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mygreatadventurehasbegun · 1 year

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Attempted listening to another podcast episode about Phantom ‘43, and once again, I could not make it all the way through.

To be fair, I made it farther than I had other podcast’s take on this movie...but yeah...

First of all, I’ll give them props for the fact that they were trying to be nice, complimenting the art direction, the talented actors, etc. But once again, this was a case of people just not fully paying attention to what is happening onscreen...and having some weird takes, if I’m honest.

I’ll start with the moment that finally made me stop listening. They are talking about the scene where Christine plays the lullaby for Anatole...and they say: “Christine is playing the same lullaby that Claudin plays, so this is why he wrote the concerto around the lullaby, because he heard Christine play it.”

And I literally stopped what I was doing and yelled “what?!” to these people I don’t know (thankfully I was alone, or this would have been awkward).

Guys.

Did you not hear Claudin say that the lullaby was from Provence, where he was born?

And Christine saying that she’s from Provence, and she’s known the song her entire life?

And Anatole saying that both Claudin and Christine were from the same district and “everyone there must have known that old folk song”?

This is kind of a huge plot point.

But now to the main thing that bugged me about this particular podcast episode. It was clear that one host was in charge of behind-the-scenes research, but he left out a pretty...significant...fact about the making of this movie. The fact that Claudin was written to be Christine’s father, but censors thought it seemed incestuous and cut it out. And them leaving that out wouldn’t bother me too much, if they hadn’t mentioned so many other things about this movie: how they originally wanted it to star Deanna Durbin, Nelson Eddy not wanting to dye his hair, designing the makeup to be sensitive for returning vets*...pretty much all the trivia you can get off of IMDb and the DVD special features...so how the hell did they miss this??

Also, because one of their main complaints was about the script...how they could have used an extra 10 minutes to flesh out the characters more...and I’m standing there thinking...they had that...they shot it...and it was cut.

And one of them had a weird complaint about the music...he didn’t like the fact that the operatic sequences were so long (which almost made me turn the episode off), that they slowed down the movie, and were pointless because the operas they were performing in didn’t comment on the story...But then he also says that there should have been more music, to again, comment on the story. I think he wanted it more like the ALW Phantom and didn’t understand that the operas aren’t supposed to tie into the story being told...we’re just watching these people do their jobs and what’s important is what’s happening around them. And that opening sequence has so much character development, how could someone say that it’s not tied into the story...just because the story of the opera isn’t the same as the story of the movie? It was such a weird contradictory statement, that was hard for me to follow (and I’m sure is tough to read, too...sorry, lol).

*And a tiny thing they mentioned about the makeup...apparently, they found a source that Claude Rains didn’t want to have a full face of makeup because he thought it would wreck his chances of getting good leading roles. And that lessening the makeup out of sensitivity to combat vet was someone else’s idea, not Claude Rains’. Now, obviously, I don’t know the full truth, because I wasn’t there (dammit), but this seems like bullshit. Everything I’ve read points towards Rains being the one who was aware of combat vets and that was the reason why he didn’t want the makeup to go too over the top. Which makes sense, considering what happened to him in WWI. And Claude Rains being vain about not getting lead roles? I mean...maybe there was a little vanity, but he was pretty much always a character/supporting actor for his entire career...and in his late forties, I can’t see him campaigning for the “romantic leading man” roles.

And they kept comparing the movie to a soap opera...mostly because there’s a love triangle.

‘Kay.

There was only one thing about the entire episode that actually brought me a tiny bit of joy...and it was the fact that Claude Rains actually studied piano and violin in preparation for playing the role.

Which I’m not sure we can take as 100% fact, as there were other questionable facts in this podcast...and he obviously wasn’t playing live...but it’s a nice thought and I’m grasping for anything positive.

One of these days, I am going to make either a massive podcast or YouTube video series about this movie. It will probably end up being 14 hours long, because I have so much to say....and I’ll be so busy correcting every single podcaster I’ve heard, that will probably take up at least an hour.

@hobbitmajora

#The Phantom of the Opera #phantom 1943 #phantom of the opera 1943 #claude rains

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night-unfurls-its-splendour · 8 months

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When the Longing Returns (Phantom of the Opera, 2004 Fanfiction) || Erik x Christine

Ch. 2 Author's Notes

Read the Fic here on tumblr or on AO3

◇ Erik strove not to remember the surge of jealous rage that had overtaken him as he had watched the Chagny boy put his dolman around Christine and hold her as she rested her head against his shoulder.

Military fashion is not my area of expertise, but a dolman is the outer jacket part of the uniform that Raoul wears draped over his shoulder for the masquerade.

I can also tell you that it's a Hussar uniform.

Why is Raoul wearing a Hussar uniform when he's not apparently tied to the military in any meaningful way? No clue. Couldn't tell you, you'd have to ask Maria Bjørnsen.

Even more baffling is the fact that Raoul's uniform in the musical is based off of the 8th King’s Royal Irish Hussars. That's right, Raoul is wearing a British inspired Hussar uniform.

My best guess is this is a reference to the Raoul of the 1925 Lon Chaney film (played by Norman Kerry), who is the "Debonair lieutenant and Beau Brummel of the Second Chasseurs",

OR to Anatole Garron, one of the Raoul-type characters in the 1943 Claude Rains film (played by Nelson Eddy), who is also an opera singer, and who plays (I think) a Napoleonic Hussar of the 1st Regiment in the main opera set-piece of that film.

My best guess for an in-universe reason for Raoul to be wearing this uniform? Well, it is a costume ball, so ~shrugs~ it's just a costume?

Now at this point I'm sure the burning question on everyone's tongue is 'What is a Hussar or a Chasseur and what is the difference? '

Well, Hussars (Hussards in French) and Chasseurs (or, more properly Chasseurs á Cheval) were both light cavalry. The difference is that Chasseurs á Cheval were also expected to act as infantry if the situation called for it. Both Hussards and Chasseurs á Cheval had dolmans as part of their uniforms.

What I find quite funny about all of this though is the fact that in the book, Raoul is actually a sailor lad.

◇ "I will tell you all, Christine," his even tone trembling a little. "I only ask that you.... that you try to be gentle in your judgement of me."

Leroux Reference: Erik's History

Erik's whole backstory in this chapter is heavily adherent to Erik's life-story in the book as told in the Epilogue and the Persian's narrative.

Erik's birthplace of Rouen, his father's profession as a mason, his running away from home at "an early age"; his traveling to India, being discovered in Russia, being given immense power by the Shah, committing political assassinations, the "Little Sultana's" gladiatorial matches, the torture chamber, and of course the Daroga saving Erik's life from an order of execution following the completion of the trick box palace, are all detailed in the book, though of course I made some embellishments and alterations to fit Erik's characterization in the movie.

◇ "... and my mother [...] gave me a mask so that she would not have to..."

Leroux Reference: Chapter 13, "Apollo's Lyre"

"Why did you want to see me? Oh, Mad Christine, who wanted to see me! When my own father never saw me, and my mother gave me my first mask so that she would not have to!"

◇ "There was always a week in early August when she... was worse than usual... and I came to assume that these bouts must mark when I was born."

I don't put any stock in astrology in real life, but it is useful for choosing character birthdays.

Christine's generally agreed to be a Libra and that's about as bang on as you can get (though I could also see her as a February Pisces, if the Christine in question has the freaky energy of, say, Meredith Braun).

But Erik a character has about five signs that would suit him with equal perfection. He has the pride and flair for drama of a Leo, the aloof, ruthlessness of a Capricorn, the vicious sensuality of a Scorpio, the enigmatic, dark emotionality of a Cancer, and the violent passion of an Aries. How do you pick just one? I decided on Leo for Gerik specifically. Why? I can't say.

And if anyone is curious, Meg is a Sagittarius and Raoul is a Virgo.

◇ Her tears, warm and sweet, dripped onto his skin and trickled under his mask.

She, Christine, the true angel—who had sought after his kisses, when his own mother had never even tolerated them—she was weeping for his sake.

Her blessed tears mingled with his under his mask, and they flowed down to his lips.

Leroux Reference: Chapter 26, "The End of the Ghost's Love Story":

"And I fell at her feet, crying... and I kissed her feet... her little feet, crying [...] and she cried also... the angel cried!

[...]

"I felt her tears dropping onto my forehead--my forehead! They were warm, they were sweet! They flowed under my mask. Her tears! They mingled with my own tears in my eyes and they flowed into my mouth.... Ah! Her tears, on me!"

◇ Masonry, carpentry, joinery, metalwork; whatever I set my hands to seemed to come naturally, and so skilfully.

Carpentry and joinery, while both aspects of the woodworking trade, are separate skills. In this time period especially, carpentry referred to cutting and rough-work (including building construction), while joinery refers to assembly and fine-work.

◇ "I was brought down from Ninji-Novgorod, in Russia..."

Nowadays transliterated as "Nizhny Novgorod"; the sixth largest city in Russia, located on the Volga River in Western Russia. It is an important transport hub, as well as an economic and cultural centre, to this day.

◇ "as an entertainment for the Shah's favourite who was 'withering away' of boredom"

Leroux Reference: The "Little Sultana"

It was thus that his reputation reached the palace at Mazenderan, where the little Sultana was bored to death.

The "Little Sultana" is a vague but brutal female figure that is mentioned by both Erik and the Persian. In Leroux's epilogue she is called "The Shah's Favourite", almost certainly meaning a favourite wife or mistress. According to the Persian, she took delight in watching Erik kill prisoners in gladiatorial matches, and even persuaded him to teach her how to wield the Punjab lasso herself, using it to indiscriminately murder her own ladies in waiting, and occasionally even those of visiting friends.

M. Grant Kellermeyer speculates the "Little Sultana" to whom Leroux alludes to be based on Jeyran Khanom, the seventh wife of Nasser al din Shah, whom he first took as a mistress in around 1850 following a chance encounter during which he apparently fell in love with her on sight. One story of their meeting even asserts that she was one of his mother's servants.

Jeyran was a formidable figure, and enjoyed many masculine pursuits including hunting and shooting, and not even the Khanom (the Dowager) was able to dissuade Nasser from conferring her the title of Forough ol-Saltaneh, or from naming her son the crown prince (though this decision was stuck in political hell for years because of Jeyran's lack of influential bloodlines). She was the Shah's favourite wife until her early death in 1860 at the age of 29.

It's my feeling, however, that, though likely inspired by Jeyran (and also by her successor as the Shah's favourite, the even more formidable Anis al Dalweh, pictured below)

the "Little Sultana" is an entirely fictional character created by Leroux as a device to instil a deep sense of unease and horror in the reader; a monstrous young woman with bloodthirsty proclivities that stoked Erik's own growing disregard for human life at a time when he was particularly susceptible: best not to associate her too strongly with any real historical figure.

I was particularly eager to explore on this character, having recently read (and despised) Susan Kay's novel Phantom, in which this character is presented, not as the Shah's wife or mistress, but (rather incomprehensibly) as his mother.

◇ "By the time I had finished, the Shah had given me a nickname: 'Derb Mekhefa Met'eseb' which, roughly translated, means 'Trapdoor Lover'."

Leroux Reference: "Trap-Door Lover"

We have it from the Persian in Leroux's novel that this was a nickname of Erik's during the "Rosy hours of Mazenderan".

I have long wondered exactly what that would actually be in Persian. I determined that I wanted Erik to actually say it in the language, rather than just the translation, but reverse translating it has proven difficult. With no knowledge of Farsi as a language myself, I resorted to online language converters and translators, and this seems to be the best I can come up with. I believe it more accurately translates as "Hidden Door Fanatic", but I'm sure there are probably huge contextual problems with this attempt at translation. If anyone reading this speaks or has an understanding of Persian language, or knows someone who does who can give me a better translation, please let me know, I want this to be as authentic as possible.

◇'There, now! you are quite the Don Juan I would say. Any woman that ever saw you would be yours forever.

Leroux Reference: Chapter 13, "Apollo's Lyre"

This particularly cruel blow on Erik's self-esteem from the Shah was directly inspired by one of Erik's own comments during the aftermath of his Unmasking by Christine in the book (one of the most genuinely terrifying moments of the novel):

"He burst into a harsh, rumbling, powerful laughter, repeating the words: 'oh you women are so curious!' And then he said, 'Well, are you satisfied? I am a handsome fellow, eh? When a woman sees me, as you have, she becomes mine! She loves me forever! I am a kind of Don Juan in that way, you know!'"

This is the kind of line that sticks with you. This sarcastic comment is a horrible glimpse into just how deep Erik's self-loathing goes.

It occurred to me that, in my story, this may have been something the Shah might have sarcastically said to him that stuck with Erik, and inspired Erik's Don Juan comparison (and the work into which, as Leroux's Christine says, Erik "poured all of his bitter misery"). The betrayal of a tenuous, but much craved-for paternal figure would be deeply scarring to a young Erik, so it's little wonder he would try to turn the Shah's comment back on itself, to reclaim it.

◇"Daroga helped me to escape—I suppose in return for my once having saved his life—but on one condition. 'No more murders.'"

[...]

"I had never believed in making or keeping oaths and agreed to this one without much real intention of putting any stock in it."

Leroux Reference: Chapter 22, "Interesting and Instructive Vicissitudes of a Persian in the Cellars of the Paris Opera":

"Erik, you promised me: no more murders!"

"Have I really committed murders?" He asked, taking on his most amiable expression.

"Ah, you wretch!" I exclaimed. "Have you forgotten the Rosy Hours of Mazenderan?"

"Yes," he sighed. "I prefer to forget them, though I did make the little Sultana laugh."

[...]

"Erik... Erik swear to me..."

"What for?" he interrupted. "You know I never keep my oaths. Oaths are made for catching fools!"

◇ "I had returned to find the Opera Populaire under new management and it was not long before I observed that the new directors, Debienne and Poligny were far less competent than those who had advanced real talent and taste. Not unlike our present management,” he added under his breath. “In addition to that, I soon discovered that Poligny had, for some time, been defrauding Debienne in their private business ventures, among other... shall we say 'indiscretions'. I was fortunate to also discover that he was quite superstitious."

Book Characters!

Debienne and Poligny are the out-going managers of the Opera in the novel; their counterpart in the play would be M. Lefevre.

The lengthy timeline gave me some room to work. I figured Lefevre wouldn't have lasted a full thirteen years under the Opera Ghost's thumb, so I thought it wouldn't hurt to introduce these two as his predecessors.

Exactly what Erik was blackmailing Poligny over (because this detail is true to the book), is never explicitly stated, but it is implied to regard numerous proclivities, both moral and financial:

" 'Poligny was superstitious and Erik knew it. Erik also knew much about the public and private affairs of the opera.'

"When Poligny heard a mysterious voice whispering to him about the use he had made of both his time and his partner's confidence, he did not question it."

◇ "I worked by fits and starts, composing for weeks at a time during which I hardly ate or slept and lived only on my music."

Leroux Reference: Chapter 13, "Apollo's Lyre"

"I sometimes compose for fifteen days and nights together, during which I neither eat nor drink, and live only on music..."

Depeche Mode References, for those looking for them…

◇ “Did he have any choice but to go down on his knees and pray that she would have the strength to forgive all the things that he'd done?”

From "One Caress" off of Songs of Faith and Devotion:

"Well I'm down on my knees again

And I pray to the only one

Who has the strength to bear the pain

To forgive all the things that I've done"

◇ “A moment of silence as Erik gathered his thoughts, steeling himself against the heavy sense of trepidation that threatened, like a disease, to take hold of his tongue.

Doing his level best to shake it away, he said…”

From “Shake the Disease” off of Black Celebration (Deluxe Edition):

"Here is a plea, from my heart to you

Nobody knows me as well as you do

You know how hard it is for me

To shake the disease

That takes hold of my tongue

In situations like these"

#author's notes #phantom of the opera #poto #poto fanfiction #phantom of the opera fanfiction #poto fic #phan phic #erik x christine #christine x erik #eristine #erik/christine #e/c #poto e/c #gerik #erik the phantom #christine daae #poto 2004

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kevinsreviewcatalogue · 8 months

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Review: The Invisible Man (1933)

The Invisible Man (1933)

Approved by the Production Code Administration of the Motion Picture Producers & Distributors of America

Score: 3 out of 5

Having just moved to Boston, a natural destination for a horror fan like myself has been the city of Salem, Massachusetts about 40 minutes north. I have indeed, like a dirty tourist, partaken in many of the attractions that have made Salem famous, but one place I imagine will be a repeat destination for me is the Cinema Salem, a three-screen movie theater that not only hosts the annual Salem Horror Fest but also, this October, is running many classic Universal monster movies all month long. For my first movie there, I decided to check out The Invisible Man, the most famous adaptation of H. G. Wells' 1897 novel, and I was not expecting the movie I got. Don't get me wrong, it was a good movie, albeit an uneven one. But if your understanding of the Universal Monsters is that they're slow, dry, classy, and old-fashioned, you'll be as surprised as I was at just how wild and funny this movie can get. What would've been just a passable horror movie is elevated by Claude Rains as an outstanding villain who may be literally invisible but still finds a way to hog the screen at every opportunity, one who singlehandedly made this film a classic and part of the horror canon through his sheer presence. It has a lot of rough spots, but I still do not regret going out of my way to see this in a theater.

The film opens in an inn in the small English village of Iping, where Jack Griffin, a man clad head to toe in a trench coat, hat, gloves, bandages, and dark goggles, arrives in the middle of a blizzard. We soon find out that he is a scientist who performed a procedure on himself that turned him invisible, and shortly after that, we find out that this procedure drove him murderously insane as he came to realize that he could now commit any crime and get away with it because nobody will even know how to find him, let alone arrest him. Immediately, we get a sense of what kind of man Griffin is as he attacks the inn's owner for trying to get him to pay his rent, then leading the police on a merry chase when they step into try and evict him, his crimes only escalating from there.

Rains plays Griffin as a troll, somebody for whom the ultimate real-world anonymity has enabled him to let out his inner jerk, and he relishes it. He frequently drops one-liners as he harasses, assaults, and eventually outright murders the people who cross his path, and packs an evil laugh with the best of them. At times, the film veers almost into horror-comedy as it showcases the more mischievous side of Griffin's crime spree, such that I'm not surprised that some of the sequels to this that Universal made in the '40s would be straight-up comedies. That said, Rains still played Griffin as a fundamentally vile person, one who forces his former colleague Dr. Kemp to act as his accomplice knowing he can't do anything about it, kills scores of people in one of the highest body counts of any Universal monster movie, and clearly seems conflicted at points about his descent into villainy only for his power to seduce him back into it -- perhaps best demonstrated in a scene where he talks to his fiancée Flora about how he wishes to one day cure himself, only to slip into ranting about how he could then sell the secret of his invisibility to the world's armies, or perhaps even raise one such army himself and take over the world. The Invisible Man may be the most comedic of Universal's "classic" monsters, but the film never forgets that he's a monster. What's more, while the seams may now be visible on the special effects and chromakey that they used back in the day to create the effect of Griffin's invisibility, a lot of it still works surprisingly well. Already, as I dip my toes into the classic Universal horror movies, I've started to notice why the monsters have always been at the center of the nostalgia, discourse, and marketing surrounding them, and it's because they and the actors playing them are usually by far the most memorable parts of their movies.

It's fortunate, too, because I've also started to notice a recurring flaw in the Universal monster movies: that the parts not directly connected to the monster usually aren't nearly as memorable. I've barely even talked about Griffin's fellow scientists, and that's because they were only interesting insofar as they were connected to him, which made Kemp the most interesting non-villainous character in the film by default simply because of how Griffin uses and torments him. Flora, a character original to the movie who wasn't in the book, felt almost completely extraneous and had next to nothing to do in the plot, feeling like she was thrown in simply because the producers felt that there needed to be at least one token female presence and love story in the film. When the film was focused on Griffin, it was genuinely compelling, whether it was building tension (such as in the opening scenes at the inn, or Kemp's interactions with Griffin) or in the more madcap scenes of Griffin's mayhem. However, when the film diverted its attention from him to the scientists and police officers searching for him, it quickly started to drag. This was a pretty short movie at only 70 minutes, but it still felt like it had a lot of flab and pacing issues.

The Bottom Line

The monster is the reason why people remember this movie, and what a monster he is. Claude Rains and the effects team took what could've easily been a cheap and disposable adaptation and made something truly memorable out of it, even if the rest of the film doesn't entirely hold up today. I still think the 2020 version is a far better movie, but this was still an enjoyable, entertaining, and surprisingly wild time.

#the invisible man #1933 #1933 movies #horror #horror movies #science fiction #sci fi horror #claude rains #james whale #universal monsters #universal horror

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byneddiedingo · 1 year

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James Stewart in Mr. Smith Goes to Washington (Frank Capra, 1939)

Cast: James Stewart, Jean Arthur, Claude Rains, Edward Arnold, Guy Kibbee, Thomas Mitchell, Eugene Pallette, Beulah Bondi, H.B. Warner, Harry Carey, Astrid Allwyn, Ruth Donnelly, Grant Mitchell, Porter Hall, H.V. Kaltenborn, Charles Lane, William Demarest, Jack Carson. Screenplay: Sidney Buchman, based on a story by Lewis R. Foster. Cinematography: Joseph Walker. Art direction: Lionel Banks. Film editing: Al Clark, Gene Havlick. Music: Dimitri Tiomkin.

Perhaps only James Stewart (or Gary Cooper, who turned down the role of Jefferson Smith) could have made Frank Capra's preposterous, sentimental, flag-wavingly patriotic Mr. Smith Goes to Washington into what many people still regard as a beloved classic. But now that we've spent some time being governed by probably the most corrupt man ever to hold the White House, a president elected on populist promises to "drain the swamp" in Washington but who instead spent his time wallowing in it and stocking it with still more alligators, maybe we can take a harsher look at the Capra film's politics. The people who elected Donald Trump seem to have thought they were voting for Jefferson Smith but instead elected the movie's Jim Taylor (played deliciously by that fattest of character actor fat cats, Edward Arnold). David Thomson, among others, has cogently observed that the film celebrates Jefferson Smith's bull-headed integrity, but that democracy necessarily involves the kind of compromises that Claude Rains's Senator Paine has made, and which have made him a popular and successful politician. True, he's under the thumb of the viciously corrupt Jim Taylor, who is even a manipulator of "fake news," but Thomson questions whether the people of Smith's state wouldn't have benefited more from the dam Taylor wants to put on Willett Creek, presumably one that would supply power and other benefits to the state, than from Smith's piddly boys' camp, which would benefit at best a few hundred boys. (No girls need apply?) Smith's dramatic filibuster also seems to be holding up a bill that would provide funding for some essential services. As it happens, I rewatched Mr. Smith on the night after the Senate reached an impasse on funding the entire federal government, and there could hardly be a better example of political stubbornness undermining the public good. Which is only to say that the merits of Capra's film -- and there are some -- transcend its simple-minded fable. Among its merits, it's beautifully acted, not only by Stewart, Rains, and Arnold, but also by Jean Arthur, that most underrated of 1930s leading ladies, and Thomas Mitchell, who appeared in no fewer than three of the films nominated for the best picture Oscar for 1939 -- this one, Gone With the Wind (Victor Fleming), and Stagecoach (John Ford) -- and won the supporting actor award for Stagecoach. And just run down the rest of the cast list, which seems to be a roster of every great character actor in the movies of that day, all of them performing with great energy. Capra's mise-en-scène is sometimes stagy, but Lionel Banks's great re-creation of the Senate chamber gives Capra a fine stage on which to work.

#Mr. Smith Goes to Washington #Frank Capra #James Stewart

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pintsizeddeepthoughts · 1 year

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25 of 250: Favorite Films - Lawrence of Arabia

Not long ago, work colleagues and I got into a discussion about what our favorite films were. Given my categorical nature I could not resist writing down a list and, as a writing challenge, have decided to write 250 word reviews of my favorite 25 films of all-time. Note: these are my favorite films, not what I think are the best films of all time.

Directed by: David Lean

Written by: Robert Bolt and Michael Wilson

Starring: Peter O’Toole, Alec Guinness, Anthony Quinn, Jack Hawkins, Jose Ferrer, Claude Rains

Year/Country: 1962, United Kingdom

“I think you are another of these desert-loving English…No Arab loves the desert. We love water and golden trees. There is nothing in the desert and no man needs nothing.” Such is the assessment of T.E. Lawrence by Prince Feisal; it’s also the conclusion reached by this masterful film regarding the paradox that is Lawrence.

The film loosely follows the history of the Arab Revolt against the Ottoman Empire during the First World War and British intelligence officer T.E. Lawrence’s role in it. Gorgeously filmed on location in Jordan with an iconic score, the movie follows Lawrence’s rise to prominence in the first half of the film via the miraculous victory at Aqaba, through his height as a guerrilla leader, and finally his slide into irrelevance as he’s accomplishments are swallowed up by forces greater than him.

Through it all, the film delves deep into the psyche of Lawrence, played by Peter O’Toole with affected line readings and deliberately awkward body movements. Lawrence is a man who cannot fit into his own world and so attempts to fit in another. Feisal, when pointing this out, asks us to wonder what Lawrence needs. As Lawrence’s successes mount, director David Lean shows Lawrence’s ambition to find a spiritual home corrupt into a messiah complex. Lawrence’s tragedy comes from underestimating his own limitations - and the cynicism of his superiors who expertly play him for their own gain. It’s a brutal assessment of colonialism and the toll it takes on the idealistic colonizers.

#25 of 250 #Favorite Films #Film Review #lawrence of arabia #david lean #peter o'toole

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project1939 · 7 months

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Day 47- Film: Dreamboat

Release date: July 26th, 1952.

Studio: 20th Century Fox

Genre: Comedy/satire

Director: Claude Binyon

Producer: Sol C. Siegel

Actors: Clifton Webb, Ginger Rogers, Anne Francis, Jeffery Hunter

Plot Summary: Thornton Sayre, Professor of English Literature, leads a respectable life with his college-aged daughter. When television begins airing some silent films of a famous romantic duo from the '20s, his students start buzzing. Could their stodgy old professor actually be Bruce Blair, the “Dreamboat?” Sayre has worked hard for his anonymity and fears his academic career might be ruined. He begs his old movie studio to stop airing his movies on TV, but a lot of money is at stake. His old romantic movie counterpart, Gloria Marlowe, also loves being in the spotlight again, and she’ll do anything to stay there.

My Rating (out of five stars): ***½

This was a fun film! I was looking forward to watching it as soon as I heard it described as a satire, because satires in Hollywood during this time period weren’t very common. It did not disappoint! It was an especially biting take on TV at the time, but it also poked a lot of gentle fun at silent films. Whoever recreated both the TV shows and the silent footage knew what they were doing- both were pitch perfect with the most delicious comedic results. This is a film I know I will go back and watch again.

The Good:

Clifton Webb. He was perfect as a straight-laced professor horrified at being seen as a matinee idol again. His skills with dry comedy are formidable.

Ginger Rogers. She was also really funny playing a character completely opposite to Webb. She is also a forgotten screen idol, but when the spotlight returns, she is thrilled and wants to soak up every minute of it. Her thinly veiled desperation was a comedy treat.

The fact that no romance was cooked up between Webb and Rogers. It was a place I expected the movie to go, so it was nice to be surprised.

The silent film parodies. They were hilarious because of the insane amount of detail in them. I think they were even more authentic looking than the recreations of silent film in Singin’ in the Rain! They were perfect in their timing of older films, which look a little sped up to us today.

The parody of all the commercials on television. Again, the detail was insane- two of the commercials, Prunecter prune juice and Penatroleum hair tonic could probably be used as actual commercials they were so good. (And so memorable and funny that I didn’t have to look up either of those names- I remembered them on my own!)

Elsa Lanchester as the college president Dr. Mathilda Coffey. She’s always hilarious, and she didn’t disappoint.

The sardonic, even sometimes acidic, dialogue that Webb was given. I spent time pausing to write down several of his comments. Both of the quotes in my previous post, the headline quote and the “best quote,” are examples of this.

The Bad:

I was a little bored with the side plot of his daughter. I liked the actress, but the plot was a little boring and predictable. Her love interest was Jeffery Hunter, though, that impossibly good-looking guy from Belles on Their Toes!

The ending just didn’t totally work for me. It felt somewhat false and forced maybe? There was just a very quick change of course that didn’t totally make sense, in light of everything that came before it.

#project1952 #1952 #project1952 day 47 #100 films of 1952

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saviourkingslut · 2 years

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I think people have forgotten that the only reason why Byleth had such a “huge” impact on Dimitri’s well-being in Azure Moon is not because of their bond but rather Byleth’s presence allowed Dimitri to survive long enough to see his mistakes. Byleth themself as a person didn’t really matter that much.

Byleth as their teacher kept organising class activities to bring the students together, so a Blue Lion class closer to each other made a promise that they would have a reunion at the Millennium Festival. Because of that promise Dimitri (subconsciously?) made his way to the Garreg Mach in Ethereal Moon 1185 (or maybe because the other two classes didn’t make the same promise here and neither Edelgard nor Claude came here on the same day alongside their guards, which was how AM!Dimitri could temporarily take up residence in the Goddess Tower?). Either way, Gilbert and the Blue Lion class followed the clues and were able to locate Dimitri.

Then because Byleth is an excellent commander and a demon on the battlefield (after playing ThreeHopes I finally understand their power and skills. They’re scary lol). Since the Blue Lions are the ones who recapture the Garreg Mach and defeat Randolph and also because of Dimitri’s reputation as the one-eyed demon, this planted the seeds for Fleche to come and get revenge on the Gronder field.

Due to Byleth’s skills and power (they are literally the goddess’ incarnation so it’s expected) the Kingdom army in AM is able to achieve victory after victory, including in the Battle of Gronder unlike SS!/VW!Kingdom army. Thus, unlike his other counterparts, AM!Dimitri is able to survive long enough for Rodrigue to sacrifice himself and give Dimitri the “live for yourself” speech.

Byleth themselves don’t really play a huge role in Dimitri’s redemption. Even if Byleth didn’t come to stop Dimitri from leaving in the rain, Felix, Dedue, Gilbert and the other Blue Lions would also have stepped in all the same.

though i can't say i completely agree with this view i do think it's an interesting one. if you look at the story this way i think it's good to remember that am is also the only route where rodrigue canonically survives until post-gronder, so from this point of view byleth is responsible for his survival, too. more importantly though, i personally find it hard to truly put by/leth at the spill of important parts of the narrative in any way bc i always feel things happen around them, more that that they make them happen.

i saw this post a while back that talked abt how modern adaptations of the sherlock holmes stories will try to come up with a logical explanation for the fact that watson, in the books, sometimes has an old shoulder wound and at other times a leg wound, so in series or movies today one of the two will be psychosomatic or they'll show him getting both wounds at different moments in time. and that's the 'watsonian' explanation, the in-universe explanation you can come up with to make the canon make sense. but then there are also people who say, 'arthur conan doyle forgot where the wound was and didn't bother to look it up' which would be in character of him bc at times he forgot watson was married, too. and that's the 'doylist' explanation: you look at the canon and when things don't really add up, you look at the logical explanation taking place in our 'real' world: the writer(s) made a mistake, or a writer got replaced, etc.

now this post also said that it's not fair to counter the one argument with the other. if someone who has a watsonian point of view tries to come up with a logical in-universe explanation and a doylist comes up and says 'no it was bc [real life writer thing]' that kills the discussion. and if a watsonian only ever trying to look at canon through the in-universe lense and refusing to see the 'real life' reasons makes it very difficult to treat the text as what it is - a work of fiction, made by humans and therefore liable to contain the mistakes and representations of the world views of its writers. of course, these two points of views aren't mutally exclusive at all, so most of the time any person in fandom will have watsonian and doylist explanations for in-universe events - sometimes even for the exact same event, bc even though you know some incongruence stems from the writers messing up that doesn't mean it's no use trying to come up with a way that it could still fit into canon.

the point of all this is that by/leth is one of the few instances where taking the watsonian approach just... really doesn't work for me. for me, things happening the way they do in different routes is bc we, the player, choose to play that route and so the writers have to give us a different story. and bc we play a different route that means we, the player, put our avatar in that story and the writers have to make it seem like that avatar matters, like it has real impact on the narrative and its characters. and with by/leth that has never really worked for me. it doesn't feel like they actually do things that would change the story and its characters to such extreme extents. i never have that problem with a character such as link, for example. playing botw truly has me believe that yes, he is absolutely vital to the story playing out as it does, he is at the centre of things. but then link and by/leth are two very different characters who are written in very different ways and who are from very different franchises with very different stories. anyway tl;dr yes i think you're right that by/leth doesn't actually play a huge role in dimitri's process of redemption/healing. however bc i view by/leth in a very different way i can't really agree with your reasoning for it personally, but that doesn't make it any less valid.

#im not gonna go into why link does work for my and by/leth doesn't bc that's gonna cost me another post #just take it from me that while they're both silent protags #i think they're completely different in terms of writing/personality/place in the story/etc #asks #byleth critical

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thealmightyemprex · 2 years

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Top 10 Claude Rains performances

Claude Rains to me is one of the most underrated actors of the 21st Century ,possibly one of the best.....PArtially cause he literally was the mentor of John Gielgud .At the very least ,he was one of the great character actors,normally playing villains (And full disclosure 7 out of the 10 characters listed here are baddies)

10.Maximus from the Clairvoyent (!935)

So this might be the only time I have seen Rains play the HERO,like unambiguiously the good guy!!! He also has really good chemistry with Faye Wray

9.Sen. Joseph Harrison Paine from Mr Smith Goes To Washington

I dont remember much of this film,but Rains performance as the good friend who turns out to be a crook really stayed with me

8.The Mayor from the Pied Piper of Hamlin (1957)

Rains is the greedy evil mayor,but the fun part is this is a MUSICAL and Rains actually SINGS ,and he is actually pretty good ,has a fun villain song

7.Sir John Talbot from The Wolf Man (1941)

Horror movie with Claude Rains.....and he ISNT a monster or villain,he's just the main characters dad who kind of saves the day ,albiet with a hint of tragedy

6.Dryden from Lawrence of Arabia (1962)

Yeah Rains is in this Oscar winning classic,(That happens to be my favorite movie ) though his role isnt talked about a lot ,which is weird cause aside from Jose Ferrer one scene role, he is the colosest thing to a villain in the movie .He starts off friendly enough but is actually a shady son of a gun ,but the thing I like is he doesnt really lose his cool

5.Prince John from the Adventures of Robin Hood (1938)

The classic mustache twirling villain.He is cunning and enjoying his own evil.Also Rains has a distinctive deep raspy voice,which he dials back here in favor of a higher more snooty voice ,and I think its a neat detail that works

4.Erique Claudin from The Phantom of the Opera (1943)

Probably one of the most sympathetic take on the Phantom,as we see all that drives him to madness and murder .I actually love his performance ,and if only he was in the movie more he would be higher

3.Jack Griffin from The Invisible Man (1933)

The role that made Claude Rains a star .As he is invisible /covered in bandages for most of the film,the film really emphasizes his grand powerful voice .Rains does a marvlous job brininging this megalomaniacal mad man to life

2.Louie Renault from Casablanca (1942)

This is another one of my favorite movies ,and Louie is one of my favorite movie characters of all time.Hes a cad ,a self admitted corrupt cop ...But could there be a good man underneath all that ? Also he might be the most fun character Rains ever played other then the Invisible Man

1.Alexander Hollenius from Deception (1946)

Rains as his most vial villain....Despite not doing as much as his other villains :Hes not a tyrant like Prince John or a mass murderer like Jack Griffin ,he's a powerful asshole who mentally abuses people .....And I think that s what makes him stand out,hes a very real human type of evil . Also most Rains characters have some sympathetic attributes or aspects of fun to them,not this guy ,hes a jerk through and through .....And thats why I like him ,he is so douchey I forget he is lovable Claude Rains

Please share your favorite Rains role

@ariel-seagull-wings @amalthea9 @princesssarisa @metropolitan-mutant-of-ark @lord-antihero @professorlehnsherr-almashy @marquisedemasque @the-blue-fairie @filmcityworld1

#claude rains #deception #phantom of the opera 1943 #casablanca #the invisible man #adventures of robin hood #lawrence of arabia #the wolf man #pied piper of hamlin #mr smith goes to washington #The Clairvoyent

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kuroshitsuji-scenarios · 4 years

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Little things the Kuroshitsuji boys would do?

Undertaker:

Be the one who always listens to you talking, even if other people are losing focus on your words. He would pay a lot of attention to the details, even if he wouldn’t look like it.

Would bring you adorable gifts from wherever he would be—small rocks which reminds him of a funny face, double shells, weird cones or other apparently useless things. He tends to be unique, even with the gifts he’s giving.

Sebastian Michaelis:

Would mindlessly enjoy a slight physical contact between you two, trailing his fingers along your arm and elbow when you would be sitting next to each other, playing with your hair when you would be falling asleep on his shoulder, leaving quick kisses behind your ear in the break between doing the chores.

Would wake you up whenever feeling the change in aura of your soul during a nightmare; offer you a warm drink, an embrace and an ear to listen.

Ciel Phantomhive:

Be the one who waits for you when you have to tie your shoe when the rest of the group is heading forward. He might even leave some snarky comment later about them being rude.

Would leave the last piece of his favourite cake for you to eat and pretend that he did not want it at the moment.

Claude Faustus:

Would carry you piggy-back if you felt tired during a stroll. The distance wouldn’t bother him in the slightest, he could actually carry you all the way there and back.

Would secretly take care of your plants and pets to make sure that they are feeling as good as possible to reduce your eventual stress. Especially about the plants dying—with him by your side, they will all wonderfully bloom.

Alois Trancy:

Would often leave some surprise gifts for you, including your favourite candies, the pair of shoes which caught your attention one day, the perfume which smell you enjoyed, this overly expensive and completely unnecessary mug you spotted in the shop, the supplies needed for your passion.

Would run a bath for you, the one with a lot of candles, oils, foam or the most ridiculous bath bombs he could find. It is important that you would feel like a princess all the time and spoiling you is one of his favourite activities.

William T. Spears:

Would always bring a bottle of water, a candy bar and either a scarf or a sunscreen wherever you go together. Just in case you got thirsty or hungry or cold or if there was too much sun. Humans are so fragile, after all, and who else is going to take proper care of you if not him?

Would always scold the person who interrupted your speaking and point out the lack of good manners. When you’re talking, the others should listen, he always does.

Ronald Knox:

Would always know just the right place to have some fun and forget about the everyday troubles. You will be surprised about the knowledge he has, no bar could possibly hide from him. Still, if you would want to come back home, he wouldn’t insist on staying and would always respect your decision.

Would take you to the escape room for your birthday and then be the one who panics the most about not being able to find the way out. If you would find more clues than him, he would pout a little but compliment you and your wit nevertheless.

Snake:

Wherever he would go, Snake would always leave you some sweet letters on the fridge. Sometimes they would lead to the breakfast he prepared for you when you were sleeping, sometimes they would only state the simple: ‘I love you.’

Would be the one to go the basement for that one jar of the strawberry jam you so adored, no matter how the chills on his back would tell him to go back.

Finny:

Would carry all the groceries for you. He might leave one single bag so you wouldn’t feel left behind but that would be it, the rest is his. Moreover, he would carry them all in one hand, the other reserved to hold yours while you go to the home together.

Would never miss an opportunity to kiss you in the rain, even if it means waking you up at dawn. The idea comes from all the romantic movies he wanted to watch with you, all of them bringing him to tears and the overwhelming happiness of having you by his side.

Baldroy:

Contrary to his usual driving style, he would be way too careful while driving with you, suddenly minding all rules and even using signals! He would shout at the other drivers and call them reckless if they outrun him. Your safety is top priority and he doesn’t want to look like a roadhog in your eyes.

Would send you a lot of random photos of things he finds nice, hoping to share his excitement with you. Sometimes it could be a cute dog, sometimes a limited edition package of cigarettes.

Edward Midford:

Would always offer his help in whatever thing you were currently doing, be it a laundry or some school/college/job project. Having a surprising amount of knowledge for many various subjects, he can actually be very helpful but if not, he would simply prepare your favourite beverage and keep an eye on you so you wouldn’t ruin your sleeping schedule.

Would always be a perfect gentleman around you, kissing your knuckles, holding the door for you and adressing you properly and speaking of you respectfully—even if you wouldn’t be around him at the moment. His attutude is not a game, after all, he simply is that way.

Prince Soma:

Would try and fail to prepare a breakfast to bed for you. It would look really nasty, toasts burnt, eggs almost raw and what is even that thing on the plate? Still, it’s the intentions that count, right?

Would often encourage you to dance in the middle of the room with him whenever your song would play. It doesn’t matter if you’re a good dancer or not, it would be all about fun and giggles and you’ll eventually forget about the eventual lack of skills or rhythm while being in his arms.

Agni:

Would always ask how did your day go, if it was pleasant or not, and then he would listen to the whole story you gave him, no matter how long. He loves hearing from you and it’s important to know how do you feel. Naturally, he would comfort you if it was bad and would cook your favourite meal.

Would agree to watch the film of your choice, whether he enjoyed it or not and would never complain about it, even if he almost fell asleep during.

Charles Grey:

Would take you to McDonald’s at 2 a.m.

Would literally fight anyone who’d dare to catcall you on the street, you won’t be able to stop him, he’s throwing fists already. And winning!

Charles Phipps:

Would pay a surprising amount of attention to the way your bedroom or apartment is decorated. It’s all because of his intention to make it as comfortable as possible and so, he would often buy you some useful gadgets or pretty decor stuff. He has some really good taste.

Would make phone calls and schedule any doctor’s appointments for you, it doesn’t affect him in the slightest and if you’re having troubles with such, he’s happy to help.

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a-cure-for-writers-block · 4 years

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#100 Song Lyric Prompts

No one specifically requested, but I wanted to do this so bad! Here we go...

“Will nature make a man of me yet?”- The Smiths, This Charming Man

“If I leave here tomorrow, would you still remember me?”- Lynyrd Skynyrd, Free Bird

“When my time comes around, lay me gently in the cold dark earth. No grave can hold my body down, I'll crawl home to her.”- Hozier, Work Song

“I don’t think that we should be alone together, when we’re in a room you get my eyes, you open your mouth I’m hypnotised”- The Neighbourhood, Single

“She looks as if she’s blowing a kiss at me and suddenly the sky is a scissor”- Arctic Monkeys, That’s where you’re wrong

“You think you want to be alone, just wait until you’re crying on the shower floor” “They’ve got a pretty face, but they’ve got a pretty empty head.” “But how the hell do you fall in love, the last time I checked you can’t fall in slow mo”- LANY- The Breakup *There were too many good ones in this song, I couldn’t help myself*

“I know it’s mad, but if I go to hell will you go with me or just leave?” - Panic! At The Disco, Do you know what I'm seeing?

“I don’t know who’s protecting me, but we hit it off”- Drake, Sandra’s Rose

“Do me a favour and break my nose, do me a favour and tell me to go away?”- Arctic monkeys, Do me a favour

“Baby just came back around, said she needs time to explore, said I can’t love her no more”- The Neighbourhood, Baby came home

“Just one mistake, you say you’re not in love no more, but was it really love if you can leave me for something so innocent is this the end?”- LANY, Thick and thin

“You can have Manhattan, I know it’s for the best, I’ll gather up the avenues and leave them on your doorstep. I’ll tiptoe away so you won’t have to say you heard me leave.” “You can have Manhattan, the one we used to share, the one where we were laughing and drunk on just being there. Hang onto the reverie, could you do that for me?”- Sara Bareilles, Manhattan

“You don’t love me, big fucking deal, I’ll never tell you how I feel.” “I'll send my best regards from Hell”- Marina and the Diamonds, Starring Role

“I been writing these songs ‘bout how I can’t be with you. I don’t want to be a monster, but I’ve been here for days, drinking too much now I want you, can’t get you off my brain.”- Henry, Monster, Eng. version

“Change lives, get better, yeah that be the plan” “That’s why you see me winning, yeah, even after I lose”- Jay Park, Ask bout me

“Love is not looking over shoulders, Love is you should trust what I told you” “Love is not struggling to say I love you”- 6LACK, Disconnect

“All these people taking miles when you give them an inch, all these followers but who's gonna follow me until the end?”- Drake, Emotionless

“She’s in the rain, you wanna hurt yourself I’ll stay with you, you wanna make yourself go through that pain, It’s better to be held than holding on,”- The Rose, She’s In The Rain *Absolutely love this one, don’t @ me, I will die for the The Rose**

“Sex by the fire at night”- Bruno Mars, That’s What I Like

“I’ve got the good side of you, sent it out into the blue.”- Troye Sivan, Good Side

“Standing by the window, rain falling, I want to have you full in my embrace and tell you, even when I’m born again and love you, even then, will you be with me?”- KREAM, 선물 Gift *Translated*

“It all passes, Someday, For sure, Certainly”- RM, ft. NELL, everythingoes *Translated*

“Please stay as long as you need, can't promise that things won't be broken, but I swear that I will never leave. Please stay forever with me”- Sleeping With Sirens, Scene One- James Dean & Audrey Hepburn

“When you move, I'm put to mind of all that I wanna be, when you move I could never define all that you are to me”- Hozier, Movement

“Wake up and smell the coffee, is your cup half full or empty?”- Billie Eilish, come out and play

“Am I a bad person? Or am I just in pain?”- DEAN, Sulli, Rad Museum, Dayfly *Translated*

“Kiss me on the lips, a secret just between the two of us, deeply poisoned by the jail of you, I cannot worship anyone but you and I knew the grail was poisoned but I drank it anyway”- BTS, Blood Sweat & Tears *Translated*

“When the sun sets and darkness comes, I only remember your warmth, where the stars wrap around us. I’m going there, I’ll be there”- SEVENTEEN, Highlight *Translated*

“I don't ever wanna feel like anything I do ever had a fucking resonance or meant a thing to you.”- Frank Carter & The Rattlesnakes, I Hate You

“You can’t take this away from me, the way I hit the melody, the waves bring clarity, running through me”- Tom Misch, Del La Soul, It Runs Through Me

“It was a lie when they smiled and said you won’t feel a thing”- My Chemical Romance, Disenchanted

“The fog has lifted and things get clear, all the lies pass by like a reel of film. I hate you”- EXO, 내가 미쳐 (Going Crazy) *Translated*

“I’m sorry- no, I’m not sorry, I’m just getting started and my life’s a party”- DEAN, Eric Bellinger, I’m Not Sorry

“Ain’t it fun, living in the real world?”- Paramore, Ain’t It Fun

“Ready or not, we are coming back- yeah, we’re over, we can tell you ‘bout what you need. You can look it up when you’re older”- Evergreen, Cargo Cult

“You, you got so much potential, every moment spent with you I bet was always eventful”- Aminé, Kehlani, Heebiejeebies- Bonus

“Could you imagine the taste of your lips if we never tried to kiss on the drive to Queens? 'Cause I imagine the weight of your ribs if you lied between my hips in the backseat”- Halsey, Roman Holiday

“Forever isn’t for everyone, is forever for you?”- Arctic Monkeys, Snap Out Of It

“Wish you good luck being lonely, I’mma push red every time you phone me. You vow to be a memory”- Ella Mai, ft. Ty Dolla $ign, She Don’t

“I’ve been dazed and confused from the day I met you, yeah I lost my head and I’d do it again”- Ruel, Dazed & Confused

“I just want you closer, is that alright? Baby let's get closer tonight”- Paolo Nutini, Last request

“You have no idea how pretty you are when you wake from sleep, you have no idea how beautiful you look as you get ready for bed”- Zion.T, No Makeup *Translated*

“I was thinking I could fly to your hotel tonight, baby, ‘cos I can’t get you off my mind”- Shawn Mendes, Lost In Japan

“She's soothing like the ocean rushing on the sand, she takes care of me, baby, she helps me be a better man. She's so beautiful, sometimes I stop to close my eyes, she's exactly what I need”- Jeremy Passion, Lemonade

“And her lips are like the galaxy's edge and her kiss the colour of a constellation falling into place”- Arctic Monkeys, Arabella

“It's how you look, not how you feel. A city of glass with no heart”- Queens of the Stone Age, If I Had a Tail

“I’ll tell you my sins and you can sharpen your knife”- Hozier, Take Me To Church

“Bitter and hardened heart, Oh, aching- waiting for life to start”- Keane, Bend & Break

“When you move I'm put to mind of all that I wanna be, when you move I could never define all that you are to me”- Hozier, Movement

“She said, ‘Baby, I'm afraid to fall in love, 'cause what if it's not reciprocated?’ I told her, ‘Don't rush girl, don’t you rush, guess it's all a game of patience.’”- Pink Sweat$, Honesty

“Share a casket with you, we’ll be buried alive, me and her playing truth ‘til the day we die.”- Granata Ft. Phoniks, You Dont Need Me

“And hope that I had survived yesterday, and today is jealous of tomorrow.”- Emeli Sandé, Breathing Underwater

“Heaven if you sent us down so we could build a playground for the sinners to play as saints, you'd be so proud of what we've made.” Stephen, Crossfire

“Tell me how do you cope with it? How do you sleep with yourself at night? How do you cope with it? How do you sleep with yourself at night?”- blackbear, make daddy proud

“If anyone looks perfect, you look perfect next to me.”- Nick Wilson, Obsolete

“When I meet you after time passes, I’ll know (you were my future), I’ll know (I was your yesterday). When I meet you after time passes, I’ll know (you protected me), I’ll know (I desired you).”- SEVENTEEN (Wen Junhui & Xu Minghao), My I *Translated*

“I need my sex n’ drugs, I need my money first, bless me with all my sins.”- Abhi The Nomad, Ft. Harrison Sands & Copper King, Sex ‘n Drugs

“Naked and fallin' in love, look here I got you. Safe where there's no one to judge, keep it insightful.”- Keiynan Lonsdale, Preach

“All alone, all we know is haunting me, making it harder to breathe, harder to breathe.”- The Neighbourhood, Leaving Tonight

“Now I see you get off of the subway, haven't seen you in months but it's okay. I'd forgotten but I feel the same, hate that I still wish you were...”- Claud, Wish You Were Gay

“A perfect stranger lying next to me, he's playing God with broken figurines. He keeps calling me his little queen and I believe.”- Jake Wesley Rogers, Little Queen (This song deserves way more recognition, make sure to give it a listen!)

“Hell is so close to Heaven, hell is so close to Heaven. Hold on don't look back, you know we're better- we’re better than that. Lost and thrown away, you know we're better- we’re better than that.”- Sleeping With Sirens, The Strays

“Alone tonight, I’m drawing my dreams across the sky farther than I can imagine- She wants it.”- CIX, Movie Star *Translated*

“Yeah I mixed words and some whiskey on the flight just to make sure I landed on time and I wrote me a song I could sing just in case I forgot everything.”- Marc E. Bassy, Last One I Love

“Don't ask questions you don't wanna know, learned my lesson way too long ago.” “Deadly fever, please don't ever break, be my reliever 'cause I don't self medicate”- Billie Eilish, my strange addiction

“And it's worth it, it's divine, I have this some of the time.”- Hozier, Cherry Wine

“And I realize you're mine, Indeed, a fool am I.”- Queens of the Stone Age, No One Knows

“Look in the mirror ‘til I forget everything I know, everything I did was just a way to make the time feel faster.”- Miya Folick, Stock Image

“Do you feel how I feel? Are you numb? Do you tread crystal waters, bound to be stung? Are you scared? If I see you, we're upon, will you dye your hair dark so you're no longer blonde?”- Isaac Dunbar, Cologne

“Tell me; To you I’m bad & hurtful. Because I’ve been busy, you’re hurting. Bad, bad, bad, I’m bad, bad.”- Crush, NAPPA (나빠) *Translated*

“Just for the record, the weather today is slightly sarcastic with a good chance of: A. Indifference or B. disinterest to what the critics say.”- Panic! At The Disco, London Beckoned Songs About Money Written By Machines

“‘Cause you don’t say what you feel, I'm the one driving but you take the wheel. You wanna wait, 'til we're older, I'm the one who started this, but now I just want closure.”- Ieuan, Closure

“Our names carved in the pavement, sealed by what's left of our handprints, now. I told my mom, she'd love to meet you, but it's too bad she won't get the chance to.”- COIN, Malibu 1992

“I'm running outta time to hold you close, running outta time to be your man. I'm just lost in this moment, I've been zoning.”- blackbear, 4u

“Standing on your mama's porch, you told me that you'd wait forever. Oh and when you held my hand, I knew that it was now or never”- Bryan Adams, Summer Of ‘69

“I'll go out, grow my hair too long, sing your least favourite songs at the top of my lungs. I'll go out, kiss all of your friends, make a story and pretend it was me who made this end.”- The Vamps, Hair Too Long

“Getting my mind right, I'll wait 'til the time's right. I'm meaning to tell you why it's hard to sleep at night. There's nothing to fear now, girl, we should be here now. So why don't you hear me out?”- Jeremy Zucker, Ft. blackbear, talk is overrated

“We haven't spoke since you went away, comfortable silence is so overrated. Why won't you ever be the first one to break? Even my phone misses your call, by the way.”- Harry Styles, From the Dining Table

“Look overhead at the stars and the ocean, foggy emotions, moments, erosion. This supernova could cause a commotion, my minds of the notion, you'll still be my motive”- Ansel Elgort, Supernova

“I love that new dress you bought, yeah, you sure look nice. Heard you liked that new restaurant, you know, I've been there twice. And the way that you switch up your hair, all of the moments we've shared, strolling the streets back in Rome, oh, how I wish I was there. It ain't fair.”- Ruel, Face To Face

“Welcome to your life, there's no turning back. Even while we sleep we will find you acting on your best behaviour, turn your back on mother nature.”- Tear For Fears, Everybody Wants to Rule the World

“I'm wide awake, not losing any sleep, I picked up every piece and landed on my feet. I'm wide awake, need nothing to complete myself, no.” Katy Perry, Wide Awake

“If you don't realize, all of the things your life can do you will be left behind, swept up by the storm of those you knew.”- Meltycanon, thankful

“I always knew that we'd be by each other's side forever, now our time has come and I'd be satisfied if we died together. Yeah, our climate's fucked, we might as well enjoy the weather, our time is up and I'd be satisfied if we died together.”- Samsa, Anthropocene

“There's still so much to say, I'm faded, broken, pretending you're on the line, wasting my time. Sinking deeper, watching you spend your night, like I'll be fine and I'll be over this.”- NYK, Faded

“I’d rather go to hell, than be in purgatory, cut my hair, gag and bore me, pull this pin, let this world explode.”- My Chemical Romance, Na Na Na (Na Na Na Na Na Na Na Na Na)

“I reached for a shooting star, it burned a hole through my hand Made its way through my heart, had fun in the promised land.”- blink-182, Wishing Well

“Let go of your baggage, but don’t think I don’t understand it’s probably a challenge,”- Isaac Lewis, Fly

“It's been a long night in New York city, it's been a long night in Baton Rouge. I don't remember you looking any better, but then again, I don't remember you.”- John Mayer, Who Says

“They say that love kills, it ain't quite what it seems, don't be shocked when you lost what you called ‘meant to be’.”- StayLoose, Bryce Fox, Sociopath

“When they come for You, I will shield Your name, I will field their questions, I will feel Your pain.”- Kanye West, Ultralight Beam

“Two steps forward, one step back and it won’t be long til my heart attack, yup! And common sense falls second place to the way it feels when you kiss my face, yup!”- The Band CAMINO, 2 / 14

“Leaving empty souls when he avenged, evil spirits flowed, he drank the blood like lemonade.”- Morcheeba, Blood Like Lemonade

“Your smile will become a classic; the brilliance of sunlight, the haziness of the moonlight exist for the sake of promises.”- WayV, Moonwalk

Dear God, I hope you got the letter and I pray you can make it better down here. I don't need a big reduction in the price of beer, but all the people that you made in your image- see them starving on their feet.”- Lawless, Sydney Wayser, Dear God

“Down below, sandy, like the ocean floor, quiet, like I like it; here I'll never be alone.”- slenderbodies, anemone

“I love everything, fire spreading all around my room, my world's so bright, it's hard to breathe but that's alright- hush.”- Sub Urban, Cradles

“I'm telling myself, I'm telling myself, ‘I don't need you anymore’.”- Lia Marie Johnson, Cold Heart Killer

“So I moved to California, but it's just a state of mind, it turns out everywhere you go, you take yourself, that's not a lie. Wish that you would hold me or just say that you were mine- it's killing me slowly.” Lana Del Rey, Fuck it I love you

“See, she knows that I love her, but I don't think she'll stay and she knows that I need her, but my love's lost its weight. Spend my days longing for something real, spend my days stuck in the way I feel.”- JOBA, Sad Saturdays

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tcm · 3 years

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The Golden Boy, John Garfield By Susan King

Stanley Kowalski in Tennessee Williams’ A Streetcar Named Desire was Marlon Brando’s signature role. It made the then 23-year-old Brando an overnight Broadway sensation in 1947, and he electrified movie audiences and earned his first Oscar nomination for the classic 1951 film version. But he wasn’t the first choice to play Blanche’s earthy brother-in-law. Producer Irene Selznick had her eyes on Hollywood star John Garfield, who frequently took time out from movies to return to the Great White Way for limited runs.

In fact, writer John Lahr reported in 2014 that on July 19, 1947, Selznick drew up a contract for the 34-year-old actor, “one of the few sexy Hollywood stars with a proletarian pedigree. The Selznick office leaked the big news to the press. The contract was never signed. On August 18 the deal with Garfield collapsed.”

One of the reasons bandied about was that Garfield turned down the role because the contract would have kept him away from Hollywood for too long. Though Brando is considered the performer who ushered in the more naturalistic style of acting (known as “the Method”) both on stage and in film, truth be told it was Garfield who was the catalyst for Brando, as well as Montgomery Clift, Paul Newman, James Dean and Steve McQueen.

Just look at Garfield’s first feature film, FOUR DAUGHTERS (’38). Directed by Michael Curtiz, the cast includes Lane sisters Lola, Rosemary and Priscilla, in addition to Gale Page as the four musically inclined daughters of a widower music professor (Claude Rains). Enter handsome boy-next-door Jeffrey Lynn as a budding composer named Felix who endears himself with all the daughters, especially peppy Ann (Priscilla Lane).

The household is put in an uproar with the arrival of Garfield’s Mickey Borden, the original rebel anti-hero. Unkempt, slovenly and possessing a massive chip on his shoulder, Mickey is an orchestrator who has arrived at the house to work with Felix. You can’t keep your eyes off him especially in this early monologue where he explains his anger to Ann:

“They’ve been at me now nearly a quarter of a century. No let-up. First, they said, ‘Let him do without parents. He’ll get along.’ Then they decided, ‘He doesn’t need education. That’s for sissies.’ Then right at the beginning, they tossed a coin, ‘Heads he’s poor, tail’s he’s rich.’ So, they tossed a coin…with two heads. Then for the finale, they got together on talent. ‘Sure, they said, let him have talent. Not enough to let him do anything on this own, anything good or great Just enough to let him help people. It’s all he deserves.’”

There was a sexuality and eroticism to Garfield’s performance that was 180 degrees different from Lynn’s durable and safe leading man. He was so natural; it was almost like someone found Garfield walking down the street in the Bronx and asked him to star in the movie. “He was the prototypical Depression rebellion youth,” actor Norman Lloyd told me about Garfield for the L.A. Times in 2003. They first met in 1937 and worked together on Garfield’s final film HE RAN ALL THE WAY (’51).

“He combined all of these elements of darkness and rebelliousness with the charm and the poignancy and he became the prototypical actor of that time. He never changed as a person. He remained just as a wonderful guy. He was a man of great charm, a good fellow, very likable.”

There was a lot of Mickey in Garfield, who was born Jacob Julius Garfinkle in 1913 on the Lower East Side of New York to poor Russian immigrants. Julie, as he was called, had a rough and tumble upbringing. His mother died when he was seven. “He hated his father,” his daughter Julie Garfield noted in 2003. “His father was awful to him. He was torn away from his brother.” In fact, Garfield once said that if he hadn’t become an actor, he would have been “Public Enemy No. 1.”

Unlike Mickey, the fates and destiny were looking after him. First, it was educator Angelo Patri, who became a surrogate dad to Julie at P.S. 45, a high school for troubled students. With Patri’s encouragement, he joined the debate team where he discovered he had a gift for acting. That was further nurtured when he received a scholarship to Maria Ouspenskaya’s acting school. He was all of 18 when he made his Broadway debut in 1932 in Lost Boy and became the youngest member of the progressive and influential Group Theatre, appearing in Clifford Odets’ early masterpieces Waiting for Lefty and Awake and Sing.

Odets wrote the play Golden Boy for Garfield in 1937, but director Harold Clurman decided to give the lead role of boxer Joe Bonaparte to Luther Adler and cast Garfield in a minor role. His unhappiness with Clurman’s decision pushed Garfield into signing a contract with Warner Bros. And FOUR DAUGHTERS made him an overnight sensation. He earned a Supporting Actor Oscar nomination, but lost to Walter Brennan who picked up his second Academy Award in that category for Kentucky (‘38).

The following year, Garfield, Rains, the Lane siblings, Page and Curtiz reunited for DAUGHTERS COURAGEOUS, in which the actors played different characters from the prior film. It was probably the best film Garfield made that year. But Warner Brothers put him in a lot of movies that were unworthy of his talent including BLACKWELL’S ISLAND (’39) where he was typecast as a gangster. He made some good movies in 1941, including THE SEA WOLF, which also starred Edward G. Robinson and Ida Lupino and reunited him with Curtiz, and also Anatole Litvak’s atmospheric noir OUT OF THE FOG also with Lupino.

Because he suffered heart damage from scarlet fever, Garfield couldn’t serve during World War II. But he entertained the troops on USO tours and opened the famous Hollywood Canteen with Bette Davis so the troops could be entertained and be served by some of Hollywood’s biggest stars. Both Davis and Garfield appeared as themselves in the hit 1944 film HOLLYWOOD CANTEEN. Garfield also fought the global conflict on screen, giving one of his strongest and grittiest performances in PRIDE OF THE MARINES (’45), a poignant drama based on the life Al Schmid who was blinded by a grenade during the Battle of Guadalcanal. He returns home to his wife (Eleanor Powell) a bitter, doubting man who has a difficult time trying to deal with his new life.

The year 1946 saw the release of two of Garfield’s most enjoyable films HUMORESQUE and THE POSTMAN ALWAYS RINGS TWICE. HUMORESQUE was his last film under his Warner Bros. contract. It’s a delicious melodramatic wallow with Garfield playing a poor New York kid who becomes a famous concert violinist. Joan Crawford, coming off her Oscar-winning triumph in Mildred Pierce (’45), plays a wealthy patroness who sets her sights on Garfield. Garfield went to MGM for POSTMAN, which was based on James M. Cain’s best-selling thriller. Garfield turns up the heat with Lana Turner as illicit lovers who brutally murder her husband only to turn on each other when they are caught.

The actor teamed up with Bob Roberts to form an independent production company, Enterprise Productions, and their first feature was the boxing classic BODY AND SOUL (’47), for which he earned his second Oscar nomination as Charley Davis, a boxer who loses his way when he gets involved with an unscrupulous promoter. Not only does he have a strong chemistry with leading lady Lilli Palmer, but also African American actor Canada Lee as Ben, a boxer with brain damage. And Garfield gets to utter one of his greatest lines in BODY AND SOUL: “What are you going to do? Kill me? Everybody dies.”

Though his next Enterprise production wasn’t a hit, FORCE OF EVIL (’48), co-written and directed by Abraham Polonsky, is a terrific film noir with a hard-hitting Garfield as a corrupt attorney trying to save his numbers-racket brother (Thomas Gomez) from his gangster boss. Garfield returned to Warner Bros. and Curtiz in 1950 for THE BREAKING POINT, which was based on Hemingway’s 1937 novel, To Have and Have Not. It’s an outstanding film noir with a superb performance from Garfield as well as from Black actor Juano Hernandez who plays his partner on the fishing boat.

THE BREAKING POINT was Garfield’s penultimate film and was not a hit because The Blacklist was engulfing Hollywood and the actor, despite the fact he wasn’t a Communist. His film career was over in 1951 when he refused to cooperate with HUAC at his hearing. Before his death of a heart attack in 1952 at the age of 39, Garfield did appear in a short-lived Broadway revival of Golden Boy, which also starred Lee J. Cobb, a young Jack Klugman and Joseph Wiseman.

Though she was only 6 ½ when he died, Julie Garfield recalls seeing her father on stage in Golden Boy where he introduced her during the curtain call. “When he smiled at you it was like being in the sun,” she noted. “He was funny and sometimes he would like to dance and kick up his legs. I remember him adoring me. He used to take me to the merry-go-round a lot in New York. He was so strong, so handsome and he loved to kid me. He would give me this mischievous smile. I wish I remembered more about him…”

#John Garfield #Method Acting #Marlon Brando #Golden Boy #theatre acting #The Sea Wolf #Body and Soul #Four Daughters #Susan King #TCM #Turner Classic Movies #Huac #blacklist

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mygreatadventurehasbegun · 2 years

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My Personal Ranking of Claude Rains’s movies.

So, recently, I did two separate posts ranking Cary Grant and Audrey Hepburn’s films (at least the ones that I’ve seen), and I realized there was at least one more actor who needed his own list.

I have seen an even ten films from Claude Rains’ filmography (something I hope will change soon, as I do want to see more of his work), and I am going to rank them from my least favorite to God-Tier. What’s interesting about this list is that pretty much every film on it is a straight-up classic...which makes this list more difficult, in many ways...mostly because I enjoy all of these films. So even the one ones that are near the bottom of the list are movies that I thoroughly enjoy, in one way or another. And of course, Claude was brilliant in everything he did, so every performance represented is fantastic.

And I’m ranking these mostly on my enjoyment of the entire film, not just on his performance...especially since Claude was normally a supporting player...though his performance might come in to play if I need a “tie breaker”.

And of course, this is all opinion!

10. Four Daughters

This is such a sweet little movie! Claude plays the father of the titular four daughters (three of whom are played by real-life sisters), and they all have musical gifts...The best way I can describe Claude in this movie is ADORABLE. He plays the flute and has an amazing moustache. This movie also features John Garfield in his first film role.

9. The Wolf Man

I almost put this at the bottom of my list, mainly because Claude has so little to do. But then I remembered that post I made about his character last October, about how tragic Sir John’s character arc is...and how so much of it would be lost if an actor like Claude wasn’t playing the role.

8. Now, Voyager

This movie is one of Claude’s many collaborations with Bette Davis, though this role is a bit less substantial compared to the others. But even though the character of Dr. Jacquith only appears occasionally, his impact is felt nonetheless. I always want to stand up and cheer when he lays into Charlotte’s mother about the horrible way she’s treated her daughter. His character is a wonderful blend of tough and firm, while still being kind and sympathetic.

7. Mr. Smith Goes to Washington

One of Claude Rains’ best performance in an absolutely classic film. I remember when I first saw it and watching Senator Payne attempt to kill himself while screaming to be expelled from the Senate left me completely shaken. It was a twist to the story I wasn’t expecting...I remember wondering what was going to happen, knowing we were near the end of the runtime, but that definitely left an impact. You can tell that he’s someone who would like to always do the right thing, but is so entrenched in the system and all the lies and deceit that come with it, that it has simply become second nature to him. And I love watching Claude’s face as he realizes that. Also, watching him and Jimmy Stewart spar in the Senate is so frickin’ spellbinding.

6. Mr. Skeffington

If I had to pick Claude Rain’s best performance, I would probably say it was Mr. Skeffington. At the very least, this is the movie where if I could retroactively give him an award, this is the performance I’d pick (and even that was a really tough choice for me). But his performance in Mr. Skeffington was unlike any of his other performances...Job is such a kind, gentle and loving man...there is no trace of deceit or anger or even mistrust in that man. Your heart breaks for him multiple times throughout the film.

5. The Invisible Man

Now we arrive at what is probably Claude Rains most well-known movie. I mean, even if you’ve only listened to the song “Science Fiction Double Feature” you’ll know that Claude Rains was the Invisible Man. This performance is absolutely genius...and you only see his face for about 30 seconds. The effects work is masterful, and Claude is one of those actors where I could just listen to him speaking for hours and be perfectly happy. Though I do sometimes wish I could have seen the performance he was giving underneath all those bandages (or in front of the microphone).

4. Casablanca

I really don’t know if there is anything I can say about Casablanca that hasn’t already been said. It’s a masterpiece. And Claude’s performance as Captain Renault is amazing. I love his smug little smiles and knowing glances...but there are some nice moments, too when you see his face drop slightly when the German officers say or do something against France. A great movie, and if you haven’t seen it yet, go watch it!

3. Notorious

God, I love this movie so much. Definitely my favorite Hitchcock film...the filmmaking is top-notch, with gorgeous cinematography, great use of shadows and light, with a fantastic and compelling story. And Claude’s villainous turn as Ingrid Bergman’s Nazi husband is so fascinating to watch. He’s a horrible person, and yet somehow, there are moments where you actually feel sorry for him.

2. The Adventures of Robin Hood

It feels weird putting this movie at number two, since it normally tops all of my lists, but the reasoning will be obvious when I get to number one. Of course, I love this movie wholeheartedly and Claude Rains’ turn as the evil Prince John is one of my favorite villain performances of all time. He just looks like he is having so much fun with this role. I did read that he alluded to the fact that he took inspiration for his performance from Bette Davis, which honestly, makes me so happy.

Also, the lack of HQ gifs of Claude in this movie is criminal. There is a scene where he is removing seeds from a pomegranate with a knife...get on it gifmakers!

1. The Phantom of the Opera

I mean. Come on. The Adventures of Robin Hood may be my favorite movie, but there was no way I was going to put anything but Phantom at number one on a Claude Rains list. His performance as Erique Claudin gives me so many feelings, it is difficult to put them into words. Or more accurately, it’s difficult for me to put them into a short and simple statement. If you really get me talking about this movie and this character and Claude’s performance, I will be here all night. But I will say that it’s another one of those roles where if someone else played the part, we would have lost so much depth and nuance for the character. Claude Rains was able to take a fairly simple role and script (though of course, the character’s backstory was there, but removed during editing) and to make Claudin feel like such a fully realized person. It’s the kind of performance where I discover something new every time I watch it.

And there you have it!

I do want to watch more of Claude’s films...there are a few that have been on my list for a while, I’ve just been waiting (im)patiently for them to show up on TCM.

Though I have seen one of the episodes of Alfred Hitchcock Presents that he did in the 50′s.

Here’s a clip and he will break your heart:

youtube

#claude rains #The Phantom of the Opera #phantom of the opera 1943 #phantom 1943 #the adventures of robin hood #casablanca #the invisible man #notorious #the wolf man #mr smith goes to washington #now voyager #mr skeffington #alfred hitchcock

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fur-claws-and-eyeballs · 3 years

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2021 Teen Wolf ReWatch - S1E2

My Take from the episode Including: Info-Dump, and Questions & Concerns

Info-Dump:

Lacrosse: (”la crosse” = "the stick", French) is a team sport played with a lacrosse stick and a lacrosse ball. It is the oldest organized sport in North America, with its origins in a tribal game played by the indigenous peoples of the Eastern Woodlands and by various other indigenous peoples of North America. The game was extensively modified by European colonizers to create its current collegiate and professional form. The modern sport is governed by World Lacrosse and is the only international sport organization to recognize First Nations bands and Native American tribes as sovereign nations.

Lacrosse Jersey Numbers (so far):

> Scott McCall - 11 > Stiles Stilinski - 24 > Jackson Whittemore - 37 > Danny Mahealani - 6 (Background)

First Mention of Greenberg: COACH: “Greenberg, take a lap! Let's go! Faster, Greenberg! Let's go.” (Could be #31)

Fire Extinguisher: Black Label = CO2 or Carbon Dioxide. Typically used for Class B (flammable liquids and gases) and Class C (energized electrical) fires. Carbon dioxide can be used to extinguish flames by flooding the environment around the flame with the gas, thus starving the flame by displacing the oxygen.

Class Roster (so far):

> English: Stiles, Scott, Allison > Biology: Stiles, Lydia > Algebra: Lydia, Scott > French: Allison

Quadratic Formula: (-b±√(b²-4ac))/(2a)

AOL(?): The chat icon during Stiles and Scott’s video chat resembles the yellow AOL guy. Fun Fact: AOL shut down on February 24, 2017.

Morgue Drawer #1: 4486[11] - 201026738 | Semret Fesseha | 1568 879 4H876: aka, art department Coordinator/Director Semret Fesseha for Teen Wolf Season 1.

Cortisone Shot: Cortisone shots are injections that can help relieve pain and inflammation in a specific area of your body. They're most commonly injected into joints. The injections usually contain a corticosteroid medication and a local anesthetic. Often, you can receive one at your doctor's office. Because of potential side effects, the number of shots you can get in a year generally is limited.

“The Wolf Man”: is a 1941 (Same year that BHHS was founded) American horror film. The film stars Lon Chaney Jr. in the title role. Claude Rains, Warren William, Ralph Bellamy, Patric Knowles, Bela Lugosi, Evelyn Ankers, and Maria Ouspenskaya star in supporting roles. The title character has had a great deal of influence on Hollywood's depictions of the legend of the werewolf.

Relevant/Parallel (Wolf Man) Plot Points:

> Larry Talbot (Lon Chaney Jr.) returns to his ancestral home in Llanwelly, Wales to bury his recently deceased brother and reconcile with his estranged father, Sir John Talbot (Claude Rains). Fun Fact: We’re gonna see the Surname Talbot again in TW S4E5 in Brett Talbot.

> “Even a man who is pure in heart, and says his prayers by night; May become a wolf when the wolfsbane blooms and the autumn moon is bright.” in later films the final line is changed to "And the moon is full and bright"

> The night of the next full moon, he begs his father to restrain him to prevent him from hurting anyone else.

> The movie ends with Sir John and Gwen watching in horror as the dead werewolf transforms into Larry's human corpse.

Questions & Concerns:

Let’s Keep track of how many times someone hides in the locker room rafters: 2 (because I bet it’s gonna happen again)

Gotta wonder if being sprayed with a CO2 extinguisher feels like being choked...maybe like having an asthma attack?

I’m most offended that when Derek came in through the window, he probably stepped on Scott’s bed with his shoes on like a complete psychopath. (Alternately, what kinda psycho has the head of their bed beneath their open blindless/curtainless window???)

Allison is is French class...does she already know French? Or that her family knows French? Is that a part of her family identity at all yet?

Allison made a point to tell Scott to invite Stiles after the game. +10 good girlfriend points to Allison...for now...

Does Derek know that Allison is an Argent? Like surely he does, but does he??? He’d warn our boy about the hunter’s right?

It’s pretty easy to see how Scott correlates being a werewolf with being unable to have the things that he wants. You have Lydia tying Allison to his Lacrosse performance, and Coach telling him that if he doesn’t play now, he doesn’t play at all, then you have Stiles tying Scott’s increased heartrate to both Lacrosse and Allison, warning him away from both, and then ultimately Derek telling him not to play Lacrosse at all, and further inciting Scott via Allison and her jacket. (Not to mention Allison’s dad is a Hunter, so he’s got the dual motivation of not MY daughter, and not a damn werewolf for SURE.) Not that Scott would actually BE on first line without the bite, but he previously made it clear that he had fully intended on making the first line that season regardless.

Christ, Derek, that is a well buried, but TERRIBLY hidden dead body, ffs. Throw a couple of leaves on it or SOMETHING.

Totally just assumes that Derek is going to be at the burned out husk of his family home...I mean he was RIGHT, but that wouldn’t have been MY first thought.

WHY ARE THERE NO LOCKS OR KEYCARD ACCESS FOR THE MORGUE/POLICE EVIDENCE?

Is the Hale ability to full shift only tied to the Alpha Spark? Or being a Hale? Or having at some point been an Alpha Hale? Because Laura being in her full shift while dead (and therefore Alpha Spark-less) makes it seem more of a Hale thing?

Why does the Wolfsbane put/keep Laura in her full shit? She was human when Scott first came across her...

This is the first indication that even being NEAR wolfsbane can cause a werewolf physical harm...Which begs the question, how did Derek A) weave wolfsbane into a rope and then carefully bury it in a spiral around Laura’s body. or B) get ahold of both wolfsbane rope and an entire wolfsbane flower...

If I stand by the observation that Scott was nearly hit by a red SUV *cough* Victoria *cough* at the beginning of the first episode, I find even greater joy in Chris Argent actually hitting him with it in the second episode.

Stiles’ dad being at the game even though he’s a bench warmer makes me soft like marshmallow.

#Teen Wolf Rewatch #Teen Wolf #s1e2 #10yearsofteenwolf #Scott McCall #Stiles Stilinski #Derek Hale #Info Dump #Questions and Concerns

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generalasshattery · 3 years

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MK Movie Thoughts and Reflections

It’s been a few days since I watched it, and it’s all had time to settle in my brain. Who wants a tangent?

So, I guess I should start with the like biggest issue. Cole. Like I get he was only put in the movie because the studio insisted, and I feel like a little bit of the resentment for having to do that is obvious by just how bland a character he is. If they had to have him, they could’ve at least made him a little more fun to watch. Like, you had the opportunity to make a new Mortal Kombat character, some of the most deliciously and wonderfully over the top and charismatic fighting game characters out there... like why didn’t they make any effort to justify his existence on screen? Want to give us an everyman that can be used to introduce the world to the public? Do it, make him an audience proxy. Use some wit and charm to make people feel like he represents how they’d act in that scenario. I’ve seen this done to absolutely beautiful effect, my favorite example is actually a short horror film on YouTube called Downstairs. Lean into the batshit insanity you’re introducing in the form of mortal kombat. This role is historically handled by Johnny Cage, but he’s a celebrity rich boy, how would Joe down the block honestly handle this shit? Would he be stressed the fuck out and anxious? Or riding high getting to live out an ultimate power fantasy? That’s what would’ve been fun to explore with a new character IMO.

With that out of the way, I’m not going to belabor all the things I didn’t enjoy. Because well, it’s obvious. Jobbers irritate me, like what the fuck was that they did with Reiko? Did not like. Killing a clearly post burns Kabal in a fire? Like that just upset me. And all the weird lore building choices were just that... fucking weird. They do not need to be super heroes. They do not need to awaken super powers. Tech based abilities make it more interesting against the more supernaturally influenced characters. Genre bending has always been a feature and not a bug in MK. The game was supposed to be a Jean Claude Van Damme game, it was supposed to be all these different genres of movies coming together to fight the Van Damme, in a manor of speaking. Taking away the absolutely fun part of the story where special ops, a celebrity, and monks team up with a god to fight ninjas, a sorcerer, criminal empires, and monsters, is like missing the forest for the trees with the franchise. And I just can’t even go into Shang Tsung. I just can’t. I like Chin Han, he plays assholes very well, but Shang Tsung is a special kind of asshole. Cary-Hiroyuki Tagawa just set the bar so high with how much intellectualism he brings to the lines. He can drop them in such a smart sounding way that it makes you feel like he’s three steps ahead of you. There’s something so obviously manipulative and toying in his vibe (god the best part of MK11 is him, I’ll fight people on this, he fucking stole that shit for me) that it makes him feel instantly threatening. Immediately you know this is a man you Should Not Fuck with. I need that from Shang Tsung, or I don’t even really feel like you should bother bringing him to screen.

But despite all that, I did actually enjoy the experience of watching the movie, admittedly because I expected not to like any of it, so there were quite a few pleasant surprises. The gore and fight scenes were so perfectly stylized with the excessive blood and choreography, showing off the characters fatalities and famous moves... yes feed me that fan service. Feed it to me.

And while I don’t love all the casting (Reiko and Shang Tsung for example), some of it was pure perfection. Kano, Jax and Sonya? Story was... A Choice but loved the actors and what they brought to the characters. Also, like Lui Kang being cast with just the prettiest actor made me very happy. Pretty boy Lui Kang can hang, especially with his belt/slash floating in the wind. I was here for that.

Holy god damn hell, Joe Taslim, what the fuck dude? You made all my Bi-Han fantasies and dreams a reality. Like god damn, I could feel the depth he was bringing to the role even if the script didn’t let him explore it. I seriously hope we get so much more from him because got damn. I was so pleased with his performance. Holy shit not to mention the ice effects, his Katara moment of stopping the rain and then wrecking the shit out of a street is the kind of raw destructive power that canon has always hinted he has but hasn’t really shown us. He’s so often relegated to being a jobber, and MK is so especially bad at telling you a character is powerful but not showing it. Oh boy the movie showed it. Not just him either, I felt a real sense of power from a few players, and that was deeply satisfying.

Also like Kabal? For as much as his death pissed me off, damn did they nail his vibe. I think we’d all rather have good guy Kabal (which would’ve been a more interesting story with Kano on both sides the fence [and I DO NOT have the energy to write the dissertation I have for that weird ass choice]) but I really thought they got the bad guy him just right. Side note: My sister watched it with me and just adored him, she loved his fight scenes and kept asking me who he was and telling me how damn cool he seemed. And I do agree. His fighting scene was so damn good. The way they handle his choreography and effects made him look every bit the intimidating opponent he is, even if he didn’t actually win. Very good work there.

Hanzo has some promise here, but man did they cock tease us with those trailers. Didn’t even toss a handy j for our troubles. I will say, assuming they do make another film (and that is a big assumption) I am cautiously optimistic about where it could be heading. The actor really didn’t get enough time to explore the part, but Scorpion has the potential to be fascinating and I feel like him and Sub Zero getting their own film properly could really give me some satisfying story telling in Mortal Kombat’s biggest rivalry.

Over all? Not super satisfying for the dedicated fans. Wouldn’t really recommend it if you don’t Stan Bi-Han specifically. But if you set your expectations as low as possible, you may find some fun in it the way I did.

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