malena. The most beautiful a** in Castelcuto.</i>"<br />
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(Right. She's just an a** for you, not a human being.)<br />
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One major factor for Malena's objectification is the film's setting. Italy during the second World War was an empire of fascism, patriarchy, and slavery. Soldiers a.k.a. war slaves (mostly men) are sent to their deaths. If they — especially those in higher ranks — come out alive, they are rewarded with women (prostitutes, a.k.a. sex slaves). Back then, the career options for women were very limited. It's either she becomes a wife/mother or a prostitute. Either way, she functions not for herself but for men.<br />
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As much as she wants to have a respectable job, no one wants to employ Malena because of her alleged sluttiness. She needs to eat. That's why she needs money. The only "employment" available to her is prostitution. Sadly, Malena's predicament is still rampant these days. Most women are still marginalized, especially in underdeveloped countries.<br />
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Of course, men are treated as objects too — programmed since boyhood that their masculinity depends on the size of their d*ck. The scene of the boys measuring their privates is a great example.<br />
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<b><span style="font-size: large;"><br /></span></b> <b><span style="font-size: large;">The Sicilian Village is Our Society</span></b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtgMyriL9OypCrulfd6r8UCoDcABKymcE_-F39WmQAnxWvdDHed2lf86mtuCMZbImXnSnuPiBzdZ4PhVXJukSVuhg8ROhpna-hlSREG7ZvTmMobF5OM_ttsPimzhPjPC57ivw-qnyPbmw/s1600/Malena_profile.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="275" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtgMyriL9OypCrulfd6r8UCoDcABKymcE_-F39WmQAnxWvdDHed2lf86mtuCMZbImXnSnuPiBzdZ4PhVXJukSVuhg8ROhpna-hlSREG7ZvTmMobF5OM_ttsPimzhPjPC57ivw-qnyPbmw/s640/Malena_profile.JPG" width="640" /></a></div>
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Told in parallel with Renato's adolescence, Malena's loneliness becomes the price she pays simply for being beautiful. Malena often walks around town with her head down — intimidated by the lustful and envious eyes around her. The Sicilian village represents our society — a society drenched in lust and envy.<br />
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Because of <a href="http://depthsofcinema.blogspot.com/2017/03/aha-you-clicked-because-you-watch-porn.html" target="_blank">porn</a> and other pornified medium, women have been utterly degraded as sex objects not worthy of love and respect. In real life, men have been brainwashed by the pornified society to drool over "<i>her face, her boobs, her a**, and her p*ssy</i>" — nevermind her thoughts and feelings because she doesn't have any. She's just a sex object, right? And the men in <i>Malena</i> are no different than most men in real life.<br />
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On the other hand, most women have become so accustomed to society's ideal beauty that they don't know how to appreciate their own beauty anymore — hating and wanting what they don't have, becoming slaves to man-made standards.<br />
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Malena meets society's standard of beauty. That's why most women, except for the prostitute, despise her. Instead of loving their own beauty, these women hate what they can't be, which is Malena. In real life, this can be translated into plastic surgery, liposuction, boob job, skin whitening, tanning procedures, butt enhancement, labiaplasty, etc.<br />
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We have traded love for lust, and gratitude for envy. What a sad society.<br />
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<b><span style="font-size: large;"><br /></span></b> <b><span style="font-size: large;">Monica Fab-Bellucci!</span></b><br />
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<a href="https://media.giphy.com/media/exqnYsCmDbtba/giphy.gif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://media.giphy.com/media/exqnYsCmDbtba/giphy.gif" width="280" /></a></div>
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<span style="text-align: justify;"><i>Come on, baby. Light my fire.</i></span></div>
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<span style="text-align: justify;">(When you're so hot even lighters would beg to light you up.)</span></div>
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<i><br /></i> <i>Malena</i> is Monica Bellucci's show. This film is a tribute to her timeless allure and beauty. (She's almost 53 years old now, but she still has it.) And she lit up the screen, alright. The woman's beauty is beyond words. She doesn't need to look or act slutty just to be sexy. Miss Bellucci's face is very erotic in itself. Her visage is already a work of art. That's why the camera loves her. Simply divine.<br />
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Her performance is also remarkable. Although she rarely spoke in the film, Miss Bellucci conveys her emotions through facial expressions and body language. Malena's transformation from being a shy village woman to a carefree prostitute is one of the key moments of Miss Bellucci's performance.<br />
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Before her transformation, Malena was untouchable, with a gaze that can only meet the road she's walking on. But when heartbreak sends her to the pits of loneliness, she became vulnerable. She transforms into an even more attractive version of herself, finally not giving a damn about what other people say, as long as she can fill the void in her.<br />
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Miss Bellucci's climactic scene is during Malena's public beating at the hands of envious women, with lustful and cowardly men just watching. It is a scene quite reminiscent of Mary Magdalene's stoning, a classic tale from the Bible. Miss Bellucci later played Mary Magdalene in <b><i>The Passion of the Christ</i></b>. Perhaps Mel Gibson was inspired by this scene? That's why he chose Miss Bellucci for the role.<br />
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<b><span style="font-size: large;"><br /></span></b> <b><span style="font-size: large;">Innocence Lost</span></b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEia3pFPial-TXmDapde329RI6o4dr8t0GKWhkwCzsb9xXQcO4CNsP0hqbhLz22aK8WySVjNZ7RcSd3Tw0noavcZPXceUlYVMNqPb-41mMtyVNoupuFmYEt6Tfh1zmNQzRNcb5m_PG86kKU/s1600/Malena_Renato_bike.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="276" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEia3pFPial-TXmDapde329RI6o4dr8t0GKWhkwCzsb9xXQcO4CNsP0hqbhLz22aK8WySVjNZ7RcSd3Tw0noavcZPXceUlYVMNqPb-41mMtyVNoupuFmYEt6Tfh1zmNQzRNcb5m_PG86kKU/s640/Malena_Renato_bike.png" width="640" /></a></div>
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Also known for <b><i>Cinema Paradiso</i></b>, Tornatore uses the same formula in <i>Malena</i>: starting out as a lighthearted story, ending as a sad tale of heartbreak and innocence lost. Just like Thomas Hardy's <b><i><a href="http://depthsofcinema.blogspot.com/2014/04/tess-picture-of-lost-innocence-and.html" target="_blank">Tess</a></i></b>, Renato (literally) looks back as he moves away from his lost innocence (Malena).<br />
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Sulfaro gave a noteworthy performance as the young Renato. Although he is playing a 12 year-old boy, the actor was around 15 when they shot the film. He has a lot of key scenes with Miss Bellucci, and it's quite impressive how a young talent like Sulfaro was able to evoke sensitivity in his performance. During the "measuring the d*ck" scene, we were able to realize that Renato looked at Malena in a different, meaningful way. Through Sulfaro's thoughtful portrayal, audiences get to see and feel the adolescent joy and heartbreak.<br />
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<b><span style="font-size: large;"><br /></span></b> <b><span style="font-size: large;">That Sicilian Feeling</span></b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilmaJ7OmP0U2hrlgsl-9e_BKNxlBPFAa9FzxiquEttcwaXNkQw16fRS61hKHIStgpalmHWVcX2-DM7K1RGZdcRvEVh5YhudNN5vuC-Q1xiLfQeIJeQIj5jImX7a15n3SVVC2tdEy5fY88/s1600/Malena_Sicily.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="276" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilmaJ7OmP0U2hrlgsl-9e_BKNxlBPFAa9FzxiquEttcwaXNkQw16fRS61hKHIStgpalmHWVcX2-DM7K1RGZdcRvEVh5YhudNN5vuC-Q1xiLfQeIJeQIj5jImX7a15n3SVVC2tdEy5fY88/s640/Malena_Sicily.JPG" width="640" /></a></div>
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Known for his work in <b><i>When a Man Loves a Woman</i></b>, cinematographer Lajos Koltai was nominated for an Oscar for his work in <i>Malena</i>. Along with <b><i>The Godfather</i></b> <b><i>II</i></b> and <i>Cinema Paradiso</i>, <i>Malena</i> is one of the films that were able to capture the authentic feel of Sicily. An independent kingdom long before being "Italianized," Sicily looks like a different country — such distinctiveness can be seen through Koltai's cinematography. Koltai uses rust as the film's dominant color, a great choice to evoke a Mediterranean ambiance.<br />
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There's just something exotic about Sicily. It's like: Malena is to the village women, as Sicily is to Italy. Both Malena and Sicily have an identity of their own.<br />
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Another thing that captured "the Sicilian feeling" is Ennio Morricone's musical score. <b><i>The Untouchables</i></b>, <b><i>Once Upon a Time in the West</i></b>, <b><i>For a Few Dollars More</i></b>, etc. All of the grand maestro's scores are awesome. And his work for <i>Malena</i> is no different. My favorite piece is the one during <a href="https://www.youtube.com/watch?v=zkBkTx-GL8s" target="_blank">Malena's makeover</a>. It kinda sounds like a lovechild of <i>The Godfather</i> and <b><i>Chinatown</i></b>.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjr-OiP3xjd25s7UB6kuV9iFTKZu6kgC5voY8o0VzrVWAnan6fBR1_cGDts6bfFJGbNUpRVjQyGCoZEK8pGEZ4mIFQdiYb5p5Jp_ii-hqLuE4X-qioNSaFM69ykZZvNrglHZ1CeXSMLhBw/s1600/Renato_Malena.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="273" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjr-OiP3xjd25s7UB6kuV9iFTKZu6kgC5voY8o0VzrVWAnan6fBR1_cGDts6bfFJGbNUpRVjQyGCoZEK8pGEZ4mIFQdiYb5p5Jp_ii-hqLuE4X-qioNSaFM69ykZZvNrglHZ1CeXSMLhBw/s640/Renato_Malena.JPG" width="640" /></a></div>
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One of the best directors from Italy, Tornatore finally achieves the pinnacle of his career with <i>Malena</i>. Yes, <i>Cinema Paradiso</i> and <b><i>The Legend of 1900</i></b> were beautiful films too. However, I think <i>Malena</i> solidified Tornatore's mark on the map of world cinema. <i>Malena</i> is a standout beauty of its own kind.<br />
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"<i>I pedaled as fast as I could... as if I were escaping from longing, from innocence, from her. Time has passed, and I have loved many women. And as they've held me close... and asked if I will remember them I've said, 'Yes, I will remember you.' But the only one I've never forgotten is the one who never asked... Malena.</i>"<br />
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<b>Trailer for <i>Malena</i>:</b><br />
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<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/SxqUoUvNBXY" width="560"></iframe><br />
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<b style="font-size: small;">DISCLAIMER:</b><span style="font-size: x-small; text-align: start;"> No copyright infringement intended. I don't own or claim to own any of the photos used.</span><br />
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<span style="font-size: x-small;">*Castelcuto is an imaginary town. The film was partly shot in <a href="https://en.wikipedia.org/wiki/Noto" target="_blank">Noto</a>.</span><br />
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7821631260908917155.post-34790162410610328982017-01-31T23:59:00.000+08:002017-02-27T16:25:48.502+08:00Top 13 Favorite Title Sequences<div style="text-align: justify;">
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Title sequence is that part of a movie (or TV show) wherein the title and key cast and production members are listed, often incorporating creative visuals and compelling music. Most title sequences aim to set the mood of a film. Some title sequences come before or after a prologue, while some serve as the prologue itself, giving you a glimpse of what the film is about.</div>
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It may include a simple series of drawings (e.g., <b><i>The Spirit of the Beehive</i></b>), live action (<b><i>Lord of War</i></b>), animation (<b><i>Pink Panther</i></b>, <b><i>Catch Me If You Can</i></b>, etc.), a montage (e.g., <b><i><a href="https://www.youtube.com/watch?v=s8TJ2d7-1e8" target="_blank">Persona</a></i></b>), or a combination of live action and animation (e.g., <b><i><a href="https://www.youtube.com/watch?v=UasFYqKBBPk" target="_blank">Juno</a></i></b>). Sometimes, a simple Jack-o'-lantern on the corner and some creepy music will do (case in point: <b><i><a href="https://www.youtube.com/watch?v=8_tGvktfjjk" target="_blank">Halloween</a></i></b>). Some movies choose not to have a title sequence at all and just display the title without music (e.g., <b><i>Citizen Kane</i></b>).</div>
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Title sequences have evolved over the course of cinema's history. From the deep South ambiance of <b><i><a href="https://www.youtube.com/watch?v=pL2yPFxBQQ4" target="_blank">Gone with the Wind</a></i></b> to the iconic James Bond title sequences to the multilingual title sequence of <b><i><a href="https://www.youtube.com/watch?v=wNtxgxYY7sI" target="_blank">Enter the Void</a></i></b>, most title sequences have been effective in immediately grabbing the viewer's attention.</div>
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Being the film buff that I am, I compiled my top 13 favorite title sequences. Legendary graphic designer Saul Bass is basically the father of title sequences, that's why you'll find some of his works on this list.</div>
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(In alphabetical order.)</div>
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<span style="font-size: large;"><b><i>Casino Royale</i></b>, 2006</span></div>
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Probably the most innovative Bond title sequence, <i>Casino Royale</i> deviates itself from its predecessors by having a different gun barrel sequence. Utilizing both animation and live action, the film's title sequence features Bond fighting some bad guys while cards float around to symbolize one of the movie's main themes (gambling).</div>
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Unlike other Bond title sequences, this one doesn't have Bond ladies dancing along the music. Bond lady Vesper Lynd (Eva Green) briefly appears as the Queen of Hearts, emphasizing her significance in 007's life instead of objectifying her as title sequence decor. Chris Cornell's <i>You Know My Name</i> also gives Bond a new, tougher attitude.</div>
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<span style="font-size: large;"><b><i>Charade</i></b>, 1963</span></div>
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Before he designed those Bond title sequences, Maurice Binder made this catchy intro for <i>Charade</i>, a Hitchcock movie Hitchcock never made. Along with Miss Audrey Hepburn, the film's title sequence is a sight to behold. And then there's Henry Mancini's classic musical score. Binder's work would later inspire the title sequence for <b><i>OSS 117: Cairo, Nest of Spies</i></b>.</div>
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<span style="font-size: large;"><b><i>GoldenEye</i></b>, 1995</span></div>
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Okay, so this one still has the dancing Bond ladies in it. What made me enjoy this title sequence is its clever design. Breathing out gun smoke, smoking a cigarette, and then a gunshot from the mouth --- awesome. Oh yes, Tina Turner's <i>GoldenEye</i> is also my most fave Bond song. So there.</div>
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<span style="font-size: large;"><b><i>It's a Mad Mad Mad Mad World</i></b>, 1963</span><br />
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This is one of Saul Bass' most notable works. It has playful animation, which aims to show the rat race universe in a fun way. At the beginning, we could see the characters (their "hands," to be exact) trying to get ahead of each other by putting their actor's name on top, disregarding the "in alphabetical order" text. Spencer Tracy waves his flag, but a bigger hand shuts him right back inside the "globe." It is indeed an entertaining start for a comedy.</div>
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<span style="font-size: large;"><b><i>Lord of War</i></b>, 2005</span><br />
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Backed by Buffalo Springfield's <i>For What It's Worth</i>, the film's ingenious title sequence shows the life of a bullet --- from its production to its appetite for destruction. From the bullet's "point of view," we see the tragedy of this blood-thirsty world.</div>
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<span style="font-size: large;"><i><b>North by Northwest</b></i>, 1959</span></div>
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When you combine the minds of Alfred Hitchcock, Bernard Herrmann, and Saul Bass, you'll have some of the most memorable title sequences ever (this one and <i>Psycho</i>). Bass superimposes the texts over a glass building, while Herrmann's fast-paced music exudes a cat-and-mouse game kind of feeling. Don't forget to catch Hitchcock's cameo at the end.</div>
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<span style="font-size: large;"><b><i>Panic Room</i></b>, 2002</span><br />
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This title sequence was probably inspired by Saul Bass' work for <i>North by Northwest</i> (texts on a building and all). I like how this immediately evokes a sense of claustrophobia by merely having shots of some NYC buildings. Gee. Never has New York felt as suffocating as this.</div>
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<span style="font-size: large;"><b><i>Psycho</i></b>, 1960</span><br />
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Ah. The quintessential Hitchcock movie. <i>Psycho</i> is iconic in every way, from its title sequence up to its final scene. Bernard Herrmann's eerie music and Saul Bass' visuals make this title sequence as haunting as Norman Bates' mom. The erratic movement of the stripes represents Norman's psychotic mind. Creepy.</div>
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<span style="font-size: large;"><i><b>Rat Race</b></i>, 2001</span><br />
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With a plot similar to <i>It's a Mad Mad Mad Mad World</i>, <i>Rat Race</i> features a catchy title sequence that has the main characters playing tricks on each other. Cute and funny. As Baha Men sings "<i>what is liii-iii-fe?!</i>" in the background, we are given pure comedy right from the start.<br />
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<span style="font-size: large;"><b><i>Se7en</i></b>, 1995</span><br />
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Designed by Kyle Cooper and backed by a remix of Nine Inch Nails' <i>Closer</i>, <i>Se7en</i>'s intro signaled the comeback of glorious title sequences. I saw the film as a child, after being warned of its violent theme. And this title sequence immediately captivated me as a curious audience. It's as if John Doe is letting you inside his twisted world.</div>
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<span style="font-size: large;"><b><i>Sex and the Single Girl</i></b>, 1964</span></div>
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<i>Sex and the Single Girl</i> is a comedy starring Natalie Wood and Tony Curtis. Its title sequence echoes the witty mood of <i>The Pink Panther</i>. Since this is not a well-known film, I couldn't find any video for its title sequence. It uses animation and features a battle of the sexes, which is one of the film's main themes.</div>
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<span style="font-size: large;"><b><i>Sin City</i></b>, 2005</span><br />
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I saw this film in a movie theater, which is a perfect venue to marvel at the title sequence's dominantly dark graphic novel-inspired visuals. Robert Rodriguez's musical score also makes the title sequence extra awesome.</div>
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<span style="font-size: large;"><b><i>Watchmen</i></b>, 2009</span><br />
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Highlighted by Bob Dylan's <i>The Times They Are a Changin'</i>, <i>Watchmen</i>'s title sequence chronicles the history of the superheroes. Although <i>Watchmen</i> is an action movie, its title sequence has a particularly sad feel to it.</div>
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This title sequence is also notable for its alteration of some of history's significant moments; JFK was shot by The Comedian (Jeffrey Dean Morgan), and the <b><a href="https://s-media-cache-ak0.pinimg.com/564x/93/e4/07/93e407e543218dddb28bbd59c84d8368.jpg" target="_blank">VJ Day Kiss</a></b> in Times Square had a lesbian couple instead of the hetero ones.</div>
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I also like how some of the song's lines perfectly describe the images shown; "<i>Don't criticize what you can't understand</i>" is sang as we see the lesbian couple's bloodied corpse after a hate crime. <i>Watchmen</i> is what happens when a superhero movie also works as a "history lesson."</div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7821631260908917155.post-55947105361764516192016-12-30T15:40:00.000+08:002016-12-30T15:45:13.755+08:00An Appointment with One's Dirty Mind<div style="text-align: justify;">
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<b>FREAK</b></div>
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Ryan Staake, 2014</div>
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Human sexuality has always been a selling point in any medium --- may it be television, cinema, music, literature. Sex sells. Admit it or not, majority of the human race are racy creatures. Filmmaker Ryan Staake knows this. That's why he came up with a naughty music video for <b><i>Freak</i></b>, a collaboration between Steve Aoki and a bunch of other millennial DJs.</div>
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Made with clever camera shots and skillfull editing, <i>Freak</i> features six characters in scenes that are seemingly sexual in nature. It is sexual innuendo in moving images. The characters are the Wallpaper Woman (Lara D. Wolf), the Scrubbing Girl (Grace Marie McGookey), the Trampoline Woman (Ashley Blankenship), the TV Man (Gus Renaud), the Gym Man (Paul Fears), and the Cereal Man (Samuel Shurtleff).</div>
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I suggest watching the video first before reading my commentary.<br />
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<a name='more'></a>The very first scene shows the Wallpaper Woman smiling as some creamy liquid substance sprays on her face, a "facial" manipulation of one's porny mindset. The scene is immediately followed by the bouncing Trampoline Woman, suggesting the dirty mind that she's having a good "ride." Third scene shows the Scrubbing Girl sitting down while looking up, her left arm seemingly doing a "handy" job. With his mustache and "gyrating" energy, the TV Man is the ultimate "cowboy" as he repeatedly slaps his "horse."</div>
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The first four scenes are repeatedly shown before the kneeling Gym Man is seen. Sweaty, he has his mouth open as he goes "deep inside the throat" of his endeavor. The last character is the Cereal Man. He is implied to be devouring a delicious "munch box." This last character creeped me out though, the actor exaggerated his expression a little bit. One doesn't eat a munch box like grocery, we savor them with a delicate tongue, I mean, "touch." To further sexualize one's already dirty mind, the video sums up the scenes by focusing on "sexual objects" such a wet paint brush, a squirting spray bottle, and stretching trampoline strings. The video humorously ends with the Cereal Man's kinky desire.</div>
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To emphasize each action, most of the scenes are in slow motion. Combined with the actors' movements and tricky facial expressions, the scenes wickedly play with the audience's horny mentality. The video tests how dirty one's mind is. It says a lot about the viewer and less about the characters.<br />
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One might immediately judge and criticize the characters, calling them nasty names even before the whole scenario is shown --- jumping to conclusion with the help of such dirty mind.</div>
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Through its witty shots, <i>Freak</i> speaks a lot about the world's obsession with sex. It is aimed at the audience, mocking their hunger for the carnal. After watching such video, an audience might come to terms with his/her own lustful imagination.</div>
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For me, Staake's film is one of this generation's underseen, powerful visual statement. This needs to be seen more because it "opens" our mind to the world of our freaky thoughts.<br />
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7821631260908917155.post-86143593833907803672016-12-26T10:00:00.000+08:002017-07-09T03:08:27.712+08:00Fave Movie Posters: The Yakuza<div class="separator" style="clear: both; text-align: center;">
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If <b><i>The Godfather</i></b> is to mafia, <b><i>The Yakuza</i></b> is to, well, yakuza. The '70s saw the rebirth of gangster movies. (Thanks, Corleone.) Among the best ones included Sydney Pollack's <i>The Yakuza</i>. This Robert Mitchum-starrer tells a lifelong friendship between two men, Harry Kilmer (Mitchum) and Ken Tanaka (Ken Takakura). Both men love the same woman (Keiko Kishi), but circumstances turned hate into honor.</div>
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The film's DVD cover has a clever design. Bordered by the color red, most of the cover is dipped in black, with the film's title in bold, red font. Red is the color of blood and love. Two of <i>The Yakuza</i>'s main themes are crime (blood) and forbidden love. On the upper part of the cover is one of the film's taglines, "<i>A man never forgets. A man pays his debts.</i>" The second tagline, "<i>100 years ago they were called Samurai</i>" is placed under the title. And then a smaller picture of Kilmer can be seen at the bottom part, which I think is merely there for publicity. (Oh, look! A Mitchum movie.)</div>
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Below the first tagline is a picture of a shotgun barrel (symbolizes Kilmer), the tip of a samurai sword (Ken), and a white rose (Eiko, the woman) --- all of these are set against a bamboo shade background. A bamboo shade conceals, you put it down when you don't want others to see what you're up to inside. In my observation, the bamboo shade symbolizes the covert affairs of the yakuza.</div>
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What I find most interesting about the picture is the red image of the three main characters (Kilmer, Eiko, and Ken), which is "tattooed" on the samurai sword. It's as if the blood permanently drew itself on the sword. As red is the color of blood, blood flows through our veins to give us life. These three characters are connected to each other forever (just like veins), saving each other's lives (keeping the blood flowing). This is a very intelligent depiction of the characters' lifelong connection.</div>
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<b style="font-size: small;">DISCLAIMER:</b><span style="font-size: x-small; text-align: start;"> No copyright infringement intended. I don't own or claim to own any of the photos used.</span></div>
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<span style="font-size: x-small; text-align: justify;"><br /></span><span style="font-size: x-small; text-align: justify;"><br /></span>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7821631260908917155.post-45169992577241337062016-11-05T20:44:00.002+08:002016-11-13T15:24:41.083+08:00Dancing Towards Emptiness<div style="text-align: justify;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhunvaeVA5oEVp3RC7I5MjLj_k91h7IH-hlhx2BwfwhUoWTTPrJFWYM60tckhAOpDr4o3-RCYEssXyrwcxKG55rZtgSL4yft1tbnvvHoOzGxTwCnEoD0o9dn4E7D1HqppikMdQdkkDR1Wk/s1600/Wide_Open.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="358" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhunvaeVA5oEVp3RC7I5MjLj_k91h7IH-hlhx2BwfwhUoWTTPrJFWYM60tckhAOpDr4o3-RCYEssXyrwcxKG55rZtgSL4yft1tbnvvHoOzGxTwCnEoD0o9dn4E7D1HqppikMdQdkkDR1Wk/s640/Wide_Open.jpg" width="640" /></a></div>
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<b>WIDE OPEN</b></div>
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Dom&Nic, 2016</div>
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Along with other '90s techno badass such as Fatboy Slim, Groove Armada, and The Prodigy, The Chemical Brothers are the pioneers of the big beat genre. (<b><i>Dig Your Own Hole</i></b> is probably one of the greatest albums in music's history.) Infusing raw bassline with exhilarating electro beats, The Chemical Brothers offer adrenaline rush for the ears and the mind. That's why I've followed their career since I first heard <b><i>Block Rockin' Beats</i></b>.</div>
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The other thing that makes The Chemical Brothers endearing is their love for intriguing visuals, which can be seen in their music videos. The group has worked with acclaimed filmmakers such as Michel Gondry (<b><i>Let Forever Be</i></b>, <b><i>Star Guitar</i></b>, and <b><i>Go</i></b>) and Spike Jonze (<b><i>Elektrobank</i></b>).</div>
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<i>Wide Open</i> is taken out of The Chemical Brothers' latest album, <b><i>Born in the Echoes</i></b>. It features Beck on vocals. (He kinda sounds like Depeche Mode's Dave Gahan on this track.)<br />
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Shot in a single take, <i>Wide Open</i> focuses on a female dancer (Sonoya Mizuno) in an empty warehouse. As she dances her emotion to the song, Sonoya transforms into trypophobia-inducing animation until there's nothing left of her human self.<br />
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There was even a point in the video wherein Sonoya watches herself dancing in front of a mirror. That's my favorite because it's a genius shot, it's as if she can see her own emptiness. That's haunting.</div>
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The video speaks a lot for the song's lyrics. "<i>I'm wide open, but don't I please you anymore? You're slipping away from me. You're drifting away from me.</i>" (No, it's not about penetration of some sort.) It's about this person who has opened his/her heart to someone special, to the point of entering the void. He/she expects that special someone to refill it with love or whatnot.</div>
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One cannot do without the other. It's quite hard to picture the song without the video, and the video (and the choreography) won't be as compelling as it is without the music. That's how these two elements complement each other.</div>
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Best known for her performance in <b><i>Ex Machina</i></b>, beautiful ballerina Sonoya is engaging (and such an eye candy) as the dancer. She conveys her feelings through her emotive dance moves and facial expressions. She has that something that can get you hooked the moment she stares at you.</div>
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Made with impressive animation, <i>Wide Open</i> is one of the best examples of modern digital filmmaking. If you want to know more about how they created this magic, check <a href="https://www.youtube.com/watch?v=ifAE5MWR-4k" target="_blank"><b>this</b></a> out.</div>
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<i>Wide Open</i> shows that The Chemical Brothers can still pack a punch, musically and aesthetically. No swarm of monotonous millennial DJs could ever compare to the legend that are The Chemical Brothers.</div>
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<b><i>Wide Open</i></b>:<br />
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<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/BC2dRkm8ATU" width="560"></iframe>
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<b style="font-size: small;">DISCLAIMER:</b><span style="font-size: x-small;"> No copyright infringement intended. I don't own or claim to own any of the photos used.</span><br />
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<span style="font-size: x-small;"><br /></span>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7821631260908917155.post-2821727597515629092016-08-21T23:44:00.000+08:002016-08-22T00:14:06.427+08:00Caging Libertine<div style="text-align: justify;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRyQsvXu9r0fN2BnmPvjVwiVyl9CUCXhlxrF-rfbX7pIS9KI-NWIClGcqTjskxaxdFdrRUokHk1OJF40ofPON1Iz4L6lVV0WVbYpOgGjCBP6qCSYojKflmtCSHEVPYEtksdY9-46mGuT4/s1600/Boxing_Helena_I.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="348" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRyQsvXu9r0fN2BnmPvjVwiVyl9CUCXhlxrF-rfbX7pIS9KI-NWIClGcqTjskxaxdFdrRUokHk1OJF40ofPON1Iz4L6lVV0WVbYpOgGjCBP6qCSYojKflmtCSHEVPYEtksdY9-46mGuT4/s640/Boxing_Helena_I.jpg" width="640" /></a></div>
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<b>BOXING HELENA</b></div>
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Jennifer Chambers Lynch, 1993</div>
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Nick: <i>You're everything to me.</i></div>
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Helena: <i>You're nothing to me.</i></div>
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<i>Boxing Helena</i> is what happens when <b><i>Fatal Attraction</i></b> makes love with <b><i>Misery</i></b>. After seeing the greatest f*ck of his life once again, brilliant surgeon Dr. Nick Cavanaugh (Julian Sands) decides to leave everything behind: his career, his girlfriend, his sanity, his everything – all just to be with Helena (a stunning Sherilyn Fenn), the woman of his wet dreams. Helena is everything to Nick, just as much as Nick is nothing to Helena.</div>
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To be closer to Helena, Nick moves in to the house he inherited from his recently deceased mother. And so he feeds his obsession by stalking Helena from his car, from the tree, from every corner of his timid existence.</div>
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Nick later invites Helena to his house party, to which Helena obliges. After leaving her purse, Helena is forced to go back to Nick's house. A terrible accident would later leave Helena at the hands of Nick's mercy (and obsession), making her a captive in Nick's mansion.</div>
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<i>Boxing Helena</i> is very much like Helena the character. Helena is essentially a libertine and a drifter, the kind so aloof no one can ever have her for themselves. Such personality is what attracted Nick to Helena. He knows he can't have her, so he wants her that bad. (Even though they only had a one-night stand.)</div>
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Venus de Milo, mother, and Helena – these three women would play a vital role to Nick's manhood.</div>
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Venus (a.k.a. Greeks' Aphrodite) is the Roman goddess of love, beauty, sex, and desire – all of which serve as Nick's prison cells.</div>
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As a child, Nick was both tormented and incestuously fascinated by his mother, a promiscuous married woman who would have sex with various men even when the boy is just around.</div>
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And of course, Helena is Nick's world, the very reason for his existence. His validation of manhood relies solely on his performance in bed. It sounds pathetic, but yes, Nick thinks he is nothing without Helena's approval. As Helena chases liberty, Nick keeps on caging the libertine that is Helena – hence the intercut of a frantic caged bird as an abducted Helena throws things at Nick and cries for freedom. His world revolves around her that he later positions a completely amputated Helena amidst a bounty of flowers, objectifying the woman and worshiping her just like a saint or a God.<br />
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Helena's name is derived from Helen of Troy, Greek mythology's most beautiful woman, whose abduction by the Trojan prince ignited the Trojan war. In this film, another war can be seen: Nick's battle with fantasy and reality.</div>
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As David Lynch's daughter, Miss Chambers Lynch infuses a few elements from her father's <b><i>Blue Velvet</i></b>. With sex as one of the film's main themes, voyeurism is also utilized as an instrument for character analysis. Jeffrey from <i>Blue Velvet</i> was a voyeur in one of the film's iconic scenes, watching a masochist Isabella Rossellini from inside a closet.</div>
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In <i>Boxing Helena</i>, we see both of the main characters acting as voyeurs. In one scene, Nick is perched on a tree, watching Helena getting it on with a boytoy (Bill Paxton with Jim Morrison hairdo). In two scenes, an amputated Helena was forced to be a voyeur as Nick conceals her from the women he has sex with inside the house. <i>Boxing Helena</i>'s voyeurism aspect aims to reveal more about Nick rather than Helena, putting Nick in the spotlight to be understood. And of course, we – the audience – also act as voyeurs to these two sexually preoccupied characters. The film somehow shares the same atmosphere with Atom Egoyan's <b><i><a href="http://depthsofcinema.blogspot.com/2014/04/the-beauty-of-one-way-mirror.html" target="_blank">Exotica</a></i></b> and Stanley Kubrick's <b><i>Eyes Wide Shut</i></b>.</div>
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<i>Boxing Helena</i> received quite a lot of backlash, calling the film "<i>misogynistic and anti-male</i>," therefore igniting a gender war. I guess it's all up to the audience to call whatever they like. Personally, I think women are objectified in this film, suggesting that women are all about sex. That's Miss Chambers Lynch's viewpoint, I guess.</div>
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The film somewhat romanticizes the creepy notion of obsession, presenting Nick as the lovestruck version of Alex Forrest and Annie Wilkes. Call him romantic, but Nick definitely has some psychological and emotional dependency issues. But that doesn't mean he is the bad guy as the film doesn't portray him as such. Instead, Chambers Lynch affectionately portrays him as a tortured, fearful boy inside an adult man's body, allowing audience to delve deeper into the roots of his being.</div>
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Sands and Miss Fenn share an impressive chemistry, which serves as one of the film's upsides. Mostly regarded as a character actor, Julian Sands is a perfect fit as the film's male protagonist. The actor's little-boy-in-a-big-guy's-body persona complements Nick's obsessive, longing-for-mother personality.<br />
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Two years after her success as Audrey Horne in <b><i>Twin Peaks</i></b>, Miss Fenn is simply ravishing as Helena. (Kim Basinger was reportedly the first choice for Helena, but is said to have backed out later.) As the mysterious title character, Fenn gives one of her career's best performances. With a striking beauty reminiscent of classic Hollywood actresses like Ava Gardner and Elizabeth Taylor, Fenn commands the screen just as much as Helena commands Nick. Definitely one of the overlooked actresses of the '90s. (FYI: Fenn actually played Liz Taylor in a TV movie.)</div>
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The film demands some restoration. The shots are mostly impressive, specifically the wide shot of Nick at the door, watching Helena and Russell leave the party. The cinematography's sharpness is waning, probably because of the film used. So yeah. Something like The Criterion Collection should definitely give this movie some facelift.</div>
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<i>Boxing Helena</i>'s soundtrack includes songs such as <i>You're Nobody Until Somebody Loves You</i> by Cab Calloway, Lenny Kravitz's <i>It Ain't Over 'til It's Over</i>, <i>Woman in Chains</i> by Tears for Fears (a stark contrast to Helena's lifestyle), and <i>Sadeness: Part I</i> by Enigma. The song during the end credits kinda ruined it for me though. You had this surrealist movie, then you switch to some cheesy guy whining in the background. Yeesh.</div>
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<i>Boxing Helena</i> has the male gaze. It attempts to explore the complexities of women from the viewpoint of Nick. Helena remains an enigma as there is no backstory that would explain her mystery – we don't know anything about her family, her occupation, her hopes, her dreams. She's just... Helena, the woman.</div>
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Women are a beautiful myriad of mysteries – this is what Miss Chambers Lynch tries to employ in the film's storyline. And women's irascibility and mystery are just some of the countless things that make them fascinating.</div>
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<i>A woman is something soft; something warm when you feel her. When she's naked. When she's touched. Discovered. You see that things happen inside of her. She opens up. Sometimes a woman is sad. Sometimes she's angry. Helpless. Beautiful. Sometimes she's strong. She's still only that one woman. Talk to her – in deep whispers. Tell her what you're doing, what you see. Move slowly. Tell her you're inside of her. Tell her how it feels. Touch her. Use your tongue. Your breath. When she's about to come, she'll grab for you. But don't let her come. Make her wait. Tease her. Play with her. Make her feel. She may touch herself. She's so sensitive now. You can't be afraid. Take her. Take her.</i></blockquote>
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- Helena</div>
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Accentuated by Venus de Milo as a metaphor, <i>Boxing Helena</i> is an intriguing work of art, although the film is not for everyone, not for those looking for clear-cut answers to simple questions. It is kinda like a dream, and most dreams are not easy to tell.</div>
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<b>Trailer for <i>Boxing Helena</i>:</b><br />
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<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/QgsUUFYLSoQ" width="420"></iframe>
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<b style="font-size: small;">DISCLAIMER:</b><span style="font-size: x-small;"> No copyright infringement intended. I don't own or claim to own any of the photos used.</span><br />
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7821631260908917155.post-42532024950051466472016-07-05T23:55:00.000+08:002016-07-06T09:57:27.090+08:00The Code of Silence<div class="separator" style="clear: both; text-align: center;">
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<b>CODE INCONNU (CODE UNKNOWN)</b><br />
Michael Haneke, 2000<br />
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Ah. The feeling of wanting to say something but can't say it. This dilemma is what Austrian auteur Michael Haneke explores in <b><i>Code inconnu: Récit incomplet de divers voyages </i></b>(otherwise known as <i>Code Unknown</i>).</div>
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It all started with a piece of thrown garbage. From there we see a series of vignettes about various lives, people who are trapped in various worlds of silence.</div>
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Jean (played by Alexandre Hamidi), an angst-ridden farm lad, is sick and tired of his emotionally distant father (Sepp Bierbichler). He runs away to live with his brother, an out-of-the-country photojournalist (Thierry Neuvic). Instead, Jean finds his brother's girlfriend, Anne Laurent (Juliette Binoche), who gives Jean the key to their apartment. Being the douchebag that he is, Jean throws a piece of garbage at Maria (Luminița Gheorghiu), a foreigner begging on the street because she just lost her job as a newspaper vendor. Amadou (Ona Lu Yenke), a Frenchman of African origin, sees Jean's rudeness and demands Jean to apologize to the old lady; when Jean refuses to do so, the two guys fight, causing the police and Anne to enter the scene.</div>
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Communication, or the lack thereof, takes the center stage in <i>Code Unknown</i>. In this film, Haneke shows us different kinds of muteness: physical, foreign, forced, and self-inflicted.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMp9844ZbS2CbigDJ8NWR6KaBCLGuQCLkwSK3-zoP2iDVYhyphenhyphenyY2IJuzsowviTWMBZVfBmk46g1oi8s3_IlZkUuf-jh369FZfCXDzIu8Vu3cy_XEfY2jw6PgB-kkeYglAvlnVLYvw2uQhs/s1600/Code_Unknown_kid.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="346" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMp9844ZbS2CbigDJ8NWR6KaBCLGuQCLkwSK3-zoP2iDVYhyphenhyphenyY2IJuzsowviTWMBZVfBmk46g1oi8s3_IlZkUuf-jh369FZfCXDzIu8Vu3cy_XEfY2jw6PgB-kkeYglAvlnVLYvw2uQhs/s640/Code_Unknown_kid.jpg" width="640" /></a></div>
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And then there's the foreign kind: wanting to say something in a land that doesn't speak your language. This is Maria, a Romanian refugee who's trying her luck in France.</div>
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Another one is forced muteness, or the need to say something but being restricted to say it. This is Amadou, the son of Malian immigrants. Racism may not be as murderous as when Billie Holiday sang <b><i>Strange Fruit</i></b>, but it still exists even in a progressive country like France. During the film's fight scene, Amadou was forced to stay silent when he was trying to speak his side; he was picked up by the police, Jean wasn't. Guess the reason is very obvious.</div>
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Finally, there's the depressing kind – otherwise known as self-inflicted muteness, or the tragedy of being able to speak efficiently but you don't have anything to say to yourself or to others. This is Anne and Georges, as well as Jean and his father. Anne and Georges can speak just fine, seemingly in love with one another but are both paralyzed by their emotional silence and emptiness. No wonder they don't have anything else to say to each other when they reunited earlier in the film.</div>
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With an international cast headlined by Juliette Binoche, the film boasts strong performances – specifically that of Luminița Gheorghiu, who is remarkable as Maria. The film is mostly in French, although other languages – Romanian, Malinka, French sign language – are also utilized in the film.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhf_IzVzne6kubt_sq5wPutbHfzbDAJlP3hG2_TykAJKfk1W2kNBCTwk7YDGpeSA8asJYTGcBRiV53lOOmTFyGO6W22z51TfoZEvQuEStv7oDQoo6RFmzyXdw0X_9ImhLp7eeenY3uhxnY/s1600/Code_Unknown_Criterion.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhf_IzVzne6kubt_sq5wPutbHfzbDAJlP3hG2_TykAJKfk1W2kNBCTwk7YDGpeSA8asJYTGcBRiV53lOOmTFyGO6W22z51TfoZEvQuEStv7oDQoo6RFmzyXdw0X_9ImhLp7eeenY3uhxnY/s640/Code_Unknown_Criterion.jpg" width="454" /></a></div>
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Just like most of Haneke's films, <i>Code Unknown</i> has lots of static shots in it, which work well as a catalyst for climactic scenes. Some may find the film languid because of the stillness of a scene, but this method is what makes Haneke's films truly immersive.</div>
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<i>Code Unknown</i> shares the same narrative form with <a href="http://depthsofcinema.blogspot.com/2014/11/rebellion-against-routine.html" target="_blank"><b><i>The Seventh Continent</i></b></a>, Haneke's mind-boggling film about a seemingly happy family who committed suicide.</div>
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So, what exactly is the film's plot? Rien. <i>Code Unknown</i> has lots of random moments in it, a fragmented image of various storylines. Why give a f*ck about these people? Why not? Haneke creates these characters that are devoid of Hollywood glamour, stripping them of vanity so that they would look more like everyday people instead of celebrities.</div>
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Anne is an actress who can't even pull off a genuine smile when she's not being someone else. Anne's boyfriend, Georges, is a man who've seen lots of war and death, leaving him numb and hollow. Maria is a mother who had to leave a poverty-stricken Romanian village, hoping for a better life in a first-world country. Being a non-Caucasian, Amadou still finds himself a foreigner in his own country. </div>
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<i>Code Unknown</i> doesn't have any fancy set and lighting (nor any music other than the drum band), making the film raw and engaging. Overall, the film is thought-provoking. Haneke gives us a glimpse of the characters' lives, leaving it up to us, the audience, to make our own interpretation of the vignettes. We are kinda like Georges, the photojournalist who secretly takes photos of random people in the subway train. So yeah. Haneke turns us into a bunch of stalkers, scrutinizing other people's lives without their knowledge. This is what he also does in another Binoche-starrer, <a href="http://depthsofcinema.blogspot.com/2014/06/a-hidden-place-called-guilt.html" target="_blank"><b><i>Cache</i></b></a>.</div>
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Now on <a href="https://www.criterion.com/films/28738-code-unknown" target="_blank">The Criterion Collection</a>, <i>Code Unknown</i> is yet another intriguing addition to Haneke's filmography, an ode to the power and weakness of le silence. It's not exactly my most favorite Haneke film (<i>The Seventh Continent</i> is), but <i>Code Unknown</i> was still able to enclose me in the existential chamber of silence.</div>
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<b>Trailer for <i>Code Unknown</i>:</b><br />
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<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/s4JVywNiTPg" width="420"></iframe>
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<b style="font-size: small;">DISCLAIMER:</b><span style="font-size: x-small;"> No copyright infringement intended. I don't own or claim to own any of the photos used.</span><br />
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<span style="font-size: x-small;"><br /></span>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7821631260908917155.post-56082570113148871782016-04-30T21:00:00.000+08:002016-05-01T00:22:22.246+08:00Fave Movie Posters: The Getaway<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgueEGU7wQINKjjpNepwi_nXF_7ARn8fUADQ0SCw86WOVZFPlH1414tCxootuQ9sSAd8aVVUVTs9r2vuo_U0kuTmDP8FfLticbiXDrq86NmwCFSQGrcRPTjNrQimzY4oDT5EKEAIkGe514/s1600/The_Getaway_1972.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgueEGU7wQINKjjpNepwi_nXF_7ARn8fUADQ0SCw86WOVZFPlH1414tCxootuQ9sSAd8aVVUVTs9r2vuo_U0kuTmDP8FfLticbiXDrq86NmwCFSQGrcRPTjNrQimzY4oDT5EKEAIkGe514/s640/The_Getaway_1972.jpg" width="432" /></a></div>
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One of the hottest Hollywood couples back in the day, Steve McQueen and Ali MacGraw used to be what Brad Pitt and Angelina Jolie are today. At the height of their real-life romance, McQueen and MacGraw starred in <a href="http://depthsofcinema.blogspot.com/2014/03/sam-peckinpah-latent-misogynist.html" target="_blank">Sam Peckinpah</a>'s <b><i>The Getaway</i></b>, a 1972 heist film about a couple on the run from the bad dudes.</div>
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McQueen and MacGraw star as Doc and Carol McCoy. (There's a lot of "mac" going on in this movie.) After Doc was granted parole, Mr. and Mrs. McCoy find themselves deep inside the sh*thole of bank robbery and double crossing. And so they find out a way out, which proves to be a difficult thing.</div>
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The film's theatrical poster shows Doc and Carol's passports, with a Colt .45 pistol (I think) and six bullets on top. One of the simplest yet intelligent movie posters I've seen, the artwork aims to summarize the film's title and storyline. Doc and Carol try to get away from their past by going to Mexico, yet on top of them is a criminal history they can't seem to avoid.</div>
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The film was later reduced to scrambled eggs with a 1994 remake starring then-couple Alec Baldwin and Kim Basinger.</div>
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<b style="font-size: small;">DISCLAIMER:</b><span style="font-size: x-small; text-align: start;"> No copyright infringement intended. I don't own or claim to own any of the photos used.</span></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7821631260908917155.post-61587845108349676072016-03-30T20:00:00.001+08:002021-04-28T05:44:24.359+08:00I Am a Woman, Watch Me Make a Movie<div style="text-align: justify;">
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Eve has definitely come a long way since she was allegedly taken out of Adam's rib. She has long stepped out of his shadow, standing up for herself and speaking her mind. Eve doesn't need many Twitter followers or a thousand of Facebook likes just to prove her worth. She knows she's worth it.</div>
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Cinema has given the female species an opportunity to express themselves; and the opportunity isn't wasted. Although filmmaking is mostly a man's world, women have become the captain of their own cinematic ship.</div>
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In celebration of being a woman, I listed down some of my favorite films directed by women. (In alphabetical order.)</div>
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<span style="font-size: large;"><b>Bollywood/Hollywood</b></span></div>
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Deepa Mehta, 2002<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-X-od1CV1enGeef4N8fekiGMbzObYX1N9n1LsZ41QbVCPxnJv5No8KaBw6Qd_8kgW-YGk7T8XlKwGgFyWuNxiU0od16c9pfv1aLy6bO8csVV0gULN4QeQdCYinUQ0koMCZs8rJC38394/s1600/Bollywood_Hollywood.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="255" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-X-od1CV1enGeef4N8fekiGMbzObYX1N9n1LsZ41QbVCPxnJv5No8KaBw6Qd_8kgW-YGk7T8XlKwGgFyWuNxiU0od16c9pfv1aLy6bO8csVV0gULN4QeQdCYinUQ0koMCZs8rJC38394/s400/Bollywood_Hollywood.jpg" width="400" /></a></div>
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Whoever said women can't be funny doesn't know the meaning of "funny." Miss Mehta's film after the critical success of her first two "element movies" (<i><b>Fire</b></i> and <b><i>Earth</i></b>), <i>Bollywood/Hollywood</i> is about an Indian family in Canada, how the eldest son (ex-MTV Asia VJ Rahul Khanna) is torn between two traditions.</div>
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<i>Fire</i> and <i>Bollywood/Hollywood</i> are my fave Deepa Mehta films. If <i>Fire</i> was burning with passion and tragedy, the other is a cheerful and heartwarming ode to Bollywood. Miss Mehta's <i>Bollywood/Hollywood</i> also pays tribute to the joy and beauty of filmmaking. Miss Mehta cleverly injects humor into the film by poking fun at Bollywood clichés; there's death by levitation, the witty descriptions on screen, candid closing credits, and (of course) the random singing and dancing.<br />
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<b>Trailer for <i>Bollywood/Hollywood</i>:</b><br />
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<b><span style="font-size: large;">Fatso</span></b></div>
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Anne Bancroft, 1980<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmQtaLKTfad-qkWX7ediQxnkY5pxEJXSrHQmgnmlaa-bpCmWyugkizAmOi8Jq1SwNwobmhXSzT9iV5eNaxVWj9PbUOcDyWhTDA56xuedTveleEPr4AhkK8reUPe6ayJ1HFL4tXE3L76n4/s1600/Fatso.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="315" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmQtaLKTfad-qkWX7ediQxnkY5pxEJXSrHQmgnmlaa-bpCmWyugkizAmOi8Jq1SwNwobmhXSzT9iV5eNaxVWj9PbUOcDyWhTDA56xuedTveleEPr4AhkK8reUPe6ayJ1HFL4tXE3L76n4/s400/Fatso.jpg" width="400" /></a></div>
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Dominic DiNapoli (Dom DeLuise) is an overweight man who just can't resist food. After his cousin dies, Dom's sister (Miss Bancroft) forces him to lose weight. Of course, Dom is having a hard time resisting his first love, which is food – that is until Lydia (Candice Azzara) comes along. He has finally found his true love, the kind that makes him leave his comfort food, I mean, zone.</div>
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<i>Fatso</i> works adequately as both a love story and a public service announcement about obesity's downsides. The film can be funny and sad at the same time, making you feel sorry for Dom yet you want him to be healthier by slimming down. Miss Bancroft impressively punctuates the dilemma of an obese person – not by making fun of him (which is what's usually seen in most films), but by showing us the everyday struggles fat people must endure.<br />
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<b><br /></b> <b>Trailer for <i>Fatso</i>:</b><br />
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<b><span style="font-size: large;"><br /></span></b> <b><span style="font-size: large;"><br /></span></b> <b><span style="font-size: large;">Mädchen in Uniform</span></b></div>
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Leontine Sagan, 1931<br />
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The oldest film on this list, <i>Mädchen in Uniform</i> (<i>Girls in Uniform</i>) was way ahead of its time. It's a forbidden love story between Manuela von Meinhardis (Hertha Thiele) and her teacher, Fräulein von Bernburg (Dorothea Wieck). </div>
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Just like the Audrey Hepburn-starrer <i><a href="http://depthsofcinema.blogspot.com/2015/06/fave-lgbt-themed-movies.html" target="_blank"><b>The Children's Hour</b></a></i>, <i>Mädchen in Uniform</i> is a rainbow-colored movie that was based on a stage play. The film was reportedly banned by the Nazis, finding it "decadent." Yet despite its controversial history, <i>Mädchen in Uniform</i> went on to inspire other love stories like 1951's <i><b>Olivia</b></i>, 2006's <i><b>Loving Annabelle</b></i>, <b><i>True Love</i></b>'s <i><a href="https://www.youtube.com/watch?v=Se9RnPYqklY" target="_blank">Holly</a></i> (starring that Scodelario lady), and of course <i><b>Mädchen in Uniform</b></i> (a 1958 remake starring <a href="http://depthsofcinema.blogspot.com/2014/07/gay-icon-romy-schneider.html" target="_blank">Romy Schneider</a>).<br />
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<b><i><br /></i>An excerpt from</b> <b><i>Mädchen in Uniform</i>:</b></div>
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Marilou Diaz-Abaya, 1999<br />
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One of the best filmmakers from the Philippines, the late and great Marilou Diaz-Abaya has left an impressive body of work, films that explore the depths of a human soul. She sentimentally examines the whys and hows of a person's being. Best known in her native country for <b><i><a href="https://www.youtube.com/watch?v=XGngke4P0N8" target="_blank">Jose Rizal</a></i></b>, Miss Diaz-Abaya's filmography includes <i><b>Karnal</b></i>, <i><b>Sa Pusod ng Dagat</b></i> (<i>In the Navel of the Sea</i>), <i><b>Bagong Buwan</b></i>, and <i><b>Muro-Ami</b></i> (<i>Reef Hunters</i>).</div>
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<i>Muro-Ami</i> centers on Fredo (Cesar Montano), a fisherman who dives deep into his anger by being the captain of an illegal fishing vessel. He mostly employs children, one of those include Kalbo (Rebecca Lusterio), a young girl who disguises herself as a boy. <i>Muro-Ami</i>'s multilayered plot provocatively discusses revenge, child labor, and gender identity and equality.<br />
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<b><span style="font-size: large;">Ratcatcher</span></b></div>
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Lynne Ramsay, 1999<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1WABicIDMFtV3wr9LjwsSxjpgp4ZI4bU4_7-ij2GqvcxBA32Uo3jllz52TyVifzLFLKDiGF2CF3688bXu1irlP-R9Wj-M9gGthw2u_PsfeAHbXOSYZuIIbQfep39B-x4EZPfXzVnF0fY/s1600/Ratcatcher.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="221" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1WABicIDMFtV3wr9LjwsSxjpgp4ZI4bU4_7-ij2GqvcxBA32Uo3jllz52TyVifzLFLKDiGF2CF3688bXu1irlP-R9Wj-M9gGthw2u_PsfeAHbXOSYZuIIbQfep39B-x4EZPfXzVnF0fY/s400/Ratcatcher.jpg" width="400" /></a></div>
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Before she <a href="https://www.youtube.com/watch?v=ZLRgAe2jLaw" target="_blank">talked about Kevin</a>, Lynne Ramsay has already impressed audiences and critics alike via <i>Ratcatcher</i>. The film is a coming-of-age tale of a Scottish boy in an impoverished, grimy Glasgow neighborhood. After he accidentally killed a younger boy, James (William Eadie) became even more isolated, withdrawn from the world around him. He finds solace in his own world, as well as with some of the eccentric people in town.</div>
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Miss Ramsay's simplistic filmmaking style is what makes the film endearing. <i>Ratcatcher</i>'s poetic tenderness is mostly highlighted by well-positioned music. Devoid of vanity, the film is as authentic as deep-seated emotions could be.<br />
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<b><br /></b> <b>Trailer for <i>Ratcatcher</i>:</b><br />
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<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/1_P_dMVLa48" width="560"></iframe></div>
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<b><span style="font-size: large;"><br /></span></b> <b><span style="font-size: large;">Selma</span></b></div>
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Ava DuVernay, 2014<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOpGt_kscOFDTstrWusBjcU03noJV_s_peYZ1aciKuaIhCUZ-8hZ2vXALm5PRaEkoxNcZx9Q6taPtGV7k4K9WZNaLMLI0ixg5Tup2WYWjRcf-YmYRpMFYfyvOUpta7uu51n5rQDz1_3nI/s1600/Selma.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOpGt_kscOFDTstrWusBjcU03noJV_s_peYZ1aciKuaIhCUZ-8hZ2vXALm5PRaEkoxNcZx9Q6taPtGV7k4K9WZNaLMLI0ixg5Tup2WYWjRcf-YmYRpMFYfyvOUpta7uu51n5rQDz1_3nI/s400/Selma.jpg" width="400" /></a></div>
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A historical film about racial injustice in 1960s America, <i>Selma</i> is based on the Selma to Montgomery marches, whose one of the leaders included Martin Luther King, Jr. (David Oyelowo). <i>Selma</i> was controversial not just because of its subject, but also because of its Oscar snub, which deeply echoes the inequality that was shown in the film.</div>
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In my humble opinion, <i>Selma</i> is an instant classic. It is one of the important films of the 21st century, the kind that will inspire many generations.<br />
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<b><br /></b> <b>Trailer for <i>Selma</i>:</b><br />
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<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/x6t7vVTxaic" width="560"></iframe></div>
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<span style="font-size: large;"><b><br /></b></span> <span style="font-size: large;"><b>Unga Sophie Bell</b></span></div>
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Amanda Adolfsson, 2014<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAh7Gp3mwgdOkwcWl3FK3xSsdXKm9ymcYzmZs48-ueBnJITd5WdDT9teLXEoKM-8E_Dop-CFsXdYCQ-hjLWq0nRypiX6aWOdxfq6UxPEt_kZX-CiVx-gqkiyh93KcXpuoLWlZueHr9oLo/s1600/Unga_Sophie_Bell.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAh7Gp3mwgdOkwcWl3FK3xSsdXKm9ymcYzmZs48-ueBnJITd5WdDT9teLXEoKM-8E_Dop-CFsXdYCQ-hjLWq0nRypiX6aWOdxfq6UxPEt_kZX-CiVx-gqkiyh93KcXpuoLWlZueHr9oLo/s400/Unga_Sophie_Bell.jpg" width="400" /></a></div>
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Ingmar and Ingrid are the names that come to mind when we think about Swedish cinema. But beyond the name "Bergman" lies a broad range of films directed by women: Lisa Langseth's <i><b>Pure</b></i> and <b><i>Hotell</i></b> (both starring Alicia Vikander), Gabriela Pichler's <b><i>Eat Sleep Die</i></b>, Pernilla August's <b><i>Beyond</i></b> (starring Noomi Rapace), Alexandra-Therese Keining's <b><i>Kiss Me</i></b>, Amanda Adolfsson's <i>Unga Sophie Bell</i>, etc.</div>
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<i>Unga Sophie Bell</i> (<i>Young Sophie Bell</i>) tells the story of Sophie Bell (Felice Jankell) and her symbiotic relationship with BFF Alice (Hedda Stiernstedt). Sophie and Alice plan to go to Berlin together after high school graduation, but their plan was hampered after Alice disappears. Searching for her best friend, Sophie finds herself in Germany, alone in a new world.</div>
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Oh, you know, first-world problems like <a href="https://www.youtube.com/watch?v=O_hoY6gzPgQ" target="_blank">sleepwalking with your makeup on</a>, running away from your middle-class family, partying like there's no tomorrow, etc. What makes <i>Unga Sophie Bell</i> interesting for me – aside from its cinematography – is the brilliant analogy Miss Adolfsson uses; Alice's disappearance and Sophie leaving Sweden serve as a metaphor of Sophie leaving behind her youth and innocence as she comes of age in a different country (which symbolically translates as the world of adulthood).<br />
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<b><br /></b> <b>Trailer for <i>Unga Sophie Bell</i>:</b><br />
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<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/fJiAz8FbZZA" width="560"></iframe></div>
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<b><span style="font-size: large;">Vagabond</span></b></div>
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Agnès Varda, 1985<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhE9JnqRhgOP6QvPsqah_cX7lwJz3ASdlamMGsjXpmyl5DYeDJhTmDI7AlzZB6M5C76bTPHZGQXRmojxnXlGwigGy7GTM4spL5jVbVldEEFxAnZhhxILoqStVJktbvU54zs-wb31bbtyGM/s1600/Vagabond.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhE9JnqRhgOP6QvPsqah_cX7lwJz3ASdlamMGsjXpmyl5DYeDJhTmDI7AlzZB6M5C76bTPHZGQXRmojxnXlGwigGy7GTM4spL5jVbVldEEFxAnZhhxILoqStVJktbvU54zs-wb31bbtyGM/s400/Vagabond.jpg" width="400" /></a></div>
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One of the pioneers of the French New Wave, Agnès Varda has been one of the most influential figures in world cinema. Some of her best works include <i><b>Cléo from 5 to 7</b></i>, <i><b>Le Bonheur</b></i>, and <i>Vagabond</i>. The latter is about a drifter named Mona (Sandrine Bonnaire), whose frozen corpse was found in a ditch somewhere in rural France; from there we see flashbacks leading up to Mona's death.</div>
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"<i>You chose total freedom but you got total loneliness.</i>" The film bluntly tells us that nothing in life is free because everything has a price, including freedom. It also aims to show us that we are all just wanderers in the existential road of life, and so we must walk the best way that we can.<br />
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<b><br /></b> <b>Excerpts from <i>Vagabond</i>:</b></div>
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<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/v3E99QTez40" width="560"></iframe><br />
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<b><span style="font-size: large;"><br /></span></b> <b><span style="font-size: large;">The Virgin Suicides</span></b></div>
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Sofia Coppola, 1999<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqwByfzO4Mj-mi9ZwhNsCeQhuP86AKck5ser_OM2tsoLrStTeO0iTIX-fk8K7bFpFhsfzgx2UpXcBr9IO5ls42ejXEeyQIAdyiFzfG4_1JWbXZgNjOFlAVM15DwvFEZ3Z0I1PR6swJQNw/s1600/The_Virgin_Suicides.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqwByfzO4Mj-mi9ZwhNsCeQhuP86AKck5ser_OM2tsoLrStTeO0iTIX-fk8K7bFpFhsfzgx2UpXcBr9IO5ls42ejXEeyQIAdyiFzfG4_1JWbXZgNjOFlAVM15DwvFEZ3Z0I1PR6swJQNw/s400/The_Virgin_Suicides.jpg" width="400" /></a></div>
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This is my fave Sofia Coppola movie. <i><b>Lost in Translation</b></i> is just kinda tedious for me, it rambles on and on and is indeed lost in translation. <a href="http://depthsofcinema.blogspot.com/2014/10/ghosts-of-yestertears.html" target="_blank"><i>The Virgin Suicides</i></a> has a simple yet stylish narrative. The film's <a href="http://depthsofcinema.blogspot.com/2014/10/cinematography-virgin-suicides.html" target="_blank">remarkable imagery</a> makes it a resonating anthem of young heartbreak, a love song to a fascinating enigma that can never be solved.<br />
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<b><br /></b> <b>Opening scenes for <i>The Virgin Suicides</i>:</b><br />
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<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/35S6Il-RCl4" width="560"></iframe></div>
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<b><span style="font-size: large;"><br /></span></b> <b><span style="font-size: large;">Xiu Xiu: The Sent Down Girl</span></b></div>
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Joan Chen, 1998<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1cBZ9psYXDi0je9alHC5iC1YGx9nReG9G3SEFEOTXxXCQdXgH4W4bd21t4PRBR7xt__LNXYYAbrDlvCNwcwBpbl2VOjgrw6NpzKPIZZFNrX6pbLWVYpq-qYp5KRha8BzgnSiQ7tsUYNM/s1600/Xiu_Xiu.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1cBZ9psYXDi0je9alHC5iC1YGx9nReG9G3SEFEOTXxXCQdXgH4W4bd21t4PRBR7xt__LNXYYAbrDlvCNwcwBpbl2VOjgrw6NpzKPIZZFNrX6pbLWVYpq-qYp5KRha8BzgnSiQ7tsUYNM/s400/Xiu_Xiu.jpg" width="400" /></a></div>
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Saw this one in college film class, its emotional impact has been unforgettable since then. Along with Anne Bancroft, Joan Chen is one of the actresses who made an impressive transition into filmmaking.</div>
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Set during Mao Zedong's regime, Miss Chen's directorial debut is a heartbreaking story about Xiu Xiu (Li Xiaolu), a young woman forced to work somewhere near Tibet, sent on a downward spiral of misery and desperation. Along with Ingmar Bergman's <b><i>The Virgin Spring</i></b>, <i>Xiu Xiu: The Sent Down Girl</i> is one of the most depressing films I've seen. It depicts lost innocence in such an emotionally brutal manner. And don't get me started with the film's ending; otherwise, I'm gonna need a box of tissue.<br />
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<b><br /></b> <b>Chinese trailer for <i>Xiu Xiu: The Sent Down Girl</i>:</b><br />
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<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/xx03ReiY82s" width="560"></iframe></div>
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<b>Other must-see films:</b><br />
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<b><i>American Psycho</i></b> (Mary Harron, 2000)<br />
<b><i>Boys Don't Cry</i></b> (Kimberly Peirce, 1999)<br />
<b><i>Daisies</i></b> (Vera Chytilová, 1966)<br />
<b><i>Eve's Bayou</i></b> (Kasi Lemmons, 1997)<br />
<b><i>Girlfight</i></b> (Karyn Kusama, 2000)<br />
<b><i>The Hitch-Hiker</i></b> (Ida Lupino, 1953)<br />
<b><i>Jeanne Dielman, 23 Commerce Quay, 1080 Brussels</i></b> (Chantal Akerman, 1975)<br />
<b><i>The Kids Are All Right</i></b> (Lisa Cholodenko, 2010)<br />
<b><i>The Piano</i></b> (Jane Campion, 1993)<br />
<b><i>Wanda</i></b> (Barbara Loden, 1970)<br />
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<b style="font-size: small;">DISCLAIMER:</b><span style="font-size: x-small;"> No copyright infringement intended. I don't own or claim to own any of the photos used.</span><br />
<span style="font-size: x-small;"><br /></span> <span style="font-size: x-small;"><br /></span> <span style="font-size: x-small;"><br /></span>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7821631260908917155.post-18062940100195830012016-02-28T10:00:00.001+08:002021-04-28T05:44:11.902+08:00A Failed Promise<div style="text-align: justify;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZApMcoZ8l2lIj_dvB0CW6iAammWziaJ7zsnIq1C1TPzZffos4B26Pe-isuXTWnUBt2Mnb9qnU3O9NenbbBk9D6IFzdUxMQuFTif-mN1Y-A_UNYbc-cC_TT9ApTUB8m0LlbMX9PEGkOjo/s1600/Carol_Rooney_hat.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="342" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZApMcoZ8l2lIj_dvB0CW6iAammWziaJ7zsnIq1C1TPzZffos4B26Pe-isuXTWnUBt2Mnb9qnU3O9NenbbBk9D6IFzdUxMQuFTif-mN1Y-A_UNYbc-cC_TT9ApTUB8m0LlbMX9PEGkOjo/s640/Carol_Rooney_hat.png" width="640" /></a></div>
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<b>CAROL</b><br />
Todd Haynes, 2015<br />
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Rare is it in life when we have an instant attraction with a stranger. No such thing as love at first sight, just "like at first sight," which eventually leads to something deeper. That's exactly what happens in Todd Haynes' latest film, <i>Carol</i>.<br />
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Haynes' homage to old America (the 1950s in <i>Far from Heaven</i> and the 1930s in HBO's <i>Mildred Pierce</i>) continues in <i>Carol</i>.</div>
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Two women at a different point in their lives cross path, become friends, and have an affair in 1950s New York. Carol Aird (Cate Blanchett) is going through a rough patch with her soon-to-be-ex-husband (Kyle Chandler). Meanwhile, Therese Belivet (Patricia Rooney Mara) is a young woman with a brighter future: a marriage proposal from a clingy pseudo-boyfriend and a potential career in photography. Carol is a housewife. Therese is a shopgirl. Two women cloistered by society's sexist box.<br />
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We see most of the film from Therese's point of view. She's a young woman who initially evaded taking risks, avoiding taking photos of people because she has some affinity issues. And then she meets Carol. Therese finally opens up her heart for the very first time. And she's now taking photos of people, of Carol to be exact. (So she has Carol to thank for that.)<br />
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<a name='more'></a>Although not intended to be a bildungsroman, <i>Carol</i> has that coming-of-age feel in it; we see how Therese transforms into someone who is more sensitive and open to her heart and the world around her. Quite an interesting character study.</div>
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The novel on which the film is based, Patricia Highsmith's <i>The Price of Salt</i>, exudes passion, which wasn't materialized in the film because of the lead actresses' lukewarm performances. If there's a star who really shone in this film, it's director Todd Haynes. He was able to effectively portray the complexities of being a female in the '50s, stylishly emphasizing the joy and torture of falling in love with the same sex.<br />
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A rainbow himself, Haynes is no stranger to LGB-themed movies. And it shows through how he treated Carol and Therese in this film. Haynes handled the material very well, he should have chosen different actresses though – someone who can show raw emotion, someone who doesn't distract you with the fact that it's all just a movie. Charlize Theron and Troian Bellisario would have been a better choice. Miss Theron has a more adequate <a href="https://www.youtube.com/watch?v=w0czsuSBXM0" target="_blank">skill set</a> and has proven herself to be one of the industry's versatile actresses. (Check out her career-defining performances in <i>Monster</i> and <i><a href="http://depthsofcinema.blogspot.com/2015/09/cinematography-mad-max-fury-road.html" target="_blank">Mad Max: Fury Road</a></i>.) Miss Bellisario, in my opinion, is one of the promising young actresses right now. She has demonstrated an impressive emotional depth in <i><a href="http://depthsofcinema.blogspot.com/2013/04/a-soldier-is-one-thing.html" target="_blank">Lauren</a></i>, a web series wherein she plays a soldier who was raped by her comrades. (And she has been in <a href="http://depthsofcinema.blogspot.com/2016/01/lez-do-it-best-lesbian-music-videos-ive.html" target="_blank">a lot of lesbian somethings</a> too.)</div>
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<i>Carol</i>'s screenplay has a lot of possibilities to be emotionally provocative, but it was somehow subdued by the lack of chemistry between Miss Blanchett and Miss Mara. I just didn't sense any sort of convincing power in their emotion. All I can see is two actresses playing their part, not being their characters. I don't know if they really meant to portray Carol and Therese as subdued; perhaps it was intended to be like that to reflect women's desolation during that misogynist era.<br />
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The love scenes didn't evoke the passion Haynes wanted to show. It doesn't have to resemble the love scenes in <i>Blue is the Warmest Color</i>; all it takes is some connection between the two actresses, which apparently wasn't there.</div>
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Kyle Chandler has the most commendable performance in the film. He was quite effective as Carol's possessive estranged husband who can't help but question Carol's relationship with her best friend/ex-lover Abby Gerhard (<i>American Horror Story</i>'s Sarah Paulson), later threatening Carol and Therese's relationship.</div>
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Probably known for his work on <i><a href="http://evanerichards.com/2015/4635" target="_blank">Far from Heaven</a></i> and <i><a href="http://depthsofcinema.blogspot.com/2014/10/cinematography-virgin-suicides.html" target="_blank">The Virgin Suicides</a></i>, Edward Lachman is the film's cinematographer. <i>Carol</i> may not be as visually astounding as <i>Far from Heaven</i>, but frequent Haynes collaborator Lachman has some good shots and framing in this film. One of the best examples is this:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcbi34qZ0o9uN2tow4wxfLWlFcccjbG5r88ZkzAkopkhUexcJ4zlHtVtJjBiBPYInDEg4oYTQ3YBckfXVo72NYVTxMZt6hYqQTchd2MExal5gq77DVoZI7jnxaeqwPAk-Qr-NVqIXZEvY/s1600/Carol_Edward_Lachman.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="280" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcbi34qZ0o9uN2tow4wxfLWlFcccjbG5r88ZkzAkopkhUexcJ4zlHtVtJjBiBPYInDEg4oYTQ3YBckfXVo72NYVTxMZt6hYqQTchd2MExal5gq77DVoZI7jnxaeqwPAk-Qr-NVqIXZEvY/s400/Carol_Edward_Lachman.jpg" width="400" /></a></div>
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Most of the film takes places during the holiday season: Christmas (thus the name "Carol") and New Year to be exact. Such time setting and location helped a lot in forming that "cold world, sad love story" kind of feeling. The production design takes you from the busy streets of New York to the four corners of Carol and Therese's secret love affair. Except for the artificial-looking toy shop where Therese works, every set detail is almost flawless, somewhat making you feel that this film was shot during the '50s and not during the present time.<br />
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The film has quite a lot of symbolism in it. One being the film's very first frame, which is the subway grate. From my female gaze, the subway grate – with muffled voices and all – aims to be a metaphor of women's silenced voice during that era. This muffled symbolism would later resonate during Carol and Therese's road trip, in which Carol and Therese's voices are drowned by the background music.</div>
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Carol and Therese's love story deeply resembles the lyrics of Troye Sivan's <i><a href="https://www.youtube.com/watch?v=Io2Yjy3nV_c" target="_blank">Youth</a></i>. The song's lyrics can be heard from Therese's point of view of course. The line, "<i>My youth is yours, run away now and forevermore</i>" echoes Therese's bold move in pursuing a relationship with Carol.</div>
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Overall the film wasn't what I expected it to be; it ain't so bad, just not that emotionally spectacular. Haynes did his best, had some poetic and aesthetic achievement in it. The lead performances just kinda ruined it for me. It is like an intriguing promise the two actresses failed to keep. Sorry, ladies. Better luck next time.<br />
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<b>Trailer for <i>Carol</i>:</b><br />
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<b style="font-size: small;">DISCLAIMER:</b><span style="font-size: x-small;"> No copyright infringement intended. I don't own or claim to own any of the photos used.</span><br />
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<span style="font-size: x-small;"><br /></span>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7821631260908917155.post-67088414102199749162016-01-14T10:00:00.001+08:002021-04-28T06:01:55.894+08:00Lez Do It: The Best Lesbian Music Videos I've Seen<div style="text-align: justify;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhpCFjB-iHLru8-_MHA3m-NDLbjT_5POxLNmNdT1q9IbaaAuGoWLHkjq_4k_MRQlqSF7CrawPGlPDetmTT4AObxrC_N0_DENESbCCO54y3lI3C-M5eWFqaYqM8qDNaTfkafufrF3eXbI0/s1600/Kelsey_Chow_Stefanie_Scott_Girls_Like_Girls.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="280" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhpCFjB-iHLru8-_MHA3m-NDLbjT_5POxLNmNdT1q9IbaaAuGoWLHkjq_4k_MRQlqSF7CrawPGlPDetmTT4AObxrC_N0_DENESbCCO54y3lI3C-M5eWFqaYqM8qDNaTfkafufrF3eXbI0/s640/Kelsey_Chow_Stefanie_Scott_Girls_Like_Girls.jpg" width="640" /></a></div>
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Ain't love such a lovely feeling? So lovely, like women. Love and women are basically synonymous with each other; they are both beautiful, fascinating, sweet, moody, and unpredictable. Love and women are a many-splendored thing, but most of all they can make you go insane.</div>
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When two females fall in love with each other, it's like a super-gay-lactic explosion of milk and honey, a pretty rainbow you can't take your eyes off. Ever since <b><i>Blue is the Warmest Color</i></b> was released... ever since Ellen Page came out... and ever since same-sex marriage was legalized in the US, lesbian and bisexual women are starting to be seen and recognized and, maybe, accepted. Heck, even Philippine TV had its very first lesbian-themed show.<br />
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<a name='more'></a>Many a lesbian feature film I've already seen, now it's time for lezzie music videos to take the scene. That's why I've compiled the best music videos that feature lesbian love stories.</div>
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Lalalala-lovely ladies loving ladies...</div>
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(In alphabetical order.)<br />
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<b><i><span style="font-size: large;">Addicted to You</span></i></b><br />
Avicii, 2013<br />
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<span style="text-align: justify;">Hedda Stiernstedt and </span><span style="text-align: justify;">Madeleine Minou Martin</span></div>
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Avicii is this Swedish DJ who makes awesome music. Some of his hits include <b><i>Waiting for Love</i></b> and <i>Addicted to You</i>. If you have seen that <a href="https://www.youtube.com/watch?v=v73PbldbU0I" target="_blank">Close-Up ad</a>, you're probably familiar with <i>Addicted to You</i>. The track features the victorious vocals of Audra Mae, an underrated singer the world needs to hear.<br />
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The music video for the song heavily references the story of Bonnie and Clyde, this time it has two women. Bonnie and Dyke, I mean, Bonnie. Bonnie and Bonnie are played by Swedish actresses Madeleine Minou Martin and Hedda Stiernstedt. We follow them as they rob a pub and a bank.<br />
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With a narrative somewhat reminiscent of t.A.T.u.'s <b><i>Not Gonna Get Us</i></b> and <a href="https://www.youtube.com/watch?v=0xBzYsE4y1k" target="_blank">that music video</a> starring Kate Moss and Devon Aoki, <i>Addicted to You</i>'s video is skillfully shot. What I dislike about the video is the way lesbians are represented. I'm not trying to be politically correct here, but, what is this video trying to say about lesbian and bi ladies?<br />
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<b>EDIT:</b> At one point in the video, the two women are shown together in bed, cuddling. They are surrounded by naked men, yet their eyes are focused on each other. This is my favorite bit since it perfectly shows their great love for each other. In a world swarmed by men, Bonnie and Bonnie care not about d*cks or other things because all they need is each other. Women don't need men (hi, <a href="https://www.youtube.com/watch?v=-FfApyVItZo" target="_blank">Cher</a>!) and perhaps vice versa. I like the way it was translated into the video.<br />
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<b><i><span style="font-size: large;">All the Things She Said</span></i></b><br />
t.A.T.u., 2002<br />
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t.A.T.u.</div>
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I used to be a fan of this Russian group, until I learned that it was all for a show... for attention. Nevertheless, this particular video was able to speak for lady-loving ladies.<br />
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Initially, we think that t.A.T.u. (Lena Katina and Julia Volkova) are the ones imprisoned behind the fence, while judgy-looking people are looking at them in a condescending manner. And then we see... ah! Just watch the video and check out the twist.<br />
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Despite the whiny-sounding vocals of t.A.T.u., I was still able to make it through the end of the video because I know they wanted to say something. Thankfully, they were able to say it: do not be a homophobe if you don't want to be enclosed in the fence of bigotry.<br />
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<b><i><span style="font-size: large;">Another Story</span></i></b> </div>
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The Head and the Heart, 2013<br />
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Troian Bellisario</div>
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To be perfectly honest, I'm not really familiar with The Head and the Heart's music. I actually happened upon this video because I'm a fan of <b><i>Pretty Little Liars</i></b>, and one of my fave "liars" is Spencer Hastings, played by <a href="http://depthsofcinema.blogspot.com/search?q=Troian+Bellisario" target="_blank">Troian Bellisario</a>.</div>
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Miss Bellisario stars as a lesbian who tragically lost her lover. The actress has been in quite a lot of lesbian projects, mind you. (She starred in dykey short films like <b><i><a href="https://www.youtube.com/watch?v=AcJfsYUfvFY" target="_blank">Unspoken</a></i></b>, <b><i><a href="https://www.youtube.com/watch?v=0v5TEzoaIVo" target="_blank">Intersect</a></i></b>, and <b><i><a href="https://www.youtube.com/watch?v=C8AukG8DyaI" target="_blank">Still a Rose</a></i></b>.) And I'm not even complaining. One of my celebrity crushes, Miss Bellisario is quite convincing as a lesbian. I seriously want to have a girlfriend who looks like her. <i>Charot</i>.<br />
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On the other hand, Miss Bellisario's chemistry with her co-actress is quite "not there." Nevertheless, the video kinda reminds me of <b><i><a href="http://depthsofcinema.blogspot.com/search?q=Aim%C3%A9e+and+Jaguar" target="_blank">Aimée and Jaguar</a></i></b>; that feeling of longing for lost love... that's what this video was able to achieve.<br />
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<b><i><span style="font-size: large;">Girls Like Girls</span></i></b><br />
Hayley Kiyoko, 2015<br />
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Kelsey Chow, Hayley Kiyoko, and Stefanie Scott</div>
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Song's title says it all: it's about a girl in love with another girl, and she's telling them boys that she doesn't give a single crap about them because she's a lesbian. Coley (Stefanie Scott) is in love with her best friend, Sonya (Kelsey Chow). But the thing is, Sonya is in a seemingly abusive relationship with a guy (Hayden Thompson).<br />
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I'm gonna be honest with y'all, this is my most fave video among this list. It goes straight (no pun intended) to the heart, notwithstanding what YouTube trolls might say. The story is very universal anybody – homosexual, bisexual, or straight – can relate to it.<br />
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Co-directed by singer Hayley Kiyoko, the video is so cute and sweet and everything that you feel when you're in love for the very first time. The performances are good. Probably known for her lead role in <b><i><a href="http://depthsofcinema.blogspot.com/2015/06/an-epic-rofl-fest.html" target="_blank">Insidious 3</a></i></b>, Miss Scott is remarkable as Coley. She was effective in portraying the complexities of being a teenager secretly in love with her BFF. Her chemistry with Miss Chow is so wow. Cuteness overload.<br />
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Scott, Chow, and Kiyoko (Scott's co-star in <i>Insidious 3</i>) are all from the shiny, wholesome Disney channel. (Didn't know they still have Disney, I thought kids nowadays are into DotA.) That's why seeing them working on such a brave project is very impressive.<br />
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<b><i><span style="font-size: large;">I Can't Help It</span></i></b><br />
Esperanza Spalding, 2012<br />
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Esperanza Spalding</div>
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A jazzy remake of Michael Jackson's hit, <i>I Can't Help It</i> is what you sing when you cannot control your feelings for that special someone.<br />
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When I watched the video on YouTube, I was drawn to its narrative. Miss Spalding is in a relationship with a guy. And then she meets this art lady whom she falls in love with. So yeah. Basically, she's cheating on her boyfriend.** Trapped in a loveless commitment, Miss Spalding pursues her new romance with the art lady.<br />
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I don't recommend cheating on your lover, but this video is simply romantic you might want to check it out. Random trivia: the video briefly shows a poster of <b><i>L'important c'est d'aimer</i></b>, a '70s film starring dykon <a href="http://depthsofcinema.blogspot.com/2014/07/gay-icon-romy-schneider.html" target="_blank">Romy Schneider</a>. The French movie's title translates into "The Most Important Thing is Love." So maybe the video's director aims to say that love is more important than gender. I agree.<br />
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<b><i><span style="font-size: large;">Summertime Sadness</span></i></b><br />
Lana Del Rey, 2012<br />
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Jaime King and Lana Del Rey</div>
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I've become a "Lanatic" since I heard this track. It's one of my fave songs by Lady Lana, whom I consider the Sylvia Plath of music because her lyrics are reminiscent of Miss Plath's poetry. Song's title says it all: it's about sadness during the summer. Some say it's a breakup song, others say it's about this lady who lost her lover to suicide.<br />
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The music video features Miss Del Rey and actress Jaime King (one of the mean girls in <b><i>White Chicks</i></b>) as lovers/best friends. Miss King mostly appears as a ghost, Lana's girlfriend who committed suicide. Lana is on the verge of taking her own life the same way her girlfriend did.* So there. It's about summer, lesbians, and suicide. (Why must lesbians always die in a music video?)<br />
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Lana and Jaime are real-life friends, so they have a natural chemistry in this video. The video's cinematography has that Instagram filter-effect in it, making the video gloomy and haunting – add to that Miss Del Rey's contralto voice. Quite eerie yet heartbreaking.<br />
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<span style="font-size: x-small;">*Although most people say it's the other way around; Lana's character is the one who went first, then her girlfriend followed her into the afterlife.</span><br />
<span style="font-size: x-small;"><br /></span> <span style="font-size: x-small;">**Some YouTubers say that Miss Spalding's character is actually reminiscing about her ex-girlfriend, the art lady, while she is currently in a relationship with the guy.</span><br />
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<b style="font-size: small;">DISCLAIMER:</b><span style="font-size: x-small; text-align: start;"> No copyright infringement intended. I don't own or claim to own any of the photos used.</span><br />
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7821631260908917155.post-23466589380392096792015-11-05T10:00:00.000+08:002016-01-12T22:42:42.061+08:00Fave Movie Moments: V for Vendetta<div style="text-align: justify;">
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"<i>It seems strange that my life should end in such a terrible place, but for three years I had roses and apologized to no one.</i>"</div>
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My most fave part in <b><i>V for Vendetta</i></b> is the Valerie moment. The film deals with struggle for freedom in a totalitarian system, a government that objects "the different and the subversive."</div>
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Imprisoned, Evey (Natalie Portman) finds refuge in a series of letters "given" to her by "next-cell neighbor" Valerie (Natasha Wightman), an actress who was incarcerated for being homosexual.<br />
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In the letter, Valerie narrates her life — which includes her coming out to her parents (who later disown her), her past relationships, her moments with Ruth (Mary Stockley) a.k.a. the love of her life a.k.a. her three years of roses, and her despair over Ruth's imprisonment and suicide. The letter ends with Valerie's imprisonment and eventual death.</div>
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This is the scene that made me cry... a lot. A very political film, <i>V for Vendetta</i> has a lot of tense moments in it. That's why this Valerie moment stands out. The scene is generally heartbreaking, yet beneath the heartbreak is a very powerful message — as powerful as V's speech.</div>
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Although this world is gradually waking up from an ignorant and homophobic slumber, this Valerie scene is still very relevant. It aims to reject hate, and say "<i>Bigotry sucks. Love is love.</i>"</div>
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<b>Valerie's letter:</b><br />
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<b style="font-size: small;">DISCLAIMER:</b><span style="font-size: x-small;"> No copyright infringement intended. I don't own or claim to own any of the photos used.</span><br />
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<span style="font-size: x-small;"><br /></span>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7821631260908917155.post-532265333048930212015-11-01T10:00:00.000+08:002015-11-02T10:13:02.235+08:00Fave Movie Posters: The Silence of the Lambs<div style="text-align: justify;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbtx2XyAXLFRRJua2nkH01htoM9fqGj4yPX3TK9nq1zac3v4uUcna_x7X6Qy9ej-B7O8pmGlCaomK9Wjv0vO3v8n5QcHXbLv_MIOf8boNNL5Nmzd5dDSnjli5P0HRKRkQR_9lZhNmun54/s1600/The_Silence_of_the_Lambs.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbtx2XyAXLFRRJua2nkH01htoM9fqGj4yPX3TK9nq1zac3v4uUcna_x7X6Qy9ej-B7O8pmGlCaomK9Wjv0vO3v8n5QcHXbLv_MIOf8boNNL5Nmzd5dDSnjli5P0HRKRkQR_9lZhNmun54/s640/The_Silence_of_the_Lambs.jpg" width="430" /></a></div>
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One of the iconic and most creative movie posters of all time, <b><i>The Silence of the Lambs</i></b>' poster is a portrait of Clarice Starling (Jodie Foster), whose mouth is concealed by a moth. A significant element in both the novel and the film, the moth is a Death's-head Hawkmoth — the kind that is known for the skull-like image on its thorax.</div>
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The "skull" in the poster is Salvador Dali's creepy and racy <i>In Voluptas Mors</i>. I would like to put a link for Dali's work, but it's <a href="http://www.urbandictionary.com/define.php?term=NSFW" target="_blank">NSFW</a>.</div>
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The film's artwork probably influenced the poster for Wes Craven's <a href="http://www.impawards.com/1996/posters/scream.jpg" target="_blank"><b><i>Scream</i></b></a>. The person in the poster wanted to scream for help, yet they can't because something is hindering them to do so. For Clarice, she's haunted by a past she prefers to forget. She wanted to shout but the silence is overwhelming.</div>
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<b style="font-size: small;">DISCLAIMER:</b><span style="font-size: x-small;"> No copyright infringement intended. I don't own or claim to own any of the photos used.</span></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7821631260908917155.post-2976798246268134512015-10-23T10:00:00.000+08:002015-10-23T16:39:49.634+08:00Fave Movie Moments: A Patch of Blue<div style="text-align: justify;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiB1qg0MIHFssrkp4bS0iGTf4ixUFA-VFhyiQRSrAP3ikLzp-D8E4EJ5kS0zdK9kOZMJTxNDrnl4yqhfopd1Ag9-M2-ZoHY-3cSC8XfGK6Ps-smJni8rU6a3M5O5hJ34vLqMBBosG7dK-w/s1600/A_Patch_of_Blue.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="425" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiB1qg0MIHFssrkp4bS0iGTf4ixUFA-VFhyiQRSrAP3ikLzp-D8E4EJ5kS0zdK9kOZMJTxNDrnl4yqhfopd1Ag9-M2-ZoHY-3cSC8XfGK6Ps-smJni8rU6a3M5O5hJ34vLqMBBosG7dK-w/s640/A_Patch_of_Blue.jpg" width="640" /></a></div>
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Blinded by her abusive mom (Shelley Winters) at the age of five, Selina D'Arcey (Elizabeth Hartman in her film debut) is off to meet her only friend, Gordon Ralfe (Sidney Poitier). She traverses the streets full of darkness and strangers, a fragile lady thrown into the world of blind noise and danger.</div>
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<b><i>A Patch of Blue</i></b>'s plot is already compelling as it is, but this scene is one of the film's powerful moments. Miss Hartman is amazing as Selina. The actress' gentle and vulnerable persona translates well into the screen.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitMtrgngc8H0m0jIf2T4xeQeyqEEagcfkKddHGLaw8r6oWi9G3k9R7Iy4JHOokgc87hOODlAZbrCJSrjsrxmegGKVBnsn0gxsNWYK3vm9O03cu7Hgr4InTRxXYw6DQtwUJWBAFG8oFODY/s1600/Elizabeth_Hartman_1965.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="317" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitMtrgngc8H0m0jIf2T4xeQeyqEEagcfkKddHGLaw8r6oWi9G3k9R7Iy4JHOokgc87hOODlAZbrCJSrjsrxmegGKVBnsn0gxsNWYK3vm9O03cu7Hgr4InTRxXYw6DQtwUJWBAFG8oFODY/s320/Elizabeth_Hartman_1965.jpg" width="320" /></a></div>
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What makes this film even more heartbreaking is Miss Hartman's tragic ending in real life. If Selina is trapped in her blindness, Miss Hartman was trapped in chronic depression, which led her to commit suicide.</div>
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<i>A Patch of Blue</i> shows us that no matter how cruel and apathetic this world can get, there are still nice human beings out there, like those everyday people who do random acts of kindness.</div>
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Excerpt from <b><i>A Patch of Blue</i></b>:<br />
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<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/Bp1kg2jFvJM" width="560"></iframe><br />
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<b style="font-size: small; text-align: justify;">DISCLAIMER:</b><span style="font-size: x-small; text-align: justify;"> No copyright infringement intended. I don't own or claim to own any of the photos used.</span><br />
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<span style="font-size: x-small; text-align: justify;"><br /></span>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7821631260908917155.post-77081588398543317272015-10-13T15:00:00.000+08:002016-02-28T20:47:00.108+08:00Moving Movie Monologues<div style="text-align: justify;">
Ah. Monologues. Most actors probably crave them monologues. It's that one significant moment that can make or break an actor's performance. A good monologue is either wonderfully written or beautifully acted. Perhaps both.</div>
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There is an overwhelming profusion of soliloquy ever since cinema bid adieu to the silent era — but only few captivated yours truly. Here are some of them. (In chronological order.)</div>
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<span style="font-size: large;">Charles Chaplin as A Jewish Barber</span><br />
<span style="font-size: large;"><b><i>The Great Dictator</i></b>, 1940</span><br />
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<i>We think too much and feel too little. More than machinery we need humanity. More than cleverness we need kindness and gentleness. Without these qualities, life will be violent and all will be lost.</i></div>
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After being mistaken for Adenoid Hynkel aka the great dictator, A Jewish Barber was compelled to give a speech in front of "his people." (<a href="http://www.charliechaplin.com/en/synopsis/articles/29-The-Great-Dictator-s-Speech" target="_blank">Here</a>'s the speech's transcript.)</div>
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In this touching speech, the silent film icon laid bare both the good and bad side of humanity. A universal statement of the human existence, this monologue has the power to edify one's mind and soul.<br />
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(<span style="text-align: start;">The speech's "</span><a href="https://www.youtube.com/watch?v=dX25PDBb708" style="text-align: start;" target="_blank"><i>Inception</i> remix</a><span style="text-align: start;">" is just... wow!</span>)<br />
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<span style="font-size: large;"><b><i>West Side Story</i></b>, 1961</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeZK0FOk0rQCTYYJNbIZSp_52PT7VyLP1rmct8cCM3tXIQzjAm56k4GVK0o4TcUPjdI-eBx_epjtUBQSeCxnHSbyK0fQ8YwPwMCwn3wcj0emZFmFdGjf8NaCMsKBjuL0_1TLZL-Y1nF3Y/s1600/West_Side_Story.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="302" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeZK0FOk0rQCTYYJNbIZSp_52PT7VyLP1rmct8cCM3tXIQzjAm56k4GVK0o4TcUPjdI-eBx_epjtUBQSeCxnHSbyK0fQ8YwPwMCwn3wcj0emZFmFdGjf8NaCMsKBjuL0_1TLZL-Y1nF3Y/s400/West_Side_Story.jpg" width="400" /></a></div>
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<i>All of you! You all killed him. And my brother. And Riff. Not with bullets and guns. With hate! Well, l can kill too, because now l have hate!</i></div>
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After her lover dies because of the street war between the Jets and the Sharks, Maria berates all those involved in the senseless fight. Maria's monologue defines the very idea of war: hate.<br />
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What would happen if the world is consumed with hate? World war!<br />
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<span style="font-size: large;">Ned Beatty as Arthur Jensen</span><br />
<span style="font-size: large;"><b><i>Network</i></b>, 1976</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieXdENHFMv9mZ2f2PWAsIhorv6-2dPYkU8t56vF490c9kxXPH_c36ypfqCw412Nm784butVQUYJkQIKMiDV3WK3iNlQzhNUfR-QFyMZ9K76EFNz1VMF6qSghMtvrOe7w3hWgZhK1_qt_A/s1600/Network.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieXdENHFMv9mZ2f2PWAsIhorv6-2dPYkU8t56vF490c9kxXPH_c36ypfqCw412Nm784butVQUYJkQIKMiDV3WK3iNlQzhNUfR-QFyMZ9K76EFNz1VMF6qSghMtvrOe7w3hWgZhK1_qt_A/s400/Network.jpg" width="400" /></a></div>
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<i>We no longer live in a world of nations and ideologies, Mr. Beale. The world is a college of corporations... inexorably determined by the immutable bylaws of business. The world is a business, Mr. Beale.</i></div>
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A spot-on depiction of society's voracious appetite for money and power. Beatty is remarkable as Mr. Jensen, a corporate messiah who "enlightens" the deranged Howard Beale (Peter Finch) by bringing the "good news" of capitalism.<br />
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<span style="font-size: large;"><b><i>Kramer vs. Kramer</i></b>, 1979</span><br />
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<i>My wife used to always say to me, "Why can't a woman have the same ambitions as a man?" I think you're right and maybe I learned that much. But by the same token, what law is it that says a woman is a better parent simply by virtue of her sex?</i></div>
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One day, Joanna (Meryl Streep) just leaves her family. (Not "just." She has her reasons, of course.) Ted is left with "Joanna's responsibilities," plus his work commitments. Later, Ted and Joanna Kramer are in a court battle for the custody of their son, Billy (Justin Henry).<br />
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This monologue is neither patriarchal nor misogynistic. It's human logic. It's gender equality. It's a classic.<br />
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<span style="font-size: large;">Rutger Hauer as Roy Batty</span><br />
<span style="font-size: large;"><b><i>Blade Runner</i></b>, 1982</span><br />
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<i>I've seen things you people wouldn't believe. Attack ships on fire off the shoulder of Orion. I watched C-beams glitter in the dark near the Tannhauser gate. All those moments will be lost in time... like tears in rain... time to die.</i></div>
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Batty is an android about to be eliminated by Deckard (Harrison Ford). And this monologue is reportedly an ad lib by Hauer.<br />
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I love how this monologue captured the very essence of existence. It kinda resembles <a href="https://www.youtube.com/watch?v=uNg13Ju5HN8" target="_blank">Carson Clay</a>'s line, "<i>What is life but a teardrop in the eye of infinity.</i>"<br />
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Batty's line, "<i>Like tears in rain</i>" perfectly summarizes what life is. It's just that, a fleeting moment. Yet beneath that fleeting moment is another moment, another soul that transcends the passage of time and existence.<br />
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<span style="font-size: large;">Mary-Louise Parker as Ruth Jamison</span><br />
<span style="font-size: large;"><b><i>Fried Green Tomatoes</i></b>, 1991</span><br />
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<i>You know, I thanked God for letting me still have Buddy. And I remembered having the same reaction after Frank would beat me, thankin' the Lord for givin' me the strength to take it. And I remembered thankin' the Lord for each day my mother lived, even when she was spittin' up blood... and prayin' for me to kill her. I looked in my mother's eyes pleadin' for me to help her... and all I could do was pray.</i></div>
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<i>While you were gone, as I was holdin' Buddy, I thought if that bastard, Frank Bennett, ever tries to take my child, I won't pray. I'll break his neck.</i></div>
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This scene features the musings of a special friend, a daughter, a wife, and a mother — all in one monologue. Miss Parker was effective in punctuating the different aspects of Ruth's life, as well as Ruth's transformation from being a martyr to being a strong mother who'd stop at nothing for her son.</div>
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<span style="font-size: large;">Liesel Matthews as Sara Crewe</span><br />
<span style="font-size: large;"><b><i>A Little Princess</i></b>, 1995</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgW3jthMaNMmeL6sb4G2MDfAmyG1x5LrnZz7GERid7aI0kzkqKR5KtYt6nMb9bVdBOpgbvX8bMvyCaD77Zr8W2xKqdoTntmfUTNS41qH54BhKabvUR4gxGJjNOd61O8j0bJUJrr2MuYEl8/s1600/A_Little_Princess.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="227" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgW3jthMaNMmeL6sb4G2MDfAmyG1x5LrnZz7GERid7aI0kzkqKR5KtYt6nMb9bVdBOpgbvX8bMvyCaD77Zr8W2xKqdoTntmfUTNS41qH54BhKabvUR4gxGJjNOd61O8j0bJUJrr2MuYEl8/s400/A_Little_Princess.jpg" width="400" /></a></div>
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<i>I am a princess. All girls are. Even if they live in tiny old attics. Even if they dress in rags. Even if they aren't pretty or smart or young. They're still princesses. All of us. Didn't your father ever tell you that? Didn't he?!</i></div>
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Miss Minchin (Eleanor Bron) got owned when Sara stands up to her by proving that "all girls are princesses."</div>
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<i>A Little Princess</i> is one of my fave movies as a child, and it still is. This particular moment in the attic is what really made the movie.</div>
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<span style="font-size: large;">Wesley Snipes as Noxeema Jackson</span><br />
<span style="font-size: large;"><b><i>To Wong Foo, Thanks for Everything! Julie Newmar</i></b>, 1995</span><br />
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<i>Miss Vida seems to think that I don't have a dream. I'm not Martin Luther King! I don't need a dream. I have a plan. You know, I'm gonna tell you what it is, because instinctively, I knew I could trust you. Being that you're not a big talker and everything. My plan is that while in Hollywood, I will be approached by an eminent producer — at the Ivy, no doubt — to star in the lush film version... of the life of Miss Dorothy Dandridge! Oh, yes. That noble blacktress who never played domestic help, and then whose career was crushed by the white Hollywood machine. Homegirl ended up dying penniless.</i></div>
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Noxeema speaks to quiet Clara (Alice Drummond) about her plan, opening her heart and divulging her dreams to a silent stranger. Noxeema then goes on talking about Dorothy Dandridge's filmography, eventually getting Clara to speak.</div>
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Although intended to be funny, this moment has a profound sense of warmth and sheer love in it. It's touching how Noxeema befriended Clara, and how she is so positive about her plan. Sweet.</div>
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<span style="font-size: large;">Joey Lauren Adams as Alyssa Jones</span><br />
<span style="font-size: large;"><b><i>Chasing Amy</i></b>, 1997</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikb9nS_LD9j2QLdL4fDT5DaQfXNN26Fhc6YDF45mfe5LY_L6-9rQUQ-vp1o6A8Lizy0DneQh3prW-imCKY_32JRb898LZUr_9SQCQ1Yk_JqCRta0o4CAs-1ESD85tnhS0MPoNPPwASGg0/s1600/Chasing_Amy.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="250" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikb9nS_LD9j2QLdL4fDT5DaQfXNN26Fhc6YDF45mfe5LY_L6-9rQUQ-vp1o6A8Lizy0DneQh3prW-imCKY_32JRb898LZUr_9SQCQ1Yk_JqCRta0o4CAs-1ESD85tnhS0MPoNPPwASGg0/s400/Chasing_Amy.JPG" width="400" /></a></div>
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<i>And to cut oneself off from finding that person, to immediately halve your options by eliminating the possibility of finding that one person within your own gender, that just seemed stupid to me.</i></div>
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A thought-provoking soliloquy by Miss Adams, <a href="http://depthsofcinema.blogspot.com/2012/02/fave-movie-quotes-chasing-amy.html" target="_blank">this</a> one epitomizes the very essence of "love is love."</div>
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<span style="font-size: large;">Molly Shannon as Carrie</span><br />
<span style="font-size: large;"><b><i>Gray Matters</i></b>, 2006</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzsCSOoZ7J4eK02tPLvcx-6ZHThmaaQVvTfV4K2bekCiQR362hKLW7MjK4O1_gVl99vhVrT3uNOUG1nkC38swYodPuuXuonc9Iiu1LbNn9umPR092QA995gjgknmsCLwZgMh2AizDZ8oo/s1600/Gray_Matters.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="267" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzsCSOoZ7J4eK02tPLvcx-6ZHThmaaQVvTfV4K2bekCiQR362hKLW7MjK4O1_gVl99vhVrT3uNOUG1nkC38swYodPuuXuonc9Iiu1LbNn9umPR092QA995gjgknmsCLwZgMh2AizDZ8oo/s400/Gray_Matters.jpg" width="400" /></a></div>
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<i>I mean, why does our society push us to be perpetually uncomfortable with who we are? It's so messed up. You wanna know why? Here. This is why. </i>[Grabs some magazines.]<br />
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<i>"Boost your buttocks in five days." "Luscious liposuction." "The flawless face-lift." That's why. </i><br />
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<i>Enough is enough. We need to stop letting society and-and media... and our religious leaders delegate who we are. You're amazing, and I'm even more amazing... and anybody who doesn't get it can go screw themselves!!!</i></div>
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Most of the monologues on this list bash society's illnesses. And this one ain't no different. As long as media and society bully people via body shaming, gender discrimination, racism, and homophobia, Molly's monologue would always be relevant.</div>
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<b style="font-size: small; text-align: justify;">DISCLAIMER:</b><span style="font-size: x-small; text-align: justify;"> No copyright infringement intended. I don't own or claim to own any of the photos used.</span><br />
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<span style="font-size: x-small; text-align: justify;"><br /></span>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7821631260908917155.post-23580938479873610962015-09-29T15:00:00.000+08:002015-09-30T10:41:28.978+08:00Game of Thrones and Religion<div style="text-align: justify;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitJP67x0F3ikt6p1HW2gDqGhlRBFNXolLatVMCV7-gLoa0JlBzflE4X9BXXOGJweZcKl8F310LMxVPSGTKTMgpqEvzD-wyOx8ncOwjcgpEeZcKDVLzkM72nR-dIouw6NXHAIO_Ij6gB_o/s1600/La_Reine_Margot.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="419" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitJP67x0F3ikt6p1HW2gDqGhlRBFNXolLatVMCV7-gLoa0JlBzflE4X9BXXOGJweZcKl8F310LMxVPSGTKTMgpqEvzD-wyOx8ncOwjcgpEeZcKDVLzkM72nR-dIouw6NXHAIO_Ij6gB_o/s640/La_Reine_Margot.jpg" width="640" /></a></div>
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<b>LA REINE MARGOT</b></div>
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Patrice Chéreau, 1994</div>
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"<i>France is torn apart by the Wars of Religion. Catholics and Protestants have been fighting for years... To quench the hatred, Catherine sets up an alliance for peace: she marries her daughter Margot to Henri of Navarre, her Protestant cousin... Margot's wedding, a symbol of peace and reconciliation, will be used to set off the greatest massacre in the history of France.</i>"</div>
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Those are excerpts from <i>La Reine Margot</i>'s prologue. The Catherine they're talking about is not Catherine Zeta-Jones. Not <a href="http://depthsofcinema.blogspot.com/2009/10/starring-catherine-deneuve.html" target="_blank">Catherine Deneuve</a>. Not even Catherine the Great. It's Catherine de' Medici, the Adolf Hitler of 16th century. (Catherine was to Protestants as Hitler was to Jews.) Since the king in throne was reportedly a Mama's boy, <a href="https://en.wikipedia.org/wiki/House_of_Valois" target="_blank">Valois</a> matriarch Catherine was practically the king <b>and</b> queen of France for quite a long time.<br />
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Millennials probably know Catherine from <b><i>Reign</i></b>, a CW series about <a href="https://en.wikipedia.org/wiki/Mary,_Queen_of_Scots" target="_blank">Mary</a>'s life. The romanticized show portrays Catherine as a domineering yet sympathetic mommy with quite a good sense of humor — a glaring contradiction to the Catherine portrayed in <i>La Reine Margot</i>, which was marketed as <i>Queen Margot</i> in English-speaking countries.<br />
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<a name='more'></a>Played by Italian legend Virna Lisi, <i>La Reine Margot</i>'s Catherine is devious, cold, stoic, and just plain ruthless — exactly the way history describes her. (Miss Lisi's performance is one of the best I've seen.) Catherine's daughter, Marguerite de Valois aka "Margot," is one of the few who defied the matriarch's nasty ways.<br />
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Margot (<a href="http://depthsofcinema.blogspot.com/2010/06/starring-isabelle-adjani.html" target="_blank">Isabelle Adjani</a> in her late 30s) was forced to marry her Protestant cousin, Henri de Bourbon aka Henri of Navarre aka <a href="https://en.wikipedia.org/wiki/Henry_IV_of_France" target="_blank">Henry IV</a> (Daniel Auteuil). Henri was then forced to convert to Catholicism. Oh yes, there are lots of forced situations here, mostly enforced by the force that is Catherine de' Medici.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhw5i7tled-O6EjkhUVc8e8u5Y5eRt0I2xzVTPG9wMh0E6SdfkL6aWoBGJ6Cl0z2hft2An1LfKdP09hKsxviCA5J44dIwJIPp9TXgYQ0dNAQzeEO8PolmXXTF1NB_VpOHrKJMLwKqMbJs/s1600/La_Reine_Margot_wedding.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="332" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhw5i7tled-O6EjkhUVc8e8u5Y5eRt0I2xzVTPG9wMh0E6SdfkL6aWoBGJ6Cl0z2hft2An1LfKdP09hKsxviCA5J44dIwJIPp9TXgYQ0dNAQzeEO8PolmXXTF1NB_VpOHrKJMLwKqMbJs/s640/La_Reine_Margot_wedding.jpg" width="640" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDLuM4St7CEqNHnsI5Riz_8RnB2n44Wvrg2wzOaDQ52wfQrhaxIbXPjo9nRtESzwfx73mNTtkUkFBPdwMmmPc-fSPBJvECs8ywbo7asAB_1TnJrvdNbnwqI8J7PcJOf9AclwD0yoqaT1I/s1600/La_Reine_Margot_Virna_Lisi.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="356" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDLuM4St7CEqNHnsI5Riz_8RnB2n44Wvrg2wzOaDQ52wfQrhaxIbXPjo9nRtESzwfx73mNTtkUkFBPdwMmmPc-fSPBJvECs8ywbo7asAB_1TnJrvdNbnwqI8J7PcJOf9AclwD0yoqaT1I/s640/La_Reine_Margot_Virna_Lisi.jpg" width="640" /></a></div>
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If Hitler had the Holocaust, history reports that Catherine plotted the <a href="https://en.wikipedia.org/wiki/St._Bartholomew's_Day_massacre" target="_blank">St. Bartholomew's Day massacre</a>, a <a href="https://en.wikipedia.org/wiki/Religious_cleansing" target="_blank">religious cleansing</a> of Huguenots aka French Protestants. During the film's climactic genocide, Margot saves a fatally wounded <a href="https://en.wikipedia.org/wiki/Joseph_Boniface_de_La_M%C3%B4le" target="_blank">La Môle</a> (Vincent Perez), a passionate Protestant who later became Margot's lover. Margot's love affair with La Môle throws her deeper into the chasm of danger and persecution, mostly by her mother and brothers.<br />
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<b><span style="font-size: large;">Religious war and freedom</span></b></div>
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War. Freedom. And then religion. The film discusses religion as a vessel of war, and how blind faith and hunger for power can ignite a fire that could incinerate an entire nation.</div>
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The film's religious plotline speaks volumes. It deeply resonates the religious and political issues of our time. In the film, (most) Catholics slay (most) Protestants for "going against the church." Yes, people, there was a time when (most) Catholics were extremists too, although some still are. The Catholics vs. Protestants saga would linger up to <a href="https://en.wikipedia.org/wiki/Tudor_period" target="_blank">the Tudor era</a>.</div>
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Alexandre Dumas made Margot the story's focal point, because her wedding to Henri of Navarre became the catalyst for the horrifying genocide; and perhaps because she was the last surviving member of the Valois family.</div>
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<b><span style="font-size: large;">Technically speaking...</span></b><br />
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The film is based on Dumas' <a href="https://en.wikipedia.org/wiki/La_Reine_Margot_(novel)" target="_blank">novel</a>, which is based on a true story, specifically the St. Bartholomew's Day massacre. There are other film adaptations of Dumas' novel, but this one's probably the best (technically speaking).<br />
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Since sexuality is one of the film's major themes, prudes be warned because this film has its fair share of nudity and sex. (Gee. 16th century people were really... really!)<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgk4sceo5PaKgOeQd1H0YP6z7CWXiUZqWLuH3fuCHSAxDcsniGy82QWGl2D3fdBlB8WZXajJGSrpCFnZfp_y_qOeFPEKMhQVXtsCBv_fEMc2mDQXk83QS0MYyHsQvz4-UF5XlnQSG3CcBo/s1600/La_Reine_Margot_Asia_Argento.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="344" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgk4sceo5PaKgOeQd1H0YP6z7CWXiUZqWLuH3fuCHSAxDcsniGy82QWGl2D3fdBlB8WZXajJGSrpCFnZfp_y_qOeFPEKMhQVXtsCBv_fEMc2mDQXk83QS0MYyHsQvz4-UF5XlnQSG3CcBo/s640/La_Reine_Margot_Asia_Argento.jpg" width="640" /></a></div>
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Yes. That's a young Asia Argento.</div>
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<i>La Reine Margot</i> has a powerhouse cast that includes some of Europe's finest thespians: Adjani, Auteuil, Perez, Asia Argento, Jean-Claude Brialy, Jean-Hugues Anglade, Pascal Greggory, Miguel Bosé, Dominique Blanc, Thomas Kretschmann, Bruno Todeschini, and the amazing Virna Lisi.<br />
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The cast lineup is interesting, especially if you're a fan of European cinema. The screenplay is good. The set design is exuberant. Philippe Rousselot's cinematography is visually intriguing. The music is nice. Isabelle Adjani is beautiful as always. But <i>La Reine Margot</i> is Virna Lisi's show. For her career-defining performance as Catherine de' Medici, Miss Lisi won that year's Best Actress Award at Cannes Film Festival.<br />
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One of the best royal movies in my book, <i>La Reine Margot</i> has the ability to make viewers think twice about faith and the concept of human religion.<br />
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How far would you go for the sake of your religion?</div>
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<b>Trailer for <i>La Reine Margot</i>:</b><br />
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<iframe allowfullscreen="" frameborder="0" height="360" src="https://www.youtube.com/embed/JjFZ7gErZ1o" width="640"></iframe><br />
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<b style="font-size: small; text-align: justify;">DISCLAIMER:</b><span style="font-size: x-small; text-align: justify;"> No copyright infringement intended. I don't own or claim to own any of the photos used.</span><br />
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<span style="font-size: x-small; text-align: justify;"><br /></span>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7821631260908917155.post-82776127412664008612015-09-24T16:00:00.000+08:002015-09-25T13:07:46.762+08:00Fave Movie Posters: Heneral Luna<div style="text-align: justify;">
One of the most hyped movies in the history of Philippine cinema, indie film <b><i>Heneral Luna</i></b> tells the story of <a href="https://en.wikipedia.org/wiki/Antonio_Luna" target="_blank">General Antonio Luna</a>, aka <a href="https://en.wikipedia.org/wiki/Juan_Luna" target="_blank">Juan Luna</a>'s younger brother, aka the man who led the Philippine Revolution Army during the Philippine-American War.</div>
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Despite the film's popularity, I've yet to see the film. (I know, right?) Will definitely do so.</div>
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Without further blah blah blah, the other thing that piqued my interest for <i>Heneral Luna</i>, aside from the positive reviews, is this poster:</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtBil5RvefQ4qmKO8zYWiA8Lll47Nec3VMpp3sPkSEDVvCOWbkj4Xw9UwHtnCwWZAOV79FDZb-aI0UXmY-daXQ6Q-cEZcEpWteO-aoKuNeQ0jAaVHmX1IdJjgudLde1tNWkL5CbqDHZNs/s1600/Heneral_Luna_poster.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtBil5RvefQ4qmKO8zYWiA8Lll47Nec3VMpp3sPkSEDVvCOWbkj4Xw9UwHtnCwWZAOV79FDZb-aI0UXmY-daXQ6Q-cEZcEpWteO-aoKuNeQ0jAaVHmX1IdJjgudLde1tNWkL5CbqDHZNs/s640/Heneral_Luna_poster.jpg" width="430" /></a></div>
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The film's unapologetic tagline, "<i>Bayan Bago Sarili</i>" ("<i>Nation Before Self</i>"), is a blatant attack on most Filipino politicians. Philippines is a country that is everlastingly plagued with corruption. Therefore, <i>Heneral Luna</i> seems to be the outlet of Filipinos' frustration.</div>
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So the poster with the burning Philippine flag is a literal and figurative symbol of Filipino's burning desire for revolution, their anger and frustration is consuming the nation. Oh, yes. The Philippines is on fire.</div>
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As I've mentioned <a href="http://depthsofcinema.blogspot.com/2015/05/the-dilemma-that-is-philippine-cinema.html" target="_blank">before</a>, I am mostly disappointed at the current state of Philippine cinema. That's why films like <i>Heneral Luna</i> — you know, movies that are about actual Pinoys — somehow restored my faith in Filipino filmmaking.</div>
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<b style="font-size: small;">DISCLAIMER:</b><span style="font-size: x-small;"> No copyright infringement intended. I don't own or claim to own any of the photos used.</span></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7821631260908917155.post-82846535002415929612015-09-23T10:00:00.000+08:002015-09-23T16:12:27.805+08:00Fave Movie Moments: The Godfather: Part II<div class="separator" style="clear: both; text-align: center;">
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<b><i>The Godfather: Part II</i></b> has many memorable scenes in it. Among those is young Vito Corleone's first day in New York's Ellis Island. The boy barely said a word because he had a traumatic experience back home (Corleone, Sicily) and because he can't speak English yet.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMCZZbueww6yk3q7lgO7G3Inwccg_Sn_fW_cRUGzRyaiFfgLC4uWvVvQvgK9AitVyRGYueXL-4G2UI-VXtoe-lb9N4v31gQ4361kbUs9AjMsGETOXi5LuooIrpSj9FOYC1vSMW8toPXdc/s1600/Vito_chair.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="223" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMCZZbueww6yk3q7lgO7G3Inwccg_Sn_fW_cRUGzRyaiFfgLC4uWvVvQvgK9AitVyRGYueXL-4G2UI-VXtoe-lb9N4v31gQ4361kbUs9AjMsGETOXi5LuooIrpSj9FOYC1vSMW8toPXdc/s400/Vito_chair.jpg" width="400" /></a></div>
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After going through the SOPs of the immigration, Vito (Oreste Baldini) is then lead to his room. With his stoic face, the boy stares at the Statue of Liberty, which can be seen from his window. (I love how that shot visualizes "the American dream.")</div>
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Then, he sits down and sings this Sicilian folk song:</div>
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<i>Avia nu sciacarreddu </i><br />
<i>Ma veru sapuritu </i><br />
<i>A mia mi l'amazzari </i><br />
<i>Poveru sceccu miu.</i><br />
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A bit frightening* and inspiring at the same time, this one's a gripping scene that introduces a new chapter in Vito's life... the birth of The Godfather.</div>
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Vito Corleone in Ellis Island:</b><br />
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<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/Ss3RBpjvaFA" width="560"></iframe><br />
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<span style="font-size: x-small;">*Considering the horrors most refugees go through.</span><br />
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<b style="font-size: small; text-align: justify;">DISCLAIMER:</b><span style="font-size: x-small; text-align: justify;"> No copyright infringement intended. I don't own or claim to own any of the photos used.</span><br />
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<span style="font-size: x-small; text-align: justify;"><br /></span>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7821631260908917155.post-13738596015328428732015-09-18T09:45:00.000+08:002015-09-20T13:53:00.554+08:00Cinematography: Mad Max: Fury Road<b>MAD MAX: FURY ROAD</b> (2015)<br />
<b>Director:</b> George Miller<br />
<b>Cinematographer:</b> John Seale<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiu8sIS2Tap2Kry9edIZyPJVc05_qAGf1Bbe91YhN_aymJV7HFTLI4Cvu-mqt6GtzV_JAAc7esYSvdft8KQNE8Xg-_RnLk6k-_tLa8pJYZQ_XtLRktd3lpKiMP5TUs1hXtyqQxObhoXuKw/s1600/MM4_FR_2059.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiu8sIS2Tap2Kry9edIZyPJVc05_qAGf1Bbe91YhN_aymJV7HFTLI4Cvu-mqt6GtzV_JAAc7esYSvdft8KQNE8Xg-_RnLk6k-_tLa8pJYZQ_XtLRktd3lpKiMP5TUs1hXtyqQxObhoXuKw/s640/MM4_FR_2059.jpg" width="640" /></a></div>
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Honestly speaking, I never expected <i>Mad Max: Fury Road</i> (aka <i>MMFR</i>) to be that good. I was expecting an "average Hollywood movie." You know, the kind that heavily relies on its stars' bankability, disregarding the quality of its plot and cinematography. (<i>MMFR</i> is a Hollywood-Australian production.)<br />
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And then I saw <i>MMFR</i> on a bus to work. I was impressed at how visually stunning this film is, not to mention Charlize Theron's remarkable performance as Imperator Furiosa. What more could one ask for?<br />
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<i>MMFR</i> takes the audience on a breathtaking ride towards a post-apocalyptic visual glory.<br />
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Behold...<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4Gf1MiaCKKgLV0_EVzCDd1MwgsFbusdtxGgQBH-hP0-Fg4SWfxL5QRJpZxcQQP2bULCHTiaN3HzJBJk0JYzyJTHI0-bqM8-w9ke8bLgk8U75EgSBDtcfgwrSgHY7SfobuFVUb85nNQpE/s1600/MM4_FR_0002.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4Gf1MiaCKKgLV0_EVzCDd1MwgsFbusdtxGgQBH-hP0-Fg4SWfxL5QRJpZxcQQP2bULCHTiaN3HzJBJk0JYzyJTHI0-bqM8-w9ke8bLgk8U75EgSBDtcfgwrSgHY7SfobuFVUb85nNQpE/s640/MM4_FR_0002.jpg" width="640" /></a></div>
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The opening scene</div>
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"Back shots" are quite prominent...</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8fOCp68Bce129sQ8Ry0IVmrQ0WE9NUKTFX8yUYFWaPlV1B71JYQWEf0iGIVG9_Lpnz8CaKpovWacXv7np-gFNlTzk7nBG7wU9C6TGpknqhms84tnMpPX5gW083nyAtr_-kDuIwv3UaT8/s1600/MM4_FR_1800.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8fOCp68Bce129sQ8Ry0IVmrQ0WE9NUKTFX8yUYFWaPlV1B71JYQWEf0iGIVG9_Lpnz8CaKpovWacXv7np-gFNlTzk7nBG7wU9C6TGpknqhms84tnMpPX5gW083nyAtr_-kDuIwv3UaT8/s640/MM4_FR_1800.jpg" width="640" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbnMIlqLgdjJZG0Z54z2o3tPij1vTEGFW95BRcdrCxA_erzXTPlVOxu4Qju7wIyu_QEbF7jfdGBr406HE98FDCgKB7Bu2hjuxk5_Bgs1fXgfTC_cKKmce2U0wl4kUKH6T60v68HossPRI/s1600/MM4_FR_0970.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbnMIlqLgdjJZG0Z54z2o3tPij1vTEGFW95BRcdrCxA_erzXTPlVOxu4Qju7wIyu_QEbF7jfdGBr406HE98FDCgKB7Bu2hjuxk5_Bgs1fXgfTC_cKKmce2U0wl4kUKH6T60v68HossPRI/s640/MM4_FR_0970.jpg" width="640" /></a></div>
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"Sky shots" also steal the show...</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiHSnfbWuCRWnSYDVNzUff08uv4tVj8Zy1MpSwKnXGmyofB945GlPYk84Hhc6ILLSdu_gpBghcj607Bn92MRkRnQj5Q3sgzCh2kj7w3hqS4FVjje1YpUlcZFMZP7KPUY3-DOBft9k81ew/s1600/MM4_FR_0026.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiiHSnfbWuCRWnSYDVNzUff08uv4tVj8Zy1MpSwKnXGmyofB945GlPYk84Hhc6ILLSdu_gpBghcj607Bn92MRkRnQj5Q3sgzCh2kj7w3hqS4FVjje1YpUlcZFMZP7KPUY3-DOBft9k81ew/s640/MM4_FR_0026.jpg" width="640" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYgOrYM5aK-rCA4u3D9R8wCxcBjjY2SfLIMn24boSIf3NYRE-AFHgspBw1ZbgPwsn33OemUux86gXu1kelCoBIXg0qwuocH2T0G4XOTvTlopFixU4tTAYACsFUDRRKQnrJPStniMK8hBU/s1600/MM4_FR_1276.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYgOrYM5aK-rCA4u3D9R8wCxcBjjY2SfLIMn24boSIf3NYRE-AFHgspBw1ZbgPwsn33OemUux86gXu1kelCoBIXg0qwuocH2T0G4XOTvTlopFixU4tTAYACsFUDRRKQnrJPStniMK8hBU/s640/MM4_FR_1276.jpg" width="640" /></a></div>
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Aside from those "sky over mountain" shots,</div>
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scenes like these kinda remind me of <i><b><a href="http://depthsofcinema.blogspot.com/2014/06/cinematography-fall.html" target="_blank">The Fall</a></b></i>...</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRb3hz6Q3Ln3CeJejFKOoMZYdbZ5fhOkXl2koW1vpXQAU44EHibf86exaoJqTUUkkjxxBpM94u3oLE-IG0mLb95sGe42YnLTe-opRt93kUJ37wHPFAAfYWRlAXF9wHySQtJtLcamdYkTk/s1600/MM4_FR_1648.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRb3hz6Q3Ln3CeJejFKOoMZYdbZ5fhOkXl2koW1vpXQAU44EHibf86exaoJqTUUkkjxxBpM94u3oLE-IG0mLb95sGe42YnLTe-opRt93kUJ37wHPFAAfYWRlAXF9wHySQtJtLcamdYkTk/s640/MM4_FR_1648.jpg" width="640" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbvJQohMDBZ8jFGLH3oNzmxBFza5vEJ9dNDoVIE7SuqzVDflNHJtCsZ6esMs-PtkaZhpB03eZvpBvfYLXPMWWFxNjwDjUd0JBP3quKE176wgiURkM0VPGYFKGGKQpihQ-NzzAVbROBKE4/s1600/MM4_FR_1896.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbvJQohMDBZ8jFGLH3oNzmxBFza5vEJ9dNDoVIE7SuqzVDflNHJtCsZ6esMs-PtkaZhpB03eZvpBvfYLXPMWWFxNjwDjUd0JBP3quKE176wgiURkM0VPGYFKGGKQpihQ-NzzAVbROBKE4/s640/MM4_FR_1896.jpg" width="640" /></a></div>
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These frames prove that composition is key...</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEid9SE1GgSlHKMvLt7CJKXqEDb8z6QgKDKPFzk4MCXdJi85zMFRDqUSe6wt6Q71u76Q32L1r6QQXyk3QN8j-c7kyAZE9-AHSjB2_kJ94FF0uR5GeiSw2Rhd5GPW15ZDwnKv4SzqixRJegg/s1600/MM4_FR_0340.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEid9SE1GgSlHKMvLt7CJKXqEDb8z6QgKDKPFzk4MCXdJi85zMFRDqUSe6wt6Q71u76Q32L1r6QQXyk3QN8j-c7kyAZE9-AHSjB2_kJ94FF0uR5GeiSw2Rhd5GPW15ZDwnKv4SzqixRJegg/s640/MM4_FR_0340.jpg" width="640" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFhAwBZAKF0OcApZ8wsq5QbwvkHlKi-C2VKaI8IL0degmHOf9CfJbv394PQ8C_5PirG4lDiVofqWybXe6Ifh29BJM0X0ru34tPw7C_3Dm6ObHO7Dx4Z3bzkcyIB2lBdJFHl5PCbog0Zvw/s1600/MM4_FR_0780.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFhAwBZAKF0OcApZ8wsq5QbwvkHlKi-C2VKaI8IL0degmHOf9CfJbv394PQ8C_5PirG4lDiVofqWybXe6Ifh29BJM0X0ru34tPw7C_3Dm6ObHO7Dx4Z3bzkcyIB2lBdJFHl5PCbog0Zvw/s640/MM4_FR_0780.jpg" width="640" /></a></div>
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...kinda looks like a print ad for <a href="http://www.gorgeautiful.com/guess-fall-winter-2013-denim-advertising-campaign/" target="_blank">GUESS</a>.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIOgT_a3Xp2eGAv-XiMBS-xfebHPKzkKZ8Pa6MSH7sWsCob2Cku0XEIrmY0Dlfr-_tAkbhPKjYGXQ_igYlIGlrAkznr6mMtcm1-FVUMEO6hUglAT-wGZSuXmkfLqmY71_pP2iY4RH_pWo/s1600/MM4_FR_0868.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIOgT_a3Xp2eGAv-XiMBS-xfebHPKzkKZ8Pa6MSH7sWsCob2Cku0XEIrmY0Dlfr-_tAkbhPKjYGXQ_igYlIGlrAkznr6mMtcm1-FVUMEO6hUglAT-wGZSuXmkfLqmY71_pP2iY4RH_pWo/s640/MM4_FR_0868.jpg" width="640" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRET2PJRMrTmgd-17r-rHDJxyXjpefb-tmaYj9XGkA1PMTVZtpoaPIb2eaSTNnKR2zHnTmfruaexLKQ56zP_rV-FlghDycM6ogHfhoCSLJ9XYQlWluZUt3-iUpD5slG52m4Vfx-KFBDFM/s1600/MM4_FR_2325.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRET2PJRMrTmgd-17r-rHDJxyXjpefb-tmaYj9XGkA1PMTVZtpoaPIb2eaSTNnKR2zHnTmfruaexLKQ56zP_rV-FlghDycM6ogHfhoCSLJ9XYQlWluZUt3-iUpD5slG52m4Vfx-KFBDFM/s640/MM4_FR_2325.jpg" width="640" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEie2KMwyhu_VU3hKdLnVl1QdtABDrcXVk3J-avp74kr6nN7oplR4iBkHvpMnS6ytkqiGUyfb_PQWo3RCSFAcPygbstywAqiTEK9tNl5xcR6aTXwFIpEBTZXF1iFT0koJz9L89yVsxYkCgU/s1600/MM4_FR_2379.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEie2KMwyhu_VU3hKdLnVl1QdtABDrcXVk3J-avp74kr6nN7oplR4iBkHvpMnS6ytkqiGUyfb_PQWo3RCSFAcPygbstywAqiTEK9tNl5xcR6aTXwFIpEBTZXF1iFT0koJz9L89yVsxYkCgU/s640/MM4_FR_2379.jpg" width="640" /></a></div>
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I admire how this shot accentuates Furiosa's "reign."</div>
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Although gold and sky blue are <i>MMFR</i>'s dominant colors,</div>
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deep blue, green, and variations of brown are also present...</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiS1r8MS_6ovbrJ9TM9WD3G9-JTUAKLrGWzK99nKGpphOWUYry9k0j9Fa0THuJT5A5t5VLe7LgGKdBkB0NbYX30jPOxFX1yd5M1CcJkJG9r_gfT5I3HO9daFVJOGeSDhZ-Xjl1vZQRGhak/s1600/MM4_FR_1476.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="262" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiS1r8MS_6ovbrJ9TM9WD3G9-JTUAKLrGWzK99nKGpphOWUYry9k0j9Fa0THuJT5A5t5VLe7LgGKdBkB0NbYX30jPOxFX1yd5M1CcJkJG9r_gfT5I3HO9daFVJOGeSDhZ-Xjl1vZQRGhak/s640/MM4_FR_1476.jpg" width="640" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_ugSEOfYwBQ8fCTAan8nHGEoPOmYrnEBeI5jXOs6d-g9bvy4p2RTDnK8KR5gcEDsEki-AVMxk_npnhSuUCnriNEuNbyra-jlvnDQElAh8D0OMlSDmhBpN2i6sVG_GZUYy0w5B7xpYDZ4/s1600/MM4_FR_0264.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_ugSEOfYwBQ8fCTAan8nHGEoPOmYrnEBeI5jXOs6d-g9bvy4p2RTDnK8KR5gcEDsEki-AVMxk_npnhSuUCnriNEuNbyra-jlvnDQElAh8D0OMlSDmhBpN2i6sVG_GZUYy0w5B7xpYDZ4/s640/MM4_FR_0264.jpg" width="640" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrmQwZzQEgcsZwXTyfgo62fEjCUzWyqHrLf5ScHh-JVui8uMgzE8JgkvIsFmI9xQG7pc2iD1TJKvoXf9oR2ADu8sYnv7ZeBRTHrpKqBmEVfRFtlLCSEFCbEf0-GVn3Penw-uxHDpiu2Rg/s1600/MM4_FR_0274.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrmQwZzQEgcsZwXTyfgo62fEjCUzWyqHrLf5ScHh-JVui8uMgzE8JgkvIsFmI9xQG7pc2iD1TJKvoXf9oR2ADu8sYnv7ZeBRTHrpKqBmEVfRFtlLCSEFCbEf0-GVn3Penw-uxHDpiu2Rg/s640/MM4_FR_0274.jpg" width="640" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMmhOnd0tb_QPKVB9DKTSEcTTmh8ZH4O6OM6zyP1OEs-gsMMoSCFi69CRrBlFGJoRCk-TOkTiRmg0FOxJUY9E1NeB3VoOXreYjR6CU7pAZ8193DHCU5IqfyEsgz1yEAiBnZDAW0aiH4As/s1600/MM4_FR_1031.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMmhOnd0tb_QPKVB9DKTSEcTTmh8ZH4O6OM6zyP1OEs-gsMMoSCFi69CRrBlFGJoRCk-TOkTiRmg0FOxJUY9E1NeB3VoOXreYjR6CU7pAZ8193DHCU5IqfyEsgz1yEAiBnZDAW0aiH4As/s640/MM4_FR_1031.jpg" width="640" /></a></div>
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Known for his Oscar®-winning work for <b><i>The English Patient</i></b>,</div>
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cinematographer John Seale fuses various colors for the sake of balance and contrast...</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh87-FCsrKZ4Mf7i8bRe-8cmn_Skqoz0PnVKu2Le1HBZ9o7pH2D_OLGPpLYDo98EyanzyKR5mfjhuJ3wWukpHc1twXV9_5eD1_OMReb0Ix0J0ejfC2HRngKkSPJzFantu-UfI5RaHJpVEw/s1600/MM4_FR_2330.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="267" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh87-FCsrKZ4Mf7i8bRe-8cmn_Skqoz0PnVKu2Le1HBZ9o7pH2D_OLGPpLYDo98EyanzyKR5mfjhuJ3wWukpHc1twXV9_5eD1_OMReb0Ix0J0ejfC2HRngKkSPJzFantu-UfI5RaHJpVEw/s640/MM4_FR_2330.jpg" width="640" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSx6kqiR3OmLMykRNP08r6c28v9Uq_ZY4pnsCwWq7aDZNvMIXC0ehmhPfo3mnpNI_IlYFmVJpuuerJHhH-vxst1jZlYRL4YN2LxAn7JQqpYTWXmy-GX6eGQ3BfroRuLRjqBseLCKEFqzk/s1600/MM4_FR_1350.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSx6kqiR3OmLMykRNP08r6c28v9Uq_ZY4pnsCwWq7aDZNvMIXC0ehmhPfo3mnpNI_IlYFmVJpuuerJHhH-vxst1jZlYRL4YN2LxAn7JQqpYTWXmy-GX6eGQ3BfroRuLRjqBseLCKEFqzk/s640/MM4_FR_1350.jpg" width="640" /></a></div>
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Deep blue meets gold.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpXMICU0V9tSadxP6mvn_P5AO5yuaG_uYGjQfFahnPrTLngT0GtOcAGRZd60OXqcED1PN_GihADO0Qsq_o5zTuF59ZjkbNK3B_bABOooRo7Ev_yN2tr1n0DDQt3E123T4lXvBryAERh-0/s1600/MM4_FR_0222.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpXMICU0V9tSadxP6mvn_P5AO5yuaG_uYGjQfFahnPrTLngT0GtOcAGRZd60OXqcED1PN_GihADO0Qsq_o5zTuF59ZjkbNK3B_bABOooRo7Ev_yN2tr1n0DDQt3E123T4lXvBryAERh-0/s640/MM4_FR_0222.jpg" width="640" /></a></div>
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A visual party of green, sky blue, and gold.</div>
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<b style="font-size: small;">DISCLAIMER:</b><span style="font-size: x-small;"> No copyright infringement intended. I don't own or claim to own any of the photos used.</span></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7821631260908917155.post-48597061448975261162015-08-19T10:00:00.000+08:002015-09-01T19:26:15.675+08:00She May Be the Fate I Can't Escape<div style="text-align: justify;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjT8W7x2CsJh0iBRO0M5qgTR-aWDpVAhv8Sn_cxrKNCrNA9y7HMnAr0vCMEXo-RyBLokny7FiHXjSZ8OvB3fDcvS-Z-57xM7jcXYD0OooGFggBfv19xvfyyZhuQVPuNz3ohi9YrwE9wbZE/s1600/Femme_fatales.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="208" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjT8W7x2CsJh0iBRO0M5qgTR-aWDpVAhv8Sn_cxrKNCrNA9y7HMnAr0vCMEXo-RyBLokny7FiHXjSZ8OvB3fDcvS-Z-57xM7jcXYD0OooGFggBfv19xvfyyZhuQVPuNz3ohi9YrwE9wbZE/s640/Femme_fatales.jpg" width="640" /></a></div>
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<b>L-R:</b> Jennifer Tilly in <b><i>Bound</i></b>, Nicole Kidman in <b><i>To Die For</i></b>, and Faye Dunaway in <b style="font-style: italic;">Chinatown</b>.</div>
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"<i>Hell hath no fury like a woman scorned</i>," as the saying goes. In short, never mess with a woman — especially a femme fatale — unless you want some serious trouble.<br />
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According to Wikipedia, "<i>a femme fatale (/ˌfæm fəˈtɑːl/ or /ˌfɛm fəˈtɑːl/; French: [fam fatal]) is a stock character of a mysterious and seductive woman whose charms ensnare her lovers, often leading them into compromising, dangerous, and deadly situations. She is an archetype of literature and art.</i>"<br />
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Just like Delilah, Catherine Tramell, and Mrs. Robinson, these enigmatic ladies cast their wicked spell on men (and, for some on the list, women), making them as vulnerable as a newborn baby.<br />
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Seductive. Mysterious. Dangerous. Behold some of my fave femme fatales.<br />
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(In chronological order.)</div>
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<span style="font-size: large;">Phyllis Dietrichson, <b><i>Double Indemnity</i></b></span><br />
Played by Barbara Stanwyck<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjA5tZSBhw-8X3hDex5Lmkr1NWDVkO3iSo6Yt9F_ogSWACv39rrM_pBhQxTjHvcmkzcG1byCkXFWw-k3AAxFIs8WqxDJcCZqU3kRB_W_FcTEDLMybca0J87ItziuaRNkN16ReE7xIXbGX4/s1600/Barbara_Stanwyck_Double_Indemnity.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="290" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjA5tZSBhw-8X3hDex5Lmkr1NWDVkO3iSo6Yt9F_ogSWACv39rrM_pBhQxTjHvcmkzcG1byCkXFWw-k3AAxFIs8WqxDJcCZqU3kRB_W_FcTEDLMybca0J87ItziuaRNkN16ReE7xIXbGX4/s400/Barbara_Stanwyck_Double_Indemnity.jpg" width="400" /></a></div>
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To score some huge money, insurance salesman Walter Neff (Fred MacMurray) conspires with Phyllis Dietrichson. Having a bad wig day, Phyllis gives Walter an indecent proposal, so indecent it involves Phyllis' husband being dead. (Oh, and about that wig. I thought I was watching George Washington in drag.)<br />
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<span style="font-size: large;">Evelyn Mulwray, <b><i>Chinatown</i></b></span><br />
Played by Faye Dunaway<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiE7kkE9It5Cz_Ak8lplRjN-udZV5KJbg3PFM1m_KROVULdWk16wiLiFABYLpYNutC_SfDzVAJnvBbAA1hkTFNp01b0YhqYhp6y4VIb6BhYLfyEBKnT4n34bRqcjZWpLXiOsG0FAsDp0-Y/s1600/Faye_Dunaway_Chinatown.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiE7kkE9It5Cz_Ak8lplRjN-udZV5KJbg3PFM1m_KROVULdWk16wiLiFABYLpYNutC_SfDzVAJnvBbAA1hkTFNp01b0YhqYhp6y4VIb6BhYLfyEBKnT4n34bRqcjZWpLXiOsG0FAsDp0-Y/s400/Faye_Dunaway_Chinatown.jpg" width="400" /></a></div>
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She's very reminiscent of those femme fatales in film noir. A tragic character, Evelyn Mulwray is seemingly stoic until her disturbing secret is finally revealed during the iconic "<a href="http://www.youtube.com/watch?v=wnrdetFAo1o" target="_blank">sister daughter scene</a>." Evelyn's vulnerability is what makes her a femme fatale. Evelyn's defenses down, suave P.I. Jake Gittes (Jack Nicholson) does every deadly thing just to save her. Miss Dunaway's performance is one of the film's remarkable moments.<br />
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<span style="font-size: large;">Matty Walker, <b><i>Body Heat</i></b></span></div>
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Played by Kathleen Turner<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihOKR-jRxDzAD-AoPWMerucyDAM4wwcc5im5V-N6_r4GtQLtdqW1owQ0HIfgK5AIysdVT-dWTcfcPi1BU42UnETh6kKe80lyIW-Hho5ILZG8PO_6MisyaxKBA3etndPCebl1X_Ufr2HeQ/s1600/Kathleen_Turner_Body_Heat.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihOKR-jRxDzAD-AoPWMerucyDAM4wwcc5im5V-N6_r4GtQLtdqW1owQ0HIfgK5AIysdVT-dWTcfcPi1BU42UnETh6kKe80lyIW-Hho5ILZG8PO_6MisyaxKBA3etndPCebl1X_Ufr2HeQ/s400/Kathleen_Turner_Body_Heat.jpg" width="400" /></a></div>
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Inspired by <i>Double Indemnity</i>, this '80s sizzler features a young Kathleen Turner in her debut film. Miss Turner is Matty Walker, a married seductress who wraps Ned (William Hurt) around her finger. <i>Body Heat</i> is basically the sexier version of <i>Double Indemnity</i>, only with a major twist at the end.<br />
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<span style="font-size: large;">Catherine Leiris, <b><i>Mortelle randonnée</i></b></span><br />
Played by <a href="http://depthsofcinema.blogspot.com/2010/06/starring-isabelle-adjani.html" target="_blank">Isabelle Adjani</a><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqIdWZunls4DjgNDvB3899GEVb1kXtBaFKsCMdH_eMJg3kf27cwj5LTgA0PYhTOC5ds0u-8GHCW4pqKDMY4FhEABXd2pK7un0LZJLrynLGR5q1QR0pnBJVkf99JLnL4-Fphuzj45JOzqs/s1600/Isabelle_Adjani_Mortelle_randonn%25C3%25A9e.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqIdWZunls4DjgNDvB3899GEVb1kXtBaFKsCMdH_eMJg3kf27cwj5LTgA0PYhTOC5ds0u-8GHCW4pqKDMY4FhEABXd2pK7un0LZJLrynLGR5q1QR0pnBJVkf99JLnL4-Fphuzj45JOzqs/s400/Isabelle_Adjani_Mortelle_randonn%25C3%25A9e.jpg" width="400" /></a></div>
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The Eye (Michel Serrault) is fascinated by a deadly and unstable con artist named Catherine Leiris. <i>Le iris = </i>the iris. Catherine is a lone wolf who just can't be stopped from preying on those who fall for her wicked charm, may they be male or female.<br />
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The film's title roughly translates into "deadly ride," which most likely refers to Catherine's fatal and vagabond existence, as well as The Eye's journey towards the root of Catherine's evil.</div>
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Catherine's remade version is Ashley Judd in <b><i>Eye of the Beholder</i></b>, a remake of this French neo-noir.</div>
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<span style="font-size: large;">Suzanne Stone-Maretto, </span><i><b><span style="font-size: large;">To Die For</span></b></i><br />
Played by Nicole Kidman<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg79wnQPH2nwxiNtnSuFBVlUDOTeC7kkrbHW3TfGBTz_ulJLCWjavzl_6KHuhtLcW7PoSLwgAWF0g-Cb4Q0zdTgiQwWOgaHqC3Ss0Z_urpHe1v-sYlSHL5buKml-qkR6s5bt0JenRQfCk4/s1600/Nic_Kidman_To_Die_For.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg79wnQPH2nwxiNtnSuFBVlUDOTeC7kkrbHW3TfGBTz_ulJLCWjavzl_6KHuhtLcW7PoSLwgAWF0g-Cb4Q0zdTgiQwWOgaHqC3Ss0Z_urpHe1v-sYlSHL5buKml-qkR6s5bt0JenRQfCk4/s400/Nic_Kidman_To_Die_For.jpg" width="277" /></a></div>
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An aspiring news presenter, Suzanne will do all it takes for the sake of her ambition. Everything — including marrying an Italian-American (Matt Dillon) for money, luring a young woman (Alison Folland) with "lesbian tendencies," and seducing a young Joaquin Phoenix into killing her husband.</div>
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Aside from her psychotic scheming skills, the other thing that makes Suzanne creepy is Miss Kidman's witchy voice. Directed by that guy who made a lot of gay movies, <i>To Die For</i> features Miss Kidman at the peak of her beauty and career.</div>
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<span style="font-size: large;">Violet, <b><i><a href="http://depthsofcinema.blogspot.com/2011/08/beyond-limits.html" target="_blank">Bound</a></i></b></span><br />
Played by Jennifer Tilly<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgais_TC3V0z1Ldk6Pq_XOAQJvN6VAU_5eoVXM_VoAv_gAnrM6Wv1bsxh3yPA8_dtSYoICdlr5CiENj-mPlmZqyouc-3XieCVufNmgLlGh9V1Am8wVS4UsiccX62qAaJ112qyQDGUfVEq8/s1600/Jen_Tilly_Bound.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgais_TC3V0z1Ldk6Pq_XOAQJvN6VAU_5eoVXM_VoAv_gAnrM6Wv1bsxh3yPA8_dtSYoICdlr5CiENj-mPlmZqyouc-3XieCVufNmgLlGh9V1Am8wVS4UsiccX62qAaJ112qyQDGUfVEq8/s400/Jen_Tilly_Bound.jpg" width="400" /></a></div>
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At first glance, Violet looks just like any other eye candy; but no, she's more than just a sexy body. The quintessential femme fatale, Violet is smart and conniving, a clever lady inside a voluptuous body.</div>
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I had such a crush on Violet after watching Miss Tilly's performance. Violet is the most distinct among Miss Tilly's characters. Often cast as a bimbo, the actress was able to deviate herself from her trademark role, which is Tiffany (a.k.a. Chucky's bride).<br />
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<span style="font-size: large;">Kathryn Merteuil, <b><i>Cruel Intentions</i></b></span><br />
Played by Sarah Michelle Gellar<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgl0vxvBne0AtwVsVMZ0eZKxFnikwBFfUwM_LMLby-kFgUMO-V21Xi09YFmUD6pSEXX2IPAuC-2Azd3hXdfJI8kpsPKz52-jtFwLkHzmTSLlctthiebCOeG8V89dyvbvK7ol3yUpLHE8a0/s1600/SMG_Cruel_Intentions.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="260" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgl0vxvBne0AtwVsVMZ0eZKxFnikwBFfUwM_LMLby-kFgUMO-V21Xi09YFmUD6pSEXX2IPAuC-2Azd3hXdfJI8kpsPKz52-jtFwLkHzmTSLlctthiebCOeG8V89dyvbvK7ol3yUpLHE8a0/s400/SMG_Cruel_Intentions.jpg" width="400" /></a></div>
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Ah. The pain and boredom of being rich. Kathryn manipulates her stepbro (Ryan Philippe) and everyone else around her just because. Well, it's because she's an antisocial psychopath who is so bored with her privileged existence. Probably the most interesting adaptation of <a href="https://en.wikipedia.org/wiki/Les_Liaisons_dangereuses" target="_blank"><b><i>Les Liaisons dangereuses</i></b></a>, <i>Cruel Intentions</i> features SMG in her most memorable role since <b><i>Buffy the Vampire Slayer</i></b>.<br />
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<span style="font-size: large;">Rita, <b><i>Mulholland Dr.</i></b></span><br />
Played by Laura Elena Harring<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIioTnK3sx-x_y1fbkYNPEVOLEYGWmLnqbLOQrlcGbbwpOo_Sr8mhaxg72BM8p3aTP1XQQvHbBi5sM3vY6HH2ENa7a2sd7VJDYPX9kIGZ8e6nf9nd68aOLemrIL3hiTjsgMebFc42uuUE/s1600/Laura_Harring_Mulholland_Drive.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="222" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIioTnK3sx-x_y1fbkYNPEVOLEYGWmLnqbLOQrlcGbbwpOo_Sr8mhaxg72BM8p3aTP1XQQvHbBi5sM3vY6HH2ENa7a2sd7VJDYPX9kIGZ8e6nf9nd68aOLemrIL3hiTjsgMebFc42uuUE/s400/Laura_Harring_Mulholland_Drive.jpg" width="400" /></a></div>
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In this convoluted tale of whatever it is, Naomi Watts is seduced into danger by an amnesiac named Rita. Taking her name from the late and great Rita Hayworth, this femme fatale feigns amnesia and illness, luring Betty (Miss Watts) towards the path of danger, or so it seems.<br />
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<i>Mulholland Dr</i>. is such a mindf*ck of a movie. At some point in the film, one might think that Rita could be just a figment of Betty's imagination, or maybe the other way around.<br />
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<span style="font-size: large;">Vesper Lynd, <b><i>Casino Royale</i></b></span><br />
Played by Eva Green<br />
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Miss Lynd is an accountant hired to take care of James Bond's gambling money. Probably the most mysterious lady on this list, Vesper Lynd is my fave Bond girl. And she is more than just a Bond girl.<br />
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Not the kind to just sleep around with 007 at the drop of a hat, Miss Lynd gives the spy a dose of his own medicine by showing him her wit and strength. But beyond her strong persona is a woman with a tragic secret, forcing her to betray 007.<br />
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Miss Lynd's memorable line, "<i>I'm the money</i>," perfectly describes her status among the other Bond girls.</div>
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<span style="font-size: large;">Lily, <b><i><a href="http://depthsofcinema.blogspot.com/2015/03/ballet-as-bloodsport.html" target="_blank">Black Swan</a></i></b></span><br />
Played by Mila Kunis<br />
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In the film, Natalie Portman is intrigued by Mila Kunis, the gorgeous new ballerina in the company. Deeply fascinated by Mila's mere presence, Natalie experiences paranoia and madness, which would eventually lead to her mental downfall.<br />
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Mila doesn't even need to do anything to make someone go insane; I mean, just look at that face. Daym.<br />
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<b>BONUS:</b><br />
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<span style="font-size: large;">Regina George, <b><i>Mean Girls</i></b></span><br />
Played by Rachel McAdams<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVpXKsWi-wjHfXWBZUOyYR8aZFtSMAnZx6J7LcRBUlFpQL-3HiZMFzaWyEjH0mwSyYE_pESMfeqynjZENTW9vC-kINFLOtA7pbYhYzcELLMGHZrq0Rp62OzBHFnv8vBJ8zfc_mUI89lWY/s1600/Rachel_McAdams_Mean_Girls.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="245" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVpXKsWi-wjHfXWBZUOyYR8aZFtSMAnZx6J7LcRBUlFpQL-3HiZMFzaWyEjH0mwSyYE_pESMfeqynjZENTW9vC-kINFLOtA7pbYhYzcELLMGHZrq0Rp62OzBHFnv8vBJ8zfc_mUI89lWY/s400/Rachel_McAdams_Mean_Girls.jpg" width="400" /></a></div>
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Come on. She is beyond mean. Regina used her popularity to manipulate those who adore her. And she even caused <a href="http://www.youtube.com/watch?v=WPYqRaOm1ak" target="_blank">a major riot</a> at her school's campus. So not fetch.<br />
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<b style="font-size: small;">DISCLAIMER:</b><span style="font-size: x-small;"> No copyright infringement intended. I don't own or claim to own any of the photos used.</span><br />
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7821631260908917155.post-41784475166934698272015-08-14T16:49:00.000+08:002015-08-14T16:56:42.049+08:00Hollywood's Gift of Remakes<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjUNNSgzUGbUjI5LPrTOs1b__x3FSLEc3oBbvYv0Cmu1TMyOprapYtlMYdsr6McoHykoYUlLDGANxxgfmAxyxlaRvVF0XefKYPB4Tr3Pz8WpCGGaSCjfl9KLFlWbeuS5ioT5dDJwooVuA/s1600/The_Gift.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="235" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjUNNSgzUGbUjI5LPrTOs1b__x3FSLEc3oBbvYv0Cmu1TMyOprapYtlMYdsr6McoHykoYUlLDGANxxgfmAxyxlaRvVF0XefKYPB4Tr3Pz8WpCGGaSCjfl9KLFlWbeuS5ioT5dDJwooVuA/s640/The_Gift.jpg" width="640" /></a></div>
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<span style="text-align: justify;">Fueled by repetitive remakes, Hollywood now gives us </span><b style="text-align: justify;"><i>The Gift</i></b><span style="text-align: justify;">. No, it's not that movie wherein Katie Holmes bares it all. This one is a blatant remake of </span><b style="text-align: justify;"><i><a href="http://depthsofcinema.blogspot.com/2014/06/a-hidden-place-called-guilt.html" target="_blank">Caché</a></i></b><span style="text-align: justify;">, Michael Haneke's 2005 film about a man's vengeful past.</span><br />
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Made ten years after Haneke's film, <i>The Gift</i> borrows quite a lot of plot elements from <i>Caché</i>: the videotapes are now a series of gifts, the Paris neighborhood turns into a Los Angeles suburb, Daniel Auteuil is now Jason Bateman (they kinda look alike though), Maurice Bénichou is now Joel Edgerton, and Juliette Binoche is now Rebecca Hall.</div>
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Seemingly a fan of <a href="http://depthsofcinema.blogspot.com/2015/08/haneke-ranked.html" target="_blank">Michael Haneke's films</a>, Mr. Edgerton also borrows elements from Haneke's other films; the missing family dog from <b><i>Funny Games</i></b>, and the dead fish from <a href="http://depthsofcinema.blogspot.com/2014/11/rebellion-against-routine.html" target="_blank"><b><i>The Seventh Continent</i></b></a>.</div>
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There's nothing wrong about remaking a non-American movie; I actually think it shows Hollywood's appreciation of art films, therefore proving us that they're not just all about the money. (The Gift is an Australian-American production, but a Hollywood movie nonetheless.)</div>
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But is this endless saga of Hollywood remakes a good thing? I don't think so. Once the benchmark of originality, Hollywood is now on a downward spiral of nothingness. It's painful to see this industry running out of fresh ideas.</div>
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<b>Trailer for <i>The Gift</i>:</b><br />
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<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/bAMybD0PHvE" width="560"></iframe><br />
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<b style="font-size: small; text-align: justify;">DISCLAIMER:</b><span style="font-size: x-small; text-align: justify;"> No copyright infringement intended. I don't own or claim to own any of the photos used.</span><br />
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<span style="font-size: x-small; text-align: justify;"><br /></span>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-7821631260908917155.post-13304548575963522772015-08-06T12:00:00.000+08:002015-08-06T16:44:37.550+08:00Haneke Ranked<div style="text-align: justify;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNzJcEtJCyq-nUo_gshYNwRgsVeMkK1dca1cDAbLwuCWLLIkx2y9o2bzrNKkm8MJwIE3ZlFKr7R9conyr9sOI3NkKDhFVlOUlwD1uPiaDlOh2FUqy2TS0_KSTrLuPwHOOl5zPDtbyaweQ/s1600/Amour.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNzJcEtJCyq-nUo_gshYNwRgsVeMkK1dca1cDAbLwuCWLLIkx2y9o2bzrNKkm8MJwIE3ZlFKr7R9conyr9sOI3NkKDhFVlOUlwD1uPiaDlOh2FUqy2TS0_KSTrLuPwHOOl5zPDtbyaweQ/s400/Amour.jpg" width="400" /></a></div>
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<i>At its best, film should be like a ski jump. It should give the viewer the option of taking flight, while the act of jumping is left up to him.</i></div>
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– Michael Haneke</div>
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Along with Schubert, Romy Schneider, Helmut Berger, Christoph Waltz, and vienna sausage — I refuse to include The Terminator — Michael Haneke is one of Austria's national treasures.<br />
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(Just some trivia: Haneke is somewhat related to Waltz.)<br />
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I often recognize a Michael Haneke movie every time I see one. Abrupt transitions. Random shots of mundane things. Static shots. Isabelle Huppert. Susanne Lothar. Juliette Binoche. The names "Anne" and "George" and their variation. Long shots. And no music, because according to him: "<i>usually music is used to hide a film's problems</i>."<br />
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<a name='more'></a>His films often gravitate toward the unapologetic and existential, making us question the purpose of our being, demanding us to face our own demons. Few filmmakers can do such things, in my opinion.<br />
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I like the fact that his films can f*ck with your mind without being too difficult, his films' simplicity is enough to complicate the audience.<br />
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Below are five of my fave Haneke movies, from most to least fave.<br />
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<span style="font-size: large;"><b>The Seventh Continent</b>, 1989</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWUBMCsFyt74EpOZsINq18tZxTP3rvPOAKzZS_t20i1W633GMPL_xOR8Qe4TgLQEWhsmrpa-0TBxRyrpbV8KSAkdJoB9UVOCE_EyQ_kpTV-kJGt_wR1wXY0uTlQvGurdoLhrqyH19YrrE/s1600/The+Seventh+Continent.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWUBMCsFyt74EpOZsINq18tZxTP3rvPOAKzZS_t20i1W633GMPL_xOR8Qe4TgLQEWhsmrpa-0TBxRyrpbV8KSAkdJoB9UVOCE_EyQ_kpTV-kJGt_wR1wXY0uTlQvGurdoLhrqyH19YrrE/s400/The+Seventh+Continent.jpg" width="400" /></a></div>
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Haneke's psychologically savage interpretation of life's fatal redundancy, <i>The Seventh Continent</i> saw the emergence of Haneke as a feature film director.<br />
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Yet another horror movie that is not a horror movie, <i>The Seventh Continent</i> explores the complexity of mere human existence, showing us how keeping up with life's upkeep can sometimes be a desolate task.<br />
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The film has the ability to make us question our own existence. It makes you ask questions like: <i>Why the hell are we here? What's the point of living through our routine?</i> <i>What's the purpose of our being?</i><br />
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You know, simple questions that most of us can't seem to answer in a simple manner.<br />
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We only see the facets of the family's life, so we aren't given full explanations as to why they did what they did. Haneke's film simply says, "<i>Sh*t happens</i>."<br />
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More on this <a href="http://depthsofcinema.blogspot.com/2014/11/rebellion-against-routine.html" target="_blank">here</a>.<br />
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Clip shows one of the best scenes ever filmed. <b>An excerpt from the film:</b><br />
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<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/e6PN-8MOZnw" width="560"></iframe><br />
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<span style="font-size: large;"><b>Caché</b>, 2005</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEli1VqPgb2qwqpoXqZkN8jazKDktllqfHGOR43xsMA2uKwQM794vQ8yZZymeMAF5JiZk4VsYTXqlPafGG9qp3Hi89ulHJ2O5l_YQYHLq1BoYIvddBgwYVEa73Scpid7Iq1OmQBa_DzN4/s1600/Cach%25C3%25A9.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="218" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEli1VqPgb2qwqpoXqZkN8jazKDktllqfHGOR43xsMA2uKwQM794vQ8yZZymeMAF5JiZk4VsYTXqlPafGG9qp3Hi89ulHJ2O5l_YQYHLq1BoYIvddBgwYVEa73Scpid7Iq1OmQBa_DzN4/s400/Cach%25C3%25A9.jpg" width="400" /></a></div>
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<i>There is just as much evil in all of us as there is good. We're all continuously guilty, even if we're not doing it intentionally to be evil. Here we are sitting in luxury hotels, living it up on the the backs of others in the third world. We all have a guilty conscience, but we do very little about it.</i><br />
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– Haneke<br />
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Georges Laurent (Daniel Auteuil) was a spoiled brat who terrorized a poor orphaned boy. Now, his past comes back to haunt him.<br />
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Languid like a usual Haneke movie, <i>Caché</i> incorporates a CCTV point of view, inviting viewers to stalk the Laurents and scrutinize their seemingly pristine life.<br />
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More on this <a href="http://depthsofcinema.blogspot.com/2014/06/a-hidden-place-called-guilt.html" target="_blank">here</a>.<br />
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<b>An excerpt from the film:</b><br />
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<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/hEjjiQgSVTI" width="560"></iframe>
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<b><span style="font-size: large;">Amour</span></b><span style="font-size: large;">, 2012</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2_XPOYb_-lw6Ffs8Gjr48NqQ-02mndaDrR4sbsfX31CGt_Jx2srEpdsJocYEp0TqY4wZgJpmIjsokzhTLZk23wdmwr2fE496O0bd6Aclm8Qm0bS2CWFTb50TRbvmOxtKeCzuBftDpigo/s1600/Amour_II.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2_XPOYb_-lw6Ffs8Gjr48NqQ-02mndaDrR4sbsfX31CGt_Jx2srEpdsJocYEp0TqY4wZgJpmIjsokzhTLZk23wdmwr2fE496O0bd6Aclm8Qm0bS2CWFTb50TRbvmOxtKeCzuBftDpigo/s400/Amour_II.jpg" width="400" /></a></div>
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The film is about Anne and Georges (Emmanuelle Riva and Jean-Louis Trintignant). They have been a couple for a very long time now. All is well until Anne had a stroke. And their ultimate love for each other is put to the test.</div>
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The definitive Haneke. <i>Amour</i> stands out as the most intimate of Haneke's works, mainly because of its romantic nature. Blatantly depressing, <i>Amour</i> strips love of its vanity.<br />
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<i>Sa mga nag-sasabing walang</i> forever (<i>To those who say there's no forever</i>), they probably haven't seen this film.<br />
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More on this <a href="http://depthsofcinema.blogspot.com/2014/10/a-brutally-honest-love-story.html" target="_blank">here</a>.<br />
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"<i>It's beautiful... Life. So long.</i>" <b>An excerpt from the film:</b><br />
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<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/t7XUkmEV9oA" width="560"></iframe><br />
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<span style="font-size: large;"><b>The Piano Teacher</b>, 2001</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHIJtkw2_DaYnMQzMEHmB-JGGuxjQNks0O7B1Nk109kXuebxfbG2xSXNbjcHNnF8D0O-gclPsRgxLoijFDkqKIaw3raoRHn-zSgddTgKtWHXJI6pebnWOj_EMefT4fTsX9UUDFwlKRO0o/s1600/La+pianiste.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="220" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHIJtkw2_DaYnMQzMEHmB-JGGuxjQNks0O7B1Nk109kXuebxfbG2xSXNbjcHNnF8D0O-gclPsRgxLoijFDkqKIaw3raoRHn-zSgddTgKtWHXJI6pebnWOj_EMefT4fTsX9UUDFwlKRO0o/s400/La+pianiste.jpg" width="400" /></a></div>
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<span style="font-size: large;"><br /></span>In a career-defining performance, Isabelle Huppert is Erika Kohut, a middle age piano teacher who still lives with her mom (Anne Girardot). Erika is seduced by one of her students, Walter (Benoît Magimel). The mutual attraction they share would eventually propel Erika's obsession on sadomasochistic sex.<br />
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For me, this film can qualify as a horror movie. It is creepy because it shows us the horrors of loneliness and repression, making us feel the tragedy of being Erika.<br />
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<b>Excerpt from the film:</b><br />
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<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/xNfOjPN0UpA" width="560"></iframe>
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<span style="font-size: large;"><b>Funny Games US</b>, 2007</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3jaZxAWo1NrTIafQ1J2q3EFwJiUxyWyfe7zmkdkCDIkf8qJvelMtekfS47TEBfihYjI8Ay7QCkXJvKxBbw1dc7hJX2Bt35GlpBA-nuUi0juvEmDoDd4LiZbom1x0JIVUumhQV0mkear0/s1600/Funny+Games+US.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="223" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3jaZxAWo1NrTIafQ1J2q3EFwJiUxyWyfe7zmkdkCDIkf8qJvelMtekfS47TEBfihYjI8Ay7QCkXJvKxBbw1dc7hJX2Bt35GlpBA-nuUi0juvEmDoDd4LiZbom1x0JIVUumhQV0mkear0/s400/Funny+Games+US.jpg" width="400" /></a></div>
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<span style="font-size: large;"><br /></span><i>Funny Games US</i> is Haneke's satirical response to cinema's exploitation of violence — how cinema makes violence more acceptable than, say, same-sex love. The film mocks our enthusiasm in seeing death in an entertaining manner.<br />
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This American version is basically just a frame-by-frame remake of the Austrian original, also by Haneke.<br />
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I prefer this version over the original — mainly because the color is clearer, and Naomi Watts is the film's heroine. (She makes a good horror heroine, in my opinion.)<br />
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The remote control scene has been negatively scrutinized by some audiences, especially those who don't get the film's sarcasm.<br />
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<b>Excerpt from the film:</b><br />
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<iframe allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/Ota8HZ2tvRA" width="560"></iframe>
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<b style="font-size: small;">DISCLAIMER:</b><span style="font-size: x-small;"> No copyright infringement intended. I don't own or claim to own any of the photos used.</span><br />
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