philosophy in film

What is fantasy and what is real? Bunuel is always taking us back and forth between them. That and the surreal.

How close or how far away is Bunuel here from gender roles “as nature intended”? It’s no where near my own assumptions. But how close are they?

You have to keep reminding yourself there really are men like this out in the world. Sexually, we are still beasts. But, for some, the options will border on endless.

And always that inner child of the past [and Papa] shaping her in ways she is barely conscious of.

From IMDb:

“According to Luis Buñuel scholar Julie Jones, Buñuel once said that he himself didn’t know what the end exactly means.”

You make progress philosophically when you realize it is the same for the parts in the beginning and the parts in the middle too.

BELLE DE JURE
Written and directed by Luis Buñuel

[b]Madame Anais: I have an idea. Would you like to be called “Belle de Jour”?
Séverine Serizy: Belle de Jour?
Madame Anais: Since you only come in the afternoons.

Madame: Did you watch? What do you say?
Belle de Jour: How can anyone sink so low? You might be used to it, but I’m disgusted.

Butler [knocking on the door]: Your Lordship. Can I let the cats in?
Duke: Leave us alone! [then to Belle de Jour lying naked in a coffin] We are alone. The doors are closed [He laughs] Now your eyes won’t open again. Your body is still. Worms are eating you up. And the smell of dead flowers fills the room.
[He sinks to the floor and the coffin starts to shake. Belle de Jour rises in the coffin and looks down to the floor. What she sees is left to our imagination]

Hyppolite: For less I’d break my father’s head. But friendship first. We won’t fight over a slut.

Henri: Is this your bed?
Belle de Jour: You make me sick, I already told you that. Yes, it’s my bed! What else do you want to know?!
Henri: You like being humiliated. I don’t.

Belle de Jour: Why can’t you understand? I’m lost. I can’t help it. I can’t resist it. I know I’ll pay dearly but I can’t live without it. [motioning towards the bed] Do as you wish with me.
Henri: Not now. What attracted me to you was your virtue. You were the wife of a boy scout. That’s changed. Unlike you, I have principles.

Henri [putting money on the table as he leaves the room]: This isn’t for you. Get Pierre some chocolates for me.[/b]

Here is the international trailer:
youtube.com/watch?v=FJXLCYZMGQ8

But you really do have to see the entire film before you come to conclude it will mean different things to different people.

As pacts with the Devil go, this one fits right in with the American Dream: Fortune and fame. And it’s nice to finally know how it’s done. :wink:

Not believing in the supernatural myself I can only marvel at a world where such evil things occur. Instead of the evil things I am more familiar with in the world in which we live.

ROSEMARY’S BABY
Written and directed by Roam Polanski

[b]Roman: No pope ever visits a city where the newspapers are on strike.
Minnie: I heard he’s gonna postpone and wait till it’s over.
Guy: Well, that’s showbiz.
Roman: That’s exactly what it is: all the costumes, the rituals - all religions.

Rosemary: Tannis, anyone?

Rosemary: You…you had me while I was out?
Guy: It was kinda fun in a necrophile sort of way.

Rosemary: I dreamed someone was…raping me. I don’t know, someone inhuman.
Guy: Thanks a lot!

Roman: To 1966! The year one!

Rosemary: What’s in this drink?
Minnie: Snips and snails and puppy dog’s tails.
Rosemary: Oh? And what if we wanted a girl?
Minnie: Do you?

Hutch: Pregnant women are supposed to gain, not lose weight!

Grace: He told me to make sure and tell you: the name is an anagram.

Hutch: Doesn’t look like root matter, more like mould or fungus of some kind. Is it ever called any other name?
Roman: Not to my knowledge, no.
Hutch: Tannis. I must look it up in the encyclopaedia.

Minnie: Now! That’s what I call the long arm of coincidence.

Rosemary picks up a copy of Time Magazine while waiting in Dr. Sapirstein’s office. The cover story: IS GOD DEAD?[/b]

It’s the real cover: April 8, 1966.

[b]Rosemary: No. I don’t believe you. You’re both lying. You’re lying! It didn’t die! You took it! You’re lying! You’re lying! You’re lying! You’re lying! You’re lying!

Guy: I know this is the worst thing that ever happened to you, but now everything’s gonna be roses. Paramount’s right where we want them, Universal’s interested, and we’re gonna blow this town and be in beautiful Beverly Hills with a pool and a spice garden, the whole schmeer, and kids, too, Ro. Scout’s honour. You heard what Abe said. Now, I got to run now and get famous.

Rosemary: What have you done to him? What have you done to his eyes, you maniacs!
Roman: He has his father’s eyes.

Minnie: He chose you, honey! From all the women in the world to be the mother of his only living son!

Rosemary: Oh, God. Oh, God.
Laura-Louise: Oh, shut up with your “Oh, Gods” or we’ll kill you, milk or no milk![/b]

The lullaby Rosemary sings at the end of the film. But forget the knife. Though that’s the way most imagined it would end.

youtube.com/watch?v=yk25DY_U54k

From IMDb:

Directed by Roman Polanski, whose pregnant wife actress Sharon Tate was murdered in 1969 by Charles Manson and his followers, who titled their death spree “Helter Skelter” after the 1968 song by The Beatles, one of whose members, John Lennon, would one day live (and in 1980 be murdered) in the Manhattan apartment building called The Dakota - where Rosemary’s Baby had been filmed.

Some go back in time in order to put themselves in the shoes of others. But others go back in order to put others in their own.

Personally, I have never really been all that comfortable when the focus shifts from the corpse to the condemned. But then capital punishment will always be a tug of war between conflictng goods.

This is really a film about how tricky the relationship can be between “the law” and events unfolding on the ground. The law is what it is but that is seldom the case regarding the “human condition”. And striving to strike a balance will often evoke only the agony and the ecstacy of many conflicting points of view.

Even the executioner here is really just another victum.

Supposedly based on actual events.

THE WIDOW OF SAINT-PIERRE [La veuve de Saint-Pierre] 2000
Directed by Patrice Leconte

[b]Neel: Fat!
Louis: Big!
Neel: Fat!
Louis: Big!
Neel: Fat!
Louis: Big!

Judge: Neel Auguste and Louis Oliver, if you want to get this over with, tell us why you tried to cut him up. Why did you want to cut him up?
Neel: To see if he was fat. Just to see if he was fat.
Louis: We wanted to see if he was big or fat. Big or fat?! BIG OR FAT?!!

Madame La: You are not my servant, Neel. I really appreciate your trust.
Neel: Why do you do this?
Madame La: Because people always change, no matter what. People can be evil one day, and good another. They change. And I am sure of that.[/b]

Yes, but that is only a reminder of how, given different circumstances still, they can change again. And tell it to the man Neel butchered in order to see if he was “big” or “fat”.

[b]The Governor: A murderer is still a man, some say. And your wife is so…modern.

Madame La: Neel? Why do you do everything I say?

Governor’s wife [sitting among the Ladies]: He does not even have to fuck us to make cuckolds of our husbands.

Madame La: Why is he doing this?
Man: It’s a shortcut to Hell.

Madame La: You see what kind of man he’s become? One man gets accused, another gets punished.

Madame La: Quit annoying me with your good heart.

Judge: Only the law dictates what is legal and what is not.
Prosecutor: And you’ve just stepped out of the justice system. And your humanism will be severely looked down upon, especially in Paris. You’ll be seen as a rebel, and even worse.
Governor [after Jean leaves the room]: He’s done for.[/b]

And so is Neel.

After the execution:

Madame La: He never showed any sign of rebellion. He probably thought his crime was unforgivable and his punishment justified. “The Widow” did not work, and Neel Agusto had to be killed with an axe.

Jean faces a firing squad.

Madame La: My husband was accused of mutiny and executed. The public executioner mysteriously disappeared not long after these events.

There are the tricks magicians perform on the stage and the tricks they perform off it. The ones performed off the stage just like the ones we perform. The illusion of love. The illusion of commitment. The illusion of friendship.

We live in a world today where the stuff science concocts routinely would have been considered the stuff of magicians a century ago. How does one really explain the manner in which nature can be reconfigured into a smart phone?

“The audience knows the truth: the world is simple. It’s miserable, solid all the way through.” Well, more so for some than others.

And off the stage back then was the Tesla/Edison…tiff?

THE PRESTIGE
Written and directed by Christopher Nolan

[b]Cutter: Every magic trick consists of three parts, or acts. The first part is called the pledge, the magician shows you something ordinary. The second act is called the turn, the magician takes the ordinary something and makes it into something extraordinary. But you wouldn’t clap yet, because making something disappear isn’t enough. You have to bring it back. Now you’re looking for the secret. But you won’t find it because of course, you’re not really looking. You don’t really want to work it out. You want to be fooled.

[after showing a little boy how to do a coin trick]
Alfred: Never show anyone. They’ll beg you and they’ll flatter you for the secret, but as soon as you give it up you’ll be nothing to them.

[In reference to a bird from a trick]
Alfred: See? He’s fine!
Boy: But where’s his brother?

Judge: What a way to kill someone.
Cutter: They’re magicians, your honor. Men who live by dressing up plain and simple truths to shock, to amaze.
Judge: Even without an audience?
Cutter: There was an audience.

Robert: I don’t want to kill doves.
Cutter: Then stay off the stage. You’re a magician not a wizard.

Sarah: Alfred I can’t live like this!
Alfred: Well, what do you want from me?
Sarah: I want… I want you to be honest with me. No tricks, no lies, no secrets.
[pause]
Sarah: Do you… do you love me?
Alfred: Not today. No.

Olivia: He knows I work for you.
Robert: Exactly why he’ll want to hire you. He’ll want my secrets.
Olivia: Why would he trust me?
Robert: Because you’re going to tell him the truth.

Olivia: [referring to Angier] He wants me to come work for you and steal your secrets.
Alfred: What does he need my secrets for? His trick is top-notch. He vanishes, and then he reappears instantly on the other side of the stage - mute, overweight, and unless I’m mistaken, very drunk. It’s astonishing, how does he do it? And tell me, Olivia, does he enjoy taking his bows under the stage?

Olivia: He sent me here to steal your secrets, but I’ve actually come to offer you his.
Alfred: This is the truth…is it?

Hotel Manager: At first I thought they might work for the government.
Robert: No?
Hotel Manager: Worse. They work for Thomas Edison.

Tesla: Exact science, Mr Angier, is not an exact science.

Olivia: You married her. You had a child with her.
Alfred: Yes. Part of me did. But the other part… the other part didn’t. The part that found you, the part that’s sitting here right now.
Olivia: You could be in some other cafe saying the same thing about me.

Tesla: I apologize for leaving without saying goodbye, but I seem to have outstayed my welcome in Colorado. The truly extraordinary is not permitted in science and industry. Perhaps you’ll find more luck in your field, where people are happy to be mystified.

Alfred: I love you.
Sarah: You mean it today.
Alfred: Of course.
Sarah: It just makes it so much harder when you don’t.

Alfred: Where’s my ingenieur?
[Robert looks down to the ground]
Alfred: Is he alive?!
Robert: How fast can you dig?

Olivia: He says that it’s even between you.
Robert: Even? My wife for a few of his fingers?

Tesla: You’re familiar with the phrase “man’s reach exceeds his grasp”? It’s a lie: man’s grasp exceeds his nerve. But society tolerates only one change at a time.

Robert: He’s a dreadful magician.
Cutter: No, he’s a wonderful magician. He’s a dreadful showman.

Tesla: Things don’t always go as planned, Mr. Angier. That’s the beauty of science.

Cutter: Take a minute to consider your achievement. I once told you about a sailor who drowned.
Robert: Yes, he said it was like going home.
Cutter: I lied. He said it was agony.

Alfred: Simple maybe, but not easy.

Officer [at hanging]: Do you have anything to say?
Alfred: Abracadabra.

Robert: Were you the one who went into the box or the one that came out?
Alfred: We took turns.

Alfred: You went half way around the world…you spent a fortune…you did terrible things… really terrible things Robert, and all for nothing.
Robert: For nothing?
Alfred: Yeah
Robert: You never understood, why we did this. The audience knows the truth: the world is simple. It’s miserable, solid all the way through. But if you could fool them, even for a second, then you can make them wonder, and then you…then you got to see something really special… you really don’t know? It was…it was the look on their faces…[/b]

With respect to magic, The Illusionist is no The Prestige. It’s basically a Hollywood Love Story with magic as a prop in the background.

But that didn’t stop me from thoroughly enjoying it. I just wasn’t as stimulated intellectually by the unfolding…drama. On the other hand, it is always a pleasure to see royality of this sort [a true scumbag] pissed on. Well, assuming his version of the events is not actually closer to “the truth”.

And the plot [in part] is based [loosely] on actual events. The “Mayerling Incident” for example.

This is interesting:

From IMDb:

“When Prince Leopold is approached by Inspector Uhl, while hunting, to inform him of Eisenheim and Sophie’s meetings, the Prince asks what they were seen doing together. The line about if they were seen “fornicating” was originally filmed as him saying “fucking” instead. They dubbed in the word “fornicating” to avoid an R-Rating in compliance with the MPAA’s policy that the f-word not be used in reference to intercourse in a PG-13 film.”

Hollywood!!

THE ILLUSIONIST [2006]
Written and directed by Neil Burger

[b]Eisenheim: From the moment we enter this live we are in the flow of it. We measure it and we mock it, but we cannot defy it. We cannot even speed it up or slow it down. Or can we? Have we not each experienced the sensation that a beautiful moment seemed to pass to quickly, and wished that we could make it linger? Or felt time slow on a dull day, and wished that we could speed things up a bit?

Josef: My God, when he volunteered her I heard the crashing sound of money falling on me in piles.

Prince Leopold: He tries to trick you, I try to enlighten you. Which is the more noble pursuit?

Eisenheim: I thought we might end this evening with a discussion of the soul. All of the greatest religions speak of the soul’s endurance before the end of life. So what then does it mean to die?

Eisenheim [to the crowd]: Everything you have seen here has been an illusion. A trick. I can’t bring loved ones back from the grave. I can’t receive messages from the other side. I apologize if I have given you any false hopes

Eisenheim: He relies on you for that sort of thing.
Inspector Uhl: I’m a simple public servant, Herr Eisenheim.
Eisenheim: That’s not what I hear. I hear you’ll be chief of police very soon. Maybe mayor of Vienna? Party secretary?
Inspector Uhl: All subject to his whim.

Inspector Uhl: The simple truth of the matter is I’m the son of a butcher. He’s the heir to the empire. How close could we be to such as him?..Don’t fool yourself that you can play in their game. I’ve served on the edge of it for many, many years. And I can tell you there is no trick they haven’t seen. It’s not worth it

Inspector Uhl: [pacing] Eisenheim, I don’t want to arrest you. I’m a cynical man, God knows, but if your manifestations are somehow real then even I’m willing to admit, you’re a very special person. And if it’s a trick, then it’s equally impressive. Either way, you have a gift. So don’t make me put you in jail!

Prince Leopold: It’s all a trick. An illusion.
Inspector Uhl: Perhaps there’s truth in this illusion.

Prince Leopold [to Inspector Uhl]: Everyone is completely incompetent. My father runs the empire into the ground and no one notices, no one knows anything about it. I propose to clean up the mess, and you betray me!..The country will be run by mongrels! There’s a thousand different voices screaming to be heard, and nothing will be done. Nothing! I’ve done everything I can!!..You’re all fools. I can’t stand it. I won’t stand it.[/b]

It always comes down to a narrative in the end. And its proximity to power. And, of course, to the magic of Hollywood scripting.

When someone is desparate one can usually count on someone else being around to take full advantage of it. Well, in some cultures.

Maria full of pellets. Pellets full of dope. Some do it because they need to, some because they want to. You either sympathize or you don’t. And in some respects Maria is not really a sympathetic character at all.

And then there is the question of immigration and jobs.

From IMDb:

“Catalina Sandino Moreno prepared for her role by working in a Colombian flower plantation for two weeks cutting roses. She did not meet with real drug mules because she wanted to appear to be as clueless to the process and the consequences as Maria was.”

MARIA FULL OF GRACE
Written and directed by Joshua Marston

[b]Javier: And how’s your system?
Maria: My system?

Javier: We’re going to give you several rolls of film. We’ll send you to New York…Actually to New Jersey - a small town next to New York. Once you go through Customs you’ll be met by our people. They will take you to a safe place. We’ll develop the rolls. And in five, six days you’ll be back here with all your money taking care of your problems.

Lucy [handing Maria a plate of grapes]: Practice with these.

Lucy: Make sure they are well wrapped. If just one opens up you’ll die.

María: How many times have you done this?
Lucy: Two.
María: How did it go?
Lucy: Here I am.

Carlos: Make yourselves comfortable. You’ll be here until you shit everything out.

Maria: Lucy needs a doctor.
Carlos: Like I care.

Carlos [to Maria]: Don’t use the toilet. I don’t want anything accidentally going down the drain. And don’t forget the toothpaste. I don’t want to be smelling your shit.

Carla: The best moment of my life here was when I got my first paycheck. Oh my god. I will never forget going into that office and sending money home for the first time. You have no idea. Your heart feels so big, so enormous like you can’t keep it in your chest. After a whole life of not being able to do anything suddenly you’re able to help, and then you know they’re counting on you back home, looking up to you and that keeps you going.
[Carla can’t hold back tears.]
But the real reason I stay is for my son. He’ll have so many more opportunities here. I hate to say it but I can’t imagine bringing up my baby in Colombia now…not with the situation being what it is. It pains me to say it but it’s true…[/b]

She’s driven by what she does in a way very, very few of us are ever lucky enough to stumble upon regarding our own jobs.

Think crony capitalism with a Japanese twist.

Ryoko and Gondo: They are never not working.

A TAXING WOMAN [Marusa no onna] 1987
Written and directed by Jûzô Itami

[b]In Japan, where tax rates can be as high as 80%, many people consider tax evasion as a citizen’s right. Unfortunately, that’s not the way the government sees it.

People from all walks of life use many ingenious techniques, including multiple signature seals that can be used to open bank accounts under false names.

Their ingenuity is matched only by the steadfast resolve of the incorruptible Japanese Revenue Service.

Gondo: I made too much money again…Now the problem is hiding it.

Crime boss [to soldier]: So, you are off to prison. You’re a proper gangster. Violence is obsolete. Today we go to jail for tax evasion. Today we are like other businessmen, donating to politicians and minimizing our taxes.

Gondo: Can you do me a favor?
Crime boss: What?
Gondo: Pretend you loaned me 500 grand.
Crime boss: Made too much again, huh?

Gondo [putting more loot in his safe]: Taxmen? Screw 'em. Catch me if you can.[/b]

Well, he is about to meet his match. Gondo, meet Ryôko Itakura: A really taxing woman.

youtube.com/watch?v=kjy0t-gbYc8

[b]Citizen: Do you mean we will have to pay more taxes?!
Ryoko: Exactly.
Citizen [enraged]: You act so polite but you’re really just a bloodsucker. Why do you pick on poor people like us? You cow! Go out and catch the real criminals!!

Accountant: You were just acting?!
Tax cheat: No, the tears were real. I’d cry all day to save a million.

Ryoko: An adult hotel…

Gondo: Who are you?
Man: My name ain’t important. What’s important is that I’m a “cleaner” and what I clean is money. Men like you have lots of secret money. And it has to stay secret. If you use it openly the tax men’ll catch you…I can clean half a million for you right now. [he pulls a lottery ticket out of his pocker] This is a winnng lottery ticket. [He shows him a newspaper] It’s worth $500,000.
[Gondo goes back and forth between the ticket and the paper…then it dawns on him…he bursts out laughing]
Gondo: So, you sell me this ticket for $550,000. That’s a new one!!

Gondo [toying with Ryoko “off duty” in a bar]: Do me a favor. I’ve got an idea to give my son Taro a fortune tax free. Just nod your head if you think it’ll work.
Ryoko [aggitated]: I can’t do that!
Gondo: Listen…I vouch for a loan. He buys a company with big losses. We make it break even, then merge it with my company. We double the capital of the merged company. Increase leverage to 90% and we…
[Ryoko, exasperated stands up and leaves]
Gondo: Don’t go!

Ninagawa: Sure I loaned Gondo 500 grand.
Ryoko: May I see the papers on it?
Ninagawa: What friggin’ papers? I’m Ninagawa of the Kanto Ninagawa Family. If I say I loaned it, I loaned it.
Ryoko: But you would prepare some documents specifying the interest and terms.
Ninagawa: You ain’t listening. If you loan a friend ten bucks for a cab do you ask him for a receipt and charge him interest?
Ryoyo: But for a large sum like $500 thousand…
Ninagawga: Stupid bitch! Half a million is peanuts to us! For that kind of money we trust each other.

Tax Inspector [to Ryoko]: Watch where his eyes move while I talk to him.

Tax Inspector: I make $2,285 a month. Tell me something, Mr Gondo.
Gondo: What?
Tax Inspector: How can I make the kind of money you make. I really want to know.
Gondo: Why?
Tax Inspector: You see, during this raid, we’ll find lots of your secrets. Next, we’re going to figure out how you did it and take that to the prosecutor. He’ll issue an indictment–BOOM! It sounds great when he stamps it. BOOM! BOOM! And you’re off to court, see? But to figure out how you did it we’re going to be investigating you for maybe a year. You and I are just beginning a long, long relationship. So, I thought it might be good to learn to see how you see things.

Gondo: To save money, you don’t spend it. It’s as simple as that. You give maybe $100 at a funeral, $200 at a wedding. That’s not good. A million is nothing if you spend it. But even $100 is yours if you save it. Say you’re trying to fill a glass with dripping water. When it’s half-full, you’re thirsty, so you drink. But that’s stupid. Wait until it’s full. But still don’t drink. Wait 'til it brims over and lick it. That way you save the water and drink.[/b]

Then Ryoko accidently stumbles into Gondo’s hidden vault. It’s filled with loot.

[b]Tax Inspector: That’s a lot of water!

Gondo: Say, why don’t you quit this tax racket and come live with me.
[Ryoko stares intently at him and than slowly shakes her head. Gondo then pulls out her handerchief – the one he picke3d up after she stormed out of the bar – and a knife. He cuts the tip of his finger and then in blood writes a series of numbers on the handerchief]
Gondo: The $2.1 million is in a box at the Schilla Bank. That’s the box number.[/b]

Helena Kallianiotes damn near stole the film at one point but this one is still all Nicholson. He is fucking great from beginning to end.

Believe it or not, Nicholson wanted Janis Joplin to play Palm.

The thing about Bobby is he has the option of going back but is as genuinely repulsed by the past as he is by the present and the future. It’s all summed up in his face—looking at himself in the mirror of that filling station restroom.

Five easy pieces: Rayette? Betty? Twinky? Probably. But who are the other two? Catherine? Stoney?
Or did they play five easy pieces of music in the film? Or maybe the classic country “tunes”? Or a combination thereof?

From IMDb:

"The film’s title is open to interpretation. Robert plays a Chopin “piece” on the piano because he says he learned it when he was young, and it’s “easy” to play. He only plays one other piece in the movie, but there are a total of five classical pieces played in the film:

Frédéric Chopin - Fantaisie in F minor, Op. 49; Johann Sebastian Bach - Chromatic Fantasy and Fugue; Wolfgang Amadeus Mozart - Piano Concerto No. 9 “Jeunehomme”; Frédéric Chopin - Prelude, Op. 28, No. 4; Wolfgang Amadeus Mozart - Fantasia No. 3 in D minor, K. 397

Another interpretation could take Robert’s misogyny into account and refer to the three women he fools around with as “pieces”. These women, in addition to the two piano pieces he plays, brings the total to five."

FIVE EASY PIECES [1970]
Directed by Bob Rafelson

[b]Elton: Well, what if she was, Bob? I can’t see nothin’ so bad in that. Well, what if I were to let you in on a little secret that she is? That’s right. She told me. She’s all torn up about it, too, which I hate to see. Well hell, isn’t it somethin’ you just have to face up to? I tell ya, somewhere along the line, you even get to likin’ the whole idea. When Stoney first give me the news, I coulda shit!
[Bobby spits out his food and throws down his food in disgust]
Elton: Well isn’t that nice?
Bobby: It’s ridiculous. I’m sittin’ here listening to some cracker asshole who lives in a trailer park compare his life to mine. Keep on tellin’ me about the good life, Elton, because it makes me puke.

Bobby: Hey, what the hell is going on here?
Palm [flipping him the bird]: Rotate Mac.

Bobby: Where are you goin’?
Palm: Alaska.
Bobby: Alaska. What are you, on vacation?
Terry: She wants to live there 'cause it’s cleaner.
Bobby: Cleaner. Cleaner than what?
Palm: You don’t have to tell everybody about it. Pretty soon they’ll all go there and it won’t be so clean.
Bobby: What makes you think it’s cleaner?
Palm: I saw a picture of it. Alaska’s very clean. It appeared to look very white to me. Don’t you think?
Bobby: Yep. That was before the Big Thaw.
Palm: Before the what?

Palm: Hey, follow that truck. They know the best places to stop.
Rayette: That’s an old maid’s tale.
Palm: Bullshit! Truck drivers are the only ones that know the best places to stop on the road.
Rayette: Salesmen and cops are the ones. If you’d ever waitressed, honey, you’d know that.
Palm: Don’t call me honey, mac.
Rayette: Don’t call me mac, honey.

[Bobby wants plain toast, which isn’t on the menu]
Bobby: Okay, I’ll make it as easy for you as I can. I’d like an omelet, plain, and a chicken salad sandwich on wheat toast, no mayonnaise, no butter, no lettuce. And a cup of coffee.
Waitress: A #2, chicken salad sand. Hold the butter, the lettuce, the mayonnaise, and a cup of coffee. Anything else?
Bobby: Yeah, now all you have to do is hold the chicken, bring me the toast, give me a check for the chicken salad sandwich, and you haven’t broken any rules.
Waitress: You want me to hold the chicken, huh?
Bobby: I want you to hold it between your knees.

Palm: Fantastic that you could figure that all out and lie that down on her so you could come up with a way to get your toast. Fantastic!
Bobby: Yeah, well, I didn’t get it, did I?
Palm: No, but it was very clever. I would have just punched her out.

Palm: You know, I read where they, uh, invented this car that runs on, ummm…that runs on, ummm…when you boil water?
Terry: Steam.
Palm: Right, steam. A car that you could ride around in and not cause a stink. But do you know they will not even let us have it? Can you believe it? Why? Man! He likes to create a stink! I mean, I’ve seen filth that you wouldn’t believe. Ugh! What a stink! I don’t even want to talk about it.

Palm: …those signs everywhere, they should be erased! All those signs selling you crap and more crap and more crap. I don’t know. I don’t even want to talk about it.
Bobby: Well…
Palm: It’s just filth. People are filthy. I think that’s the biggest thing that’s wrong with people. They’d be less violent if they were clean because then they wouldn’t have anybody to pick on. Dirt. Not dirt. See, dirt isn’t bad. It’s filth. Filth is bad. That’s what starts maggots and riots.

Palm: People are filthy. Animals are not like that. They’re always cleaning themselves. Did you ever see, umm…pigeons? Well, he’s always picking on himself and his friends. They’re always picking bugs out of their hair all the time. Monkeys too. Except they do something out in the open that I don’t go for.

Palm: I had to leave this place because I got depressed seeing all the crap. And the thing is, they’re making more crap, you know? They got so many stores and stuff and junk full of crap I can’t believe it.
Bobby: Who?
Palm: Who? Man, that’s who. Pretty soon there won’t be any room for man. They’re selling more crap that people go and buy than you can imagine. Crap. I believe everybody should have a big hole where they throw the stuff in and burn it.

Catherine: One thing I find very difficult to imagine is how one could have this incredible background in music and then just walk away from it without giving it a second thought.
Bobby: I gave it a second thought.
Catherine: How could you no longer play at all? I think that’s very strange.
Bobby: I played a little bit here and there. As a matter of fact, once I was a rehearsal pianist.
Catherine: For ballet, an opera?
Bobby: A Las Vegas musical revue.
Catherine: You don’t call that music.
Bobby: Oh, yes, I do.

Rayette: I had a baby kitty cat once. It was a fluffy thing. Bobby gave it to me. It had two little white front paws and I was crazy after her. We left her at some friends’ house and she got squashed flatter than a tortilla outside their mobile home.
Samia [the insufferable pedant]: There. Do you see what I mean? The choice of words juxtaposed with the image of a fluffy kitten. The enchantment of words “squashed,” “flat,” et cetera. - Et cetera.
Rayette: Well, she was.
Samia: Perhaps, but it was just what I was trying to point out.
Bobby: Don’t point at her.
Samia: I beg your pardon.
Bobby: I said, don’t point at her, you creep.
Samia: But I was just trying to point out…
Bobby: [interrupting] Don’t sit there pointing at her.
Samia: I beg your pardon.
Bobby: I said don’t point at her, you creep.
Samia: But I was just telling about…
Bobby: Where do you get the ass to tell anybody anything about class, or who the hell’s got it, or what she typifies? You shouldn’t even be in the same room with her, you pompous celibate… You’re totally full of shit! You’re all full of shit.

Bobby: What else do you do?
Catherine: Well, there’s fishing, boating, and concerts on the mainland.
[Laughs]
Catherine: I feel funny telling you this. This is really your home. You probably know better than I what there is to do.
Bobby: Nothing.
Catherine: Nothing?
Bobby: Nothing.
Catherine: Well, it must be very boring for you here.
Bobby: That’s right.
Catherine: I find that very hard to comprehend. I don’t think I’ve ever been bored. Excuse me.

Catherine: That was beautiful. I’m surprised.
Bobby: Thank you.
Catherine: I was really very moved by…[Bobby snickers] What’s wrong?
Bobby: Nothing. It’s just I picked the easiest piece that I could think of. I first played it when I was eight, and I played it better then.
Catherine: Can’t you understand it was the feeling I was affected by?
Bobby: I didn’t have any.
Catherine: You had no inner feeling?
Bobby: None.

Bobby: What does it have to be with you grim and serious?
Catherine: Look, you played. I honestly responded…and you made me feel embarrassed for having responded to you. It wasn’t necessary.
Bobby: Yeah, it was. I faked a little Chopin. You faked a big response.
Catherine: I don’t think that’s accurate.
Bobby: Up till now, all I’ve been getting from you is meaningful looks at the dinner table and a lot of vague suggestions about the day after tomorrow.
Catherine: I am not conscious of having given you any particular looks. And as for the day after tomorrow, this is the day after tomorrow…and I am, unfortunately, seeing you. Now, if you’ll excuse me, I’d like to take a bath.

Bobby: What are you doing, screwing around with all this crap?
Catherine: I do not find your language very charming.
Bobby: It isn’t. It’s direct.

Catherine: It’s useless.
Bobby: Look, give me a chance.
Catherine: I’m trying to be delicate with you, but you just won’t understand. I couldn’t go with you. Not just because of Carl and my music, but because of you. [pause] You’re a strange person, Robert. I mean, what would it come to? If a person has no love for himself, no respect for himself, no love of his friends, family, work, something. How can he ask for love in return? I mean, why should he ask for it?
Bobby: Living here in this rest home/asylum - that’s what you want?
Catherine: Yes.
Bobby: That will make you happy?
Catherine: I hope it will. Yes.

Bobby: [finally talking with his paralyzed father] I don’t know if you’d be particularly interested in hearing anything about me. My life, I mean. Most of it doesn’t add up to much that I could relate as a way of life that you’d approve of. I’d like to be able to tell you why, but I don’t really. I mean, I move around a lot because things tend to get bad when I stay. And I’m looking for auspicious beginnings, I guess I’m trying to, you know, imagine your half of this conversation. My feeling is, that if you could talk, we probably wouldn’t be talking. That’s pretty much how it got to be before I left. Are you all right? I don’t know what to say. Tita suggested that we try to…I don’t know. I think that she seems to feel we’ve got some understanding to reach. She totally denies the fact that we were never that comfortable with each other to begin with. The best that I can do, is apologize. We both know that I was never really that good at it, anyway. [sobbing] I’m sorry it didn’t work out.

Truck driver: Don’t you got a jacket or anything with you?
Bobby: It got burned up. Everything in the car got the shit burned out of it. Everything. All I’ve got is what I’ve got on.
Truck driver: I got one behind the seat. If you want it, put it on.
Bobby: No, it’s okay.
Truck driver: Suit yourself. I’ll tell you one thing. Where we’re going, it’s gonna get colder than hell.[/b]

Then the shot of Rayette getting out of the car wondering where in the hell he is.

You know that Trevor is really strange. But is he also really crazy?

All the different ways in which the past the present and the future can get jumbled up in our heads. Especially after a traumatic event. Especially if it’s one we caused.

Look for references to Dostoevsky.

Lots of arrows in the film. You have to choose which way to go.

From IMDb

“The producers of the film claim that Christian Bale dropped from about 173 pounds in weight down to about 110 pounds in weight to make this film. They also claim that Bale actually wanted to drop down to 100 pounds, but that they would not let him go below 120 out of fear that his health could be in too much danger if he did. His diet consisted of one can of tuna and an apple per day. His 63-pound weight loss is said to be a record for any actor for a movie role. He regained the weight in time for his role in Batman Begins.”

And:

“Bale found that his weakened condition caused problems in the more demanding action scenes. He found running a particular problem as he simply had no leg muscles left.”

And:

“Brad Anderson and his screenwriter Scott Kosar were turned down by virtually every American studio and producer they approached on the grounds that the screenplay was “too weird”. Scott Kosar wrote this screenplay on spec straight out of film school. He then touted it round all the usual Hollywood studios for several years. The writing was well thought of, but the overwhelming dark mood was not, and financing could not be secured in America.”

Just think of all the great films out there not being made in this truly vapid film industry.

THE MACHINIST
Directed by Brad Anderson

[b]Marie: Trevor, is someone chasing you?
Trevor: Not yet. But they will when they find out who I am

Stevie: Are you okay?
Trevor: Don’t I look okay?
Stevie: If you were any thinner, you wouldn’t exist.

Marie: Are you okay?
Trevor: Don’t I look okay?
Marie: If you were any thinner, you wouldn’t exist.

Trevor: Stevie, I haven’t slept in a year.
Stevie: Jesus Christ!
Trevor: I tried him too.

Trevor: A little guilt goes a long way.

Ivan: You shooting coke or something? You look like a dope fiend to me. No offence.
Trevor: I don’t use drugs. Normally, I don’t even drink.
Ivan: How about abnormally?

Trevor: I wish there was some way I could repay you.
Miller: Well, for starters you could give me your left arm.

Trevor: You know I’m not at National any more?
Miller: Yeah, I heard about it. Sounds like you almost lost an arm yourself.
Trevor: Don’t you find that a bit ironic, Miller?
Miller: Ironic? I’m sorry, kid, I never got out of the sixth grade.

Ivan: Oh, no. You look like you seen a ghost.
Trevor: Funny you should say that. The guys at work don’t think you exist.
Ivan: Maybe that’s why I can’t get a raise.

DMV Clerk: I’m sorry, sir, but we don’t provide motorist information to the general public.
Trevor: I’m not just a member of the general public. This guy’s a friend of mine.
DMV Clerk: But you don’t know your friend’s address?
Trevor: We just met. I don’t know him that well.
DMV Clerk: Sir, this is the DMV, not a dating service.

Trevor: Don’t forget your Post-its.

Ivan: You ought to do something about that faulty memory of yours, Pal. It might make your life a little easier.

Trevor: I know who you are…I know who you are…I know who you are…I know who you are.

Trevor: I’d like to report a hit and run.[/b]

This is where the film should have ended in my opinion.

Characters like this pop up from time to time. They are manics. They are depressives. They need treatment. But to treat the part they don’t want to be can mean taking away the part they crave. But not to treat the part they crave can mean trouble for all the rest of us.

From IMBd:

“To prepare for the film, Richard Gere, Mike Figgis and Eric Roth did a tremendous amount of research and studying on manic depression (now called bipolar disorder). Gere met with several people who have the disorder to gain insight and knowledge on what to accurately portray.”

Almost no one saw this movie. And most that did didn’t like it. Well, fuck 'em. It’s a great film.

MR. JONES
Directed by Mike Figgis

[b]Mr. Jones: Give me this. This first day, I work for free. I give it to you, its a gift. Second day, you pay me for two days. Third day, I have your job.

Libbie: I think he was misdiagnosed.
Patrick: How so?
Libbie: He was psychotic but not schizophrenic. He was expansive…intrusive, inappropriate, euphoric. I think hes a manic.
Patrick: Okay, fine. Fine. He’s manic. You know, the guy refused medication. It would have meant a hearing. We would have lost.
Libbie: Give him a few more hours and he’ll think he can fly again.[/b]

Sure enough…

[b]Patrick [looking down at Jones strapped to a gurney]: It’s like trying to stop a space shuttle with a rubber band.

Libbie: Mr. Jones, you have a disease. Manic-depressive disorder. It’s like having diabetes.
Jones: No shit! And here I thought I was just having a bad day!
Patrick: It’s a highly treatable chemical imbalance. We’ve had a great deal of success…
Jones: Look, fuck-face! I have been in and out of hospitals for 20 years! There are two words that I really do not appreciate! One is ´great,´ the other ´success.´

Jones: It is not a disease! Okay? Not a disease! I do not have a disease. This is who I am! I like who I am! You got it?

Libbie: Tell me something. Do you crash?
Jones: What?
Libbie: Do you get suicidal? Do you?
Jones: How can I get suicidal? I have my little friends here. Lithium. Four a day, every day keeps those highs and lows away.
Libbie: Yeah, if you take them.

Libbie: What are you doing?
Jones: I don’t live very far from here. I thought maybe you could give me a ride.
Libbie: I’m a psychiatrist. If you have a psychiatric problem, call me. If you have a transportation problem, you call a cab.

Therapist: Mr. Jones, what are you being?
Jones [sitting still]: An erection.

Libbie: Why are you lying?
Jones: I’m not lying. I’m not lying!
Libbie: Yeah. You were King Kong in a jail in Houston.
Jones: Houston. Houston. Yeah.
Libbie [exasperated]: You want to come back tomorrow?
Jones [becoming serious]: Okay. I was in college.
Libbie: What happened?
Jones: I swallowed some aspirin.
Libbie: How many?
Jones: Seventy-three heavy-duty, full-strength Tylenol. I was young. It was on a full stomach and my roommates found me. [he pauses] There’s something I want you to know. Ever since that night I have never…ever…had a headache. True story.
Libbie: I believe you.

Howard: How you doing, man?
Jones: Howard? Howard! What are you doing here?
Howard: I’ve come to see you, man.
Jones: Did they get you, too?

Mr. Wilson: Excuse me, sir. I’m sorry to interrupt, but could I ask a question?
Howard: Sure.
Mr. Wilson: Did you drive here?
Howard: I did.
Mr Wilson: What kind of car do you have?
Howard: A pickup.
Mr. Wilson: Do you know you’re injecting poisons into our food and our bodies?
Jones: Okay, Mr. Wilson. Thank you.
Howard: I thought that guy was your doctor.
Jones: It’s hard to tell sometimes. Like with these three over there. Now, Howard, you tell me. Which one there is the patient?
Howard: The lady. The sad-looking lady.
Jones: Howard, that is my doctor.

Jones: Elizabeth [Libbie]: I am a junkie. I really need my highs. I really miss my highs very badly. Libbie: And the lows?
Jones: Yeah, well, I guess I’ll take my chances.

Jones [to Libbie]: When I was 3 years old I played Mozart. By the time I was 12 I had read everything. When I was 18 I was the centre of the universe. And then I woke up one day, and I was in a mental institution. I’m not normal. I’ve never been normal. I can’t live down here anymore. I can’t do it. I can’t. I can’t do it by myself.

Libbie: What was her last name?
Jones: I don’t remember.
Libbie: Was it Ryan? Ellen Ryan?
Jones: You are one very, very sick motherfucker.

Libbie: Ellen said she thinks about you all the time. She never passes a music store or a concert hall without looking for your work.
Jones: Shut up!
Libbie: Why’d you say she was dead?
Jones: I’m warning you!
Libbie: Why’d you say it? Tell me!
Jones: Because she is dead, thats why! And so are you!

Jones: I was too much fucking trouble for everybody! My whole fucking life, everyone I met, too much trouble!..Now I got this really good little trick. You see, you’re not human anymore! None of you! You’re not human! You’re like goldfish! All of you! One dies, I get another one!
Libbie: You want human? I’ll give you human! You’re going to blow the back of your head off! Or jump, or hang or do anything to turn off the pain! Aren’t you? Admit it! You’re gonna do it and you know it!
Jones: Take your hands off me!
Libbie: And when you finally do, when all your charm and all the wonderful things that you could be are gone forever, I’ll just be left here with an intensely human, unprofessional rip in my heart.

Distraught patient weeping [to Libbie]: You’re a doctor. You can fix my life, right?
[LIbbie just stares down at the floor, the look on her face saying it all][/b]

A short but very powerful scene.

[b]Libbie: I want to take myself off the Jones case and I was hoping that you could take over.
Patrick: Why?
Libbie: What?
Patrick: Why?
Libbie: Because I really think its for the best.
Patrick: The best? It’s not the best for me.
Libbie: I slept with him.

Patrick: All right, this is the deal. You cannot see him again.
Libbie: I have to see him once to explain.
Patrick: Libbie, listen to me. You cannot see him again. If you do, I will turn you in. This is not about protecting myself, the hospital. It’s about him, the patient. It has nothing to do with how I feel about you. I would do that. Do you understand? I would turn you in. Do you understand me? Do you understand me?
Libbie: Yes.
Patrick: There is a line here, all right? You cannot cross it.
Libbie: You don’t understand. It’s too late. It’s too late.

Patrick: Listen, I just wanted to let you know that he’s out.
Libbie: Who told you?
Patrick: I have a friend whos a resident at Cal. They assessed him as being stable and found him co-operative with the drug program. So he got himself released.
Libbie: Why are you telling me?
Patrick: He may try to contact you.
Libbie: No. No, he won’t. Not me, not anymore. I’m dead.

[Libbie watches Amanada on tape after she committed suicide]

Amanda: I’m not afraid of death. People build it up to be something that you should be frightened of, but I’m so ready. It would be a big relief, actually. Like a warmth. Dr. Bowen, do you think I’m pretty?

[watching Mr. Jones on tape]

Jones: It was like that day we went to the pier and I got up on the railing. You thought it was stupid, right? I can see now you still do. Yeah, really dumb. Yeah, I’m going to fall and break my neck. What’s the point, right? You see, you don’t understand. Being up there is the point.

Hi, Elizabeth. What would you risk everything for? Is there anything that means that much to you? You’re going to listen to this later? I hope you do. Save this one. This was a good one.

Catherine: What’s this?
Libbie: It’s my resignation.
Catherine: What’d you do? Kill somebody?
Libbie: I’ve made a mistake. I’ve done something very bad.
Catherine: …Jones.

Woman: Jeffery, he’s got a bike just like yours!

Libbie [answering the phone: Yes?
Mandy: Dr. Bowen, this is Mandy at the hospital.
Libbie: I don’t work there, Mandy.
Mandy: I’m sorry, there’s a man who…
Libbie: I don’t work there anymore!
Mandy: There’s a man who’s a friend of Mr. Jones. He thinks Jones is gonna try and fly again.

Jones: I wanted to fly so much…But I can’t.
Libbie: I know. I’m sorry.
Jones: So, now what?
Libbie: Cup of coffee?
Jones: Okay.
Libbie: Decaf.[/b]

What happens to these children is really only what happens to all children. It is what happened to you and I. It is just taken to extreme. As kids we all become a mini-me—the “I” that adults demand of us. The words and the symbols and the meanings and the behaviors we learn are largely beyond our control. We are shaped to fit into the world as it happens to be perceived by those who raise us at any particular time and in any particular place.

But in the modern world, even in a context this regimented and controlled, other “realities” begin to seep in. Then we learn to grapple with choosing the “best” reality or the “right” reality. Or the “real” reality.

With no references to God here, what’s the the explanation, insanity? Or the idea of perfection in the mind of someone intent on creating the optimal “family”?

From IMBd:

“The inspiration for the film came about because of a discussion Giorgos Lanthimos was having with some friends who were about to get married. When Lanthimos expressed doubts about the institution and family itself, he was struck by the idea about what would happen to a man who went to the ultimate extreme of protecting his family.”

And:

“The title comes from one of the lies that the parents tell the children, that they will only be ready to leave the household when their dogteeth fall out.”

DOGTOOTH [Kynodontas] 2009
Written and directed by Giorgos Lanthimos

[b]Mother: The new words of the day are: “Sea”, “Highway”, “Road trip” and “Shotgun”.

Older daughter [looking up a jet]: If it falls, I get it.
Mother [slapping her hard across the face]: Whoever deserves it gets it.

Dog trainer: Dogs are like clay. And our job here is to mold them. A dog may be energetic, a fighter, cowardly or gentle. All this requires work, patience and care from us. Every dog is waiting for us to show it how to behave. Do you inderstand? The issue here is to decide together how we want your dog to behave. Do we want an animal or do we want a friend? Do we want a guard who will respect us as his masters and do unhesitantly whatever we ask of him? You see?
Father: Sure.[/b]

After all, that is basically the philosophy he uses on his wife and children.

[b]Father: Soon your mother will give birth to two children and a dog.

Father: The most creative years of a man?
Children [in unison]: Between 30 and 40!
Father: And of a woman?
Children: Between 20 and 30!
Father: A child is ready to leave the house?
Older daughter: When the right dogtooth comes out.
Father: Or the left. No matter. Only when your body is ready to face the danger. To leave the house and be safe outside, we must take the car. When are we ready to drive?
Son: When the right dogtooth grows in again. Or the left. It doesn’t matter.

Older Daughter: Mom, what is a “pussy”?
Mother: Where did you learn that word?
Older Daughter: On a case on top of the VCR.
Mother: A “pussy” is a large lamp. Example: The “pussy” switched off and the room plunged into darkness.[/b]

The father then plays them a recording of Frank Sinatra singing “Fly Me To the Moon” and translates it into Greek to accord with every lie he has been telling them. He tells them Ole Blue Eyes is their Grandfather.

[b]Older daughter [to Christina]: Give me the present or I will tell my parents you brought me a sparkling headband. And that you told me to lick your keyboard down there. Do you know what Dad will do if he finds out I lick your keyboard?

Older Daughter [now the sister Dad has “assigned” to replace Christina]: Do that again, bitch, and I’ll rip your guts out. I swear on my daughter’s life you and your clan won’t last long in this neighborhood.

Son: Mama, I found two little zombies![/b]

Can you even begin to imagine a story like this in today’s world?! The money to be made!! The clamoring for the first interviews!! Going virile on the web!!

Just as strange as Hauser’s life was his death. He was twice attacked by an unknown assailant, once bludgeoned and then stabbed in the heart. At one point the film seemed to suggest it was the man who had imprisoned him.

From IMDb:

“Herzog’s film is based upon the true and mysterious story of Kaspar Hauser, a young man who suddenly appeared in Nuremberg in 1828, barely able to speak or walk, and bearing a strange note; he later explained that he had been held captive in a dungeon of some sort for his entire life that he could remember, and only recently was he released, for reasons unknown. His benefactor attempts to integrate him into society, with intriguing results.”

Also, this interesting [extraordinary] biography of Bruno S., the actor who played Kaspar Hauser:

“The unwanted son of a prostitute, Bruno S. was beaten so severely by his mother at age 3 that he became temporarily deaf. This led to his placement in a mental institution; he spent the next 23 years in various institutions, often running afoul of the law. Despite this past, he a self-taught painter and musician; while these were his favorite occupations, he was also forced to take jobs in factories such as driving a fork lift. Director Werner Herzog saw him in the documentary Bruno der Schwarze - Es blies ein Jäger wohl in sein Horn (1970) and vowed to work with him, which led to his major roles in The Enigma of Kaspar Hauser (1974) and Stroszek (1977). He was very difficult to work with, though, sometimes needing several hours of screaming before he could do a scene.”

THE ENIGMA OF KASPAR HAUSER [Jeder für sich und Gott gegen alle] 1974
Written and directed by Werner Herzog

Opening words scrolling up the screen:

[b]One Sunday in 1828 a ragged boy was found abandoned in the town of N. He could hardly walk and spoke but one sentence. Later, he told of being locked in a dark cellar from birth. He had never seen another human being, a tree, a house before. To this day no one knows where he came from – or who set him free.

Caption on screen:

Do you not then hear this horrible scream all around you that people usually call silence.

Captain: This is very odd.

Captain: The state of this man is one of absolute confusion.

Kaspar: Mother, I am so far away from everything.

Carnival sideshow barker: Kasper Hauser was found in the Town Square of this fine city just as you see him standing before you today. In his right hand a prayer-book, and in his left the Anonymous Letter. Abandoned to his own fate in this strange town the boy could neither speak nor walk. He had never seen a living being in his life before. His origin remains in darkness to this day. Is he a prince? Or possibly the legitimate son of Napoleon? He is and will remain the Riddle of the European Continent!

Professor Daumer: Kaspar, what’s wrong? Are you feeling unwell?
Kaspar: It feels strong in my heart…The music feels strong in my heart.
Professor Daumer: You’ve been such a short time in the world, Kaspar…
Kaspar: Why is everything so hard for me? Why can’t I play the piano like I can breathe?
Professor Daumer: In the two short years you have been here with me, you have learned so much! The people here want to help you make up for lost time.
Kaspar: People are like wolves to me.
Professor Daumer: No. You mustn’t say that…

Minister # 1: Kasper, what we really want to know is whether a Higher Being didn’t occupy your thoughts in the prison.
Kasper: I don’t understand the question. In my prison I didn’t think of anything and I cannot imagine a God creating everything out of nothing like you say.
Minister #1 to minister #2: If he doesn’t understand God, then he’ll simply have to have faith.
Minister #2 [to Kaspar]: You must have faith! The tenets of faith transcend mortal doubt.
Kasdpar: First I have to learn to read and write better to understand.[/b]

Nope, that wasn’t the right answer. Of course. he is not too keen on science either.

Kaspar [to Katy]: Why are women allowed only to knit and cook?

An echo from Fermat’s Room above:

[b]Philosophy professor: Kaspar, let’s pretend this is a village. In this village live people who tell only the truth. Here is another village. The people here only tell lies. You are standing at the crossroads between them. A man comes along, and you want to know which village he comes from. Now in order to solve this problem, to solve it logically, you have one question, and only one. What is the question? [Kaspar says nothing] Kaspar, if you can’t think of the question then I shall tell you. If you came from the the other village would you answer “no” if I were to ask you whether you came from the liars’ village? By means of a double negative the liar is forced to tell the truth. This construction forces him to reveal his identity, you see? That’s what I call logic via argument to the truth!
Kaspar: Well, I know another question.
Katy: You do?
Philosophy professor: There is no other question by the laws of logic.
Kaspar: But I do know another question.
Philosophy professor: Let’s hear it then!
Kaspar: I should ask the man whether he was a tree-frog. The man from the truth village would say, “No, I’m not a tree-frog” because he tells the truth. The man from the liars’ village would say, “Yes, I’m a tree-frog”, because he would lie.
Philosophy professor: No, that’s not a proper question. That won’t do. I can’t accept it as a question. That’s not logic; logic is deduction, not description. What you’ve done is describe something, not deduce it.
Katy: But I understood his question.
Philosophy professor: Understanding is secondary; the reasoning is the thing. In logic and Mathematics we do not understand things, we reason and deduce. I cannot accept the question.

Kaspar: It seems to me that my coming into this world was a very hard fall.

Professor Daumer: Kaspar, why did you leave the church?
Kaspar: The singing of the congregation sounds to me like awful howling. And then when the singing stops, the pastor starts to howl.[/b]

A “small film” that exams identity derived from different worlds. How do we fit into the new one when the signs and the signals are creating an increasingly frustrated feeling of estrangment. With characters like this though I wonder how I would be able to communicate to them the way in which I feel estranged myself. If for no other reason they are “just kids”. They are simply too far removed from the world I know as dasein. Though the world we both share is awash in alienation.

None of the characters in the film are professional actors.

Clip from youtube
youtube.com/watch?v=uYqldDxKueE

IN BETWEEN DAYS
Written and Directed by So Yong Kim

A true story.

Some folks say they wish to “die with dignity” because their “condition” does not afford them dignity in life. But what of all those who are afflicted with the same? How does one separate out what they think and feel from what others do? This is confronted right from the start: They are the same as others in some respects but different too. That is what we must learn to respect. But out in a world of “conflicting goods” things can get very, very complicated.

It’s how things like this are. Both sides come up with good reasons but they have no way in which to demonstrate the reasons from the other side are bad. At least not necessarily. You can’t construct an argument that make the objections of the other side go away. It’s always that tug of war between the immovable object and the irresistable force. It can only be won with words. And even then only in places like this. Out in the world the deciding factor is always power.

And, perhaps, the extent to which those in power are willing to listen to reason. However futile it is in the end to “resolve” it.

THE SEA INSIDE [Mar adentro] 2004
Written and directed by Alejandro Amenábar

[b]Padre Francisco: A freedom that ends life is no freedom at all…
Ramón: And a life that ends freedom isn’t a life either…

Joaquín: There’s only one thing worse than having your son die on you…him wanting to.

Ramón: When you can’t escape, and you constantly rely on everyone else, you learn to cry by smiling, you know?

Julia: Why choose death?
Ramón: Well, I want to die because I feel that a life for me, in this state has no dignity. I understand that other quadriplegics may take offense to my saying there’s no dignity in this, but I’m not trying to judge anyone. Who am I to judge those who choose life? So don’t judge me or anyone who wants to help me die.
Julia: You think someone will help?
Ramón: Well, that depends on the powers that be. They’ll have to overcome their fear. But hey, it’s really no big deal. Death has always been with us and always will be. It catches up with all of us. Everyone. It’s part of us. So why are they shocked because I choose to die, as if it were contagious?
Julia: If this goes to court, they’ll ask why you haven’t explored all alternatives. Why refuse a wheelchair?
Ramón: Accepting a wheelchair would be like accepting the scraps of the freedom I lost. Think about this: You’re sitting there, three feet away. What’s three feet? An insignificant distance for any human being. But for me, those three feet that keep me from reaching you, from touching you, are an impossible journey. Just an illusion. A fantasy. That’s why I want to die.

Brother: …I think that it’s not right
Julia: But why not?
Brother: I want what’s best for him. Everyone in this house wants that. Then why would he want to die? I cannot get that into my head. It’s not rational, as he says. I cannot give it to him and I don’t give my authorization to do it in this house.

Ramon: Don’t talk like that about your grandfather.
Ravi [Ramon’s nephew]: His mind is completely gone.
Ramon: Of course, he is old, what do you want?
Ravi: Well, that he stays out of the way. He is at home all day. As if we need him.
Ramon: What? [a long pause] Look, one day…I don’t know when, maybe in a long time…One day you are going to regret so much, so much what you just said. You’ll want the ground to swallow you.
Ravi: But why?
Ramon: One day, you’ll see. One day…

Rosa: I heard what you said and then l saw your eyes and I thought, those eyes full of life! Why would someone with those eyes want to die. Look, we all have problems sometimes and we don’t have to run away of them, you know?
Ramon: No, I don’t run away of my problems…
Rosa: Yes, of course you do. That’s why I wanted to come.
Ramon: What for?
Rosas: To give you reasons to live. To tell you that life…
Ramon: Life what?
Rosa: Is worth it.
Ramon: Let’s see, did you come here to see me or to convince me?
Rosa: No, I came because I want to be your friend Ramon.
Ramon: If you want to be my friend, Rosa, you should start by respecting my wishes.
Rosa: How can you be so closed-minded?
Ramon: Don’t judge me. Don’t judge me Rosa. Not in my own house. Or do you want me to judge you? Do you want me to judge you? Why don’t we talk about the real reason you came. Why don’t we talk about the fact that you are clearly a frustrated woman…that you woke up this Saturday looking for ways of giving reason to your own life.
Rosa bolts from her chair and races out of the room.
Roman: Yes, run. You that can.

Julia: You don’t like looking into the past, right?
Ramon: Of course not, I look into the future.
Julia: And what is the future for you?
Ramon: Death, same as for you. Don’t you think about death? I’m not the only one who thinks about it.
Julia: Yes, yes. Of course I think about it. I just try to avoid it being the only thing I think about.

Ramon: But who’s talking about quadriplegics? I’m talking about me, Ramon Sampedro.

Manuela: Not a minute passes by without a woman coming into this house. Are you building a harem?
Ramon: Manuela, you know I’m only married to one.
Manuela: Yes, to Death.

Ramon [to Julia in his imagination]: They told me you were here. And I came flying.[/b]

Nessun Dorma: The flying sequence in the film

youtube.com/watch?v=7YDHaZq7f_4

Julia: I’ve been reading, Ramon I’ve been reading all that you have done. What you have written…is wonderful.
Ramon: So you are not only a lawyer, but also a writer.
Julia: Ok. Make fun of me. But I tell you that this can be published.
Ramon: Of course it can be published. Nowadays you can publish almost anything.
Julia: I don’t see a better way to support your demand. It’s your voice.
Ramon: Look, Julia, this was more clear at the beginning You came here with a purpose, to help me. Instead of that, you start questioning everything. Looking for reasons…You get inside and meddle with my emotions…

The more she wants him to love her on her terms the more unbearable it becomes to measure the gap between her world and his own.

But then Julia has her own “condition”:

[b]Julia: It’s not about what happened, but about what could happen. Because one day it’s the legs but on another day you can go blind. And you may or may not recover. I have been lucky so far but then comes the next stroke and the next, and the next and no one can tell you when or how they are going to be. No one can tell what is going to be left of you if anything at all…And what is it to be optimistic when there’s not even medication for it. What’s the point of standing up, working, getting your hopes up if at the end comes the next stroke and you fall again and you fall to shit again. Don’t you see how ridiculous it is?..I just can’t take it anymore. This is not life.

Padre Francisco [who is himself a quadriplegic]: You…you who look like kind people, give this man reasons to live. Prove to him that life is not only moving your arms and running around or kicking a ball. Damn it! Life is something else, really Life is so much more. Hear it from me.

Manuela [to Padre Francisco]: Look. you appeared on TV and said something that I can’t get out of my head. You said that Ramon’s family didn’t give him enough love. You should know that in this house no one stopped loving Ramon for one single day. Not one day. I’ve been looking after him for many years and I love him like a son. I don’t know which one of you is right. And I don’t know if it’s true what you say about life belonging to God and not to us but I do know one thing, okay? You have a very big mouth.

Ramon’s brother: Can you tell me what you were doing in there? Do you know what they are talking about? What they want?
Ravi: And what do I do? Lock myself up in my room?
Ramon’s brother: Do you understand what they really want? What happens if he wins the trial? Your uncle gets injected and dies, like a dog. And you’ll never see him again. You will never see him again, Javier. Or do you think death is just a temporary thing? Please use your head. Death is a very serious thing, you hear me? Your uncle dies and you will never see him again!

Julia: What do you think? That I don’t think about what happened to me? Of course, I think about it. Frequently. Every single day. It’s like a nightmare. And I know that it will only get worse and worse until I end up like a vegetable. So I have reached a conclusion and I’m…I’m going to do it Ramon. I’m going to take my own life. But before I do it, if you want to, my love I would like to help you. To leave together.
Ramon: When?
Julia: I don’t know. We are almost done with the book and I’ll go to Barcelona and look for an editor so you can publish it. And then I’ll come back with the first copy. That same day, Ramon. That same day.

Ramon [after Rosa has professed her love for him]: …maybe we should clear up some things. Especially if we are talking about something as complex as love.
Rosa: Complex?
Ramon: Yes Rosa, complex. No matter how much you tell me that you love me, I will never be sure of how real your love is and…or if it’s just an idealization of a man you wanted to find but couldn’t or didn’t.
Rosa: But what are you talking about, Ramon? Don’t try to confuse me. Either you love or you don’t. Love can’t be reasoned out.

Rosa: What if I told you that…that you give me strength to live Ramon.
Rasmon: Wait, wait. Stop this thing for a moment. Sit over there. Let’s see. Do you love your children?
Rosa: Of course I do.
Ramon: Well, there you have the strength to live. Don’t give me that responsibility Rosa. Is that what you call love? Keep me here against my will? Look…The person that really loves me is the one who will help me die. That is loving me, Rosa. That’s loving me.

Ramon [just before he commits suicide]: Judges, political and religious authorities. What does dignity mean to you? Whatever the answer of your conscience is, know that for me, this is not a worthy life. I would have liked to at least die with dignity. Today, tired of the institutional laziness, I see myself forced to do it in hiding, like a criminal. You should know that the processes leading to my death have been carefully divided into small actions that do not constitute a crime by themselves and have been executed by several friendly hands. If even then the state insists in punishing my helpers, I would suggest that you cut their hands, because that is all they contributed The head, I mean the conscience, was provided by me. As you can see, at my side I have a glass of water that contains a dose of potassium cyanide. When I drink it I will cease to exist relinquishing my most precious property. My body. I believe that living is a right not an obligation, as has been in my case forced to accept this sad situation during 28 years, months and some days. After all this time I make a balance of the road traveled and I can’t account for the happiness. Only the time that passed against my will, during most of my life will be my ally from now on. Only time and the evolution of consciences will decide one day if my request was reasonable or not.

Gene [to Julia]: Well, you know that Ramon left me many letters. I think that he enjoyed leaving writings around after he died. The thing is that the other day I found this letter for you.
Julia: Ramon who?
Gene: Ramon Sampedro. Your friend. I introduced you two. Do you remember?
Julia: You did?[/b]

The stroke that finally takes her mind. Is it a good thing or a bad thing for her?

The stranger. The sister. The wife. The mother. The dead girl.

A brutal ensemble in which disparate characters come together to create a whole. But never a whole in the sense most want. We each provide an interpretation of what it means. And of what could have [should have] been done to keep the dead girl alive.

Sex is the culprit here. Sex, men and the modern world.

IMDb:

“The dead girl the film centers on is ironically played by actress Brittany Murphy, who herself dies at a relatively young age of 32, almost three years after the release of this film.”

But not the way Krista died.

THE DEAD GIRL
Written and directed by Karen Moncrieff

[b]Rudy: Hey, you know I always thought it would be the coolest thing if when somebody’s died you could peel off the top layer of their eyeball and develop it like film so you could have a picture of the last thing they saw.

Rudy: You want me to kiss you? [Arden nods her head] You gonna hold still? I don’t have to tie you up, do I?
Arden: Maybe.
Rudy: Maybe what?
Arden: Maybe you should tie me up.

Rudy: I can’t do it like this. You’re not even kissing me. You’re just lying there like you want me to rape you!
Arden: Okay.
Rudy: What, you want me to rape you?
Arden: I’ll kiss you.
Rudy: And take the gloves off.

Arden: I don’t want to talk about serial killers any more.

Derek: I don’t know about you but every now and then I like to be around sonebody that’s not dead.

Leah [to her parents]: Jenny’s dead and I want to have a memorial service…She’s dead. She didn’t run away. She wasn’t raised in the woods by wolves. She didn’t hit her head and forget her name and where she lived, and she’s not staying with some nice family of gypsies. Some man took her and did horrible things to her. And hid her body so well, that we’ll never find her. And it doesn’t matter how many posters we hang or petitions we sign or which picture we put near Jenny’s bench, because she’s dead and she’s never coming back!

Melora: Did she tell you why she ran away?
Rosetta: She probably wasn’t happy
Melora: Did she tell you why?
Rosetta: Other than her stepfather sticking his dick in her? I don’t think so. She probably thought “hey man fuck it, if I’m going to do it I might as well get paid” and her mother was too much of a dish rag to do anything about it. You know, typical, the husband or the kids…they always trust the husband.
Melora: Did she tell you that?
Rosetta: What?
Melora: That her mother knew and chose him?
Rosetta: She probably likes it right? Probably took some of the load off, like having one of your kids help with the laundry
Melora: [starts crying]
Rosetta: You her mom?

Melora: I didn’t know. I had no idea.
Rosetta: Well, now you know.

Melora: Krista had a child?[/b]

How far is this from JonBenet Ramsey? Pretty far. But how about Honey Boo-Boo?

Sorry, these beauty pageants for kids really creep me out.

Lesson #2: Don’t read Nietzsche. Or Proust?

There’s a fine line between colorful and caricature. And these guys go right up to it. It’s a whole new spin on screwball comedy.

This is a really, really funny movie.

IMDb:

“All of the girls acting as participants in the “Little Miss Sunshine” beauty pageant, except Abigail Breslin, were veterans of real beauty pageants. They wore the same costumes, including hair and makeup, and performed the same talent routines as they had in their real-life pageants.”

And:

“The production crew made sure Abigail Breslin really was listening to music in her headphones to keep her from hearing Alan Arkin’s profanity-laced scenes.”

LITTLE MISS SUNSHINE
Directed by Jonathan Dayton and Valerie Faris

[b]Frank: Good night Dwayne.
Dwayne: [scribbles on notepad] Don’t kill yourself tonight.
Frank: Not on your watch Dwayne. I wouldn’t do that to you.
Dwayne: [on notepad] Welcome to hell.
Frank: Thanks Dwayne. Coming from you that means a lot.

Grandpa: Again with the fucking chicken!
Richard: Dad.
Grandpa: It’s always the goddamn chicken!!

Frank: I couldn’t help noticing Dwayne has stopped speaking.

Printed on Dwayne’s tee-shirt: JESUS WAS WRONG

Grandpa: I have Nazi bullets in my ass!

Frank: So who do you hang around with?
Dwayne: [shakes his head]
Frank: No one?
Dwayne: [whips out a pen and notebook from his back pocket. bangs the end of the pen on table and writes on a notepad: “I Hate Everyone.”]
Frank: What about your family?
Dwayne: [deeply underlines “Everyone”]

Richard: Sarcasm is the refuge of losers.
Frank: [sarcastically] It is? Really?
Richard: Sarcasm is losers trying to bring winners down to their level.
Frank: [sarcastically] Wow, Richard, you’ve really opened my eyes to what a loser I am. How much do I owe you for those pearls of wisdom?
Richard: Oh, that one is on the house.

Sheryl: [after Frank tried to commit suicide] I’m so glad you’re still here.
Frank: Well, that makes one of us.

Sheryl: What did he say?
Richard: I’ll tell you when I regain consciousness.

Dwayne: I wish I could just sleep until I was eighteen and skip all this crap-high school and everything-just skip it.
Frank: Do you know who Marcel Proust is?
Dwayne: He’s the guy you teach.
Frank: Yeah. French writer. Total loser. Never had a real job. Unrequited love affairs. Gay. Spent 20 years writing a book almost no one reads. But he’s also probably the greatest writer since Shakespeare. Anyway, he uh… he gets down to the end of his life, and he looks back and decides that all those years he suffered, Those were the best years of his life, 'cause they made him who he was. All those years he was happy? You know, total waste. Didn’t learn a thing. So, if you sleep until you’re 18… Ah, think of the suffering you’re gonna miss. I mean high school? High school-those are your prime suffering years. You don’t get better suffering than that.
Dwayne: You know what? Fuck beauty contests. Life is one fucking beauty contest after another. School, then college, then work… Fuck that. And fuck the Air Force Academy. If I want to fly, I’ll find a way to fly. You do what you love, and fuck the rest.

Grandpa [to Olive]: A real loser is someone who’s so afraid of not winning he doesn’t even try.

Frank: [reading from Dwayne’s notepad] “Where’s Olive?”

Frank: Who is that? Nietzsche? So you stopped talking because of Friedrich Nietzsche? Far out.

Grandpa: [to Frank] And get yourself a fag rag.

Richard: Oh my God, I’m getting pulled over. Everyone, just pretend to be normal.

Olive: Why were you unhappy?
Frank: I fell in love with someone…
[interrupted by Grandpa blowing his nose]
Frank: …who didn’t love me back.
Olive: Who?
Frank: One of my grad students. I was very much in love with him.
Olive: Him? You fell in love with a boy?
Frank: Very much so.
Olive: That’s silly.
Frank: You’re right it was silly. It was very silly
Grandpa: That’s another word for it.

Olive: Mom? Dad?
Richard: [half asleep] What is it, hon?
Olive: Grandpa won’t wake up.

Frank: I take it you didn’t like it at Sunset Manor?
Sheryl: Frank…
Grandpa: Are you kidding me? It was a fucking paradise. They got pool… They got golf… Now I’m stuck with Mr. Happy here, sleeping on a fucking sofa. Look, I know you are a homo and all, but maybe you can appreciate this. You go to one of those places, there’s four women for every guy. Can you imagine what that’s like?
Frank: You must have been very busy.
Grandpa: Ho oh. I had second degree burns on my johnson, I kid you not

Dwayne: No, you’re not my family! I don’t wanna be your family! I hate you fucking people! Divorce? Bankrupt? Suicide? You’re fucking losers, you’re losers!!

Dwayne: I apologize for the things I just said. I was upset, and I didn’t really mean them.

Olive: I’d like to dedicate this to my grandpa, who showed me these moves.
Pageant MC: Aww, that is so sweet.
[Audience applauds]
Pageant MC: Is he here? Where’s your grandpa right now?
Olive: In the trunk of our car.

Officer Martinez: Okay, you’re out. On the condition that you never enter your daughter in a beauty pageant in the state of California, ever again. Ever.
Frank: I think we can live with that.

Dwayne: [after finding out that he is colour blind and can’t fly planes] FUUUUUUCK!

Frank: [as audience members boo Olive’s performance] Where are they? I will kill those little fuckers!

Sheryl: [to Frank] He started snorting heroin.
Frank: [to Grandpa] You started snorting heroin?
Grandpa: [in response to Frank, aimed at Dwayne] Let me tell ya, don’t do that stuff. When you’re young, you’re crazy to do that shit.
Frank: [to Grandpa] Well what about you?
Grandpa: [to Frank] What about me? I’m old. When you’re old you’re crazy not to do it.

Kirby: Your packet has tickets in it, and there’s your badge number.
Richard: Okay.
Kirby: Is there anything else?
Richard: Uh, yeah. Is there a funeral home around here?

Frank: [reading what Dwayne is writing on his notepad] But. I. Am. Not. Going. To. Have. Any. Fun.
Frank: Yeah, we’re all with ya on that one, Dwayne.[/b]

This is a gem if only for the way in which it takes us back to a time when ignorance of sex was nothing short of staggering. And as much in adults, as children.

Sex, as Kinsey propounds, is a manifestation of the “biologic command”. We only have so much control over it.

Kinsey takes science into sex and it explodes a lot of myths rooted in religion. And this says a lot about making distinctions between what is construed to be normal and what really is normal. But nothing at all about what ought to be construed as normal.

IMDb:

“Despite containing relatively few depictions of sexual behavior, the MPAA gave the movie the R rating for all the conversations about sex and verbal descriptions of sexual acts. However, according to director Bill Condon, the MPAA members thanked him afterwards, because they had found the movie very educational nevertheless.”

KINSEY
Written and directed by Bill Condon

[b]Minister: Lust has a thousand avenues–the dance hall, the ice cream parlor…the tenement saloon…the Turkish bath. Like the Hydra it grows new heads everywhere. Even the modern inventions of science are used to cultivate immorality. The gas engine has brought us the automobile joyride…and an even more pernicious menace, the roadside brothel. Electricity has made possible the degrading picture show. Because of the telephone a young woman can hear the voice of her suitor on the pillow, right next to her. And let’s not forget the most scandalous invention of all–the talon-slide fastener, otherwise known as the zipper, which provides every man and boy speedy access to moral oblivion.

Potential interviewer: How old were you when you first tried to pleasure yourself?
Kinsey [sighing]" No. No. No euphemisms. If you’re talking to a college graduate use ‘‘masturbation,’’ ‘‘testicles,’’ ‘‘penis’’ ''vagina, ‘’ ''vulva, ‘’ ''urination, ‘’ ''defecation. ‘’ With the lower-level male, it’s ‘‘jacking off,’’ ‘‘balls’’ ''prick, ‘’ ''cunt, ‘’ ''piss, ‘’ ''shit. ‘’

Boyhood friend: I had one of the old fits again. I tried to stop it.
Young Kinsey [reading from a religious tract]: ‘‘Any habit which causes the sex fluid to be discharged must be resisted. Doctors link it to an assortment of illnesses including insanity, blindness, epilepsy… even death.’’
Friend: What if it happens while you’re asleep?
Kinsey: ‘‘It is said that the loss of one ounce of seminal fluid equals the loss of ounces of blood.’’
Friend: I’m killing myself, and I’m not even awake! What are we supposed to do?
Kinsey: ‘‘Keep your bowels open, read the Sermon on the Mount, sit with your testicles submerged in a bowl of cold water and think of your mother’s pure love.’’

Professor Rice: Abstinence poses no difficulty for the college-age male. Men don’t reach their sexual peak until the age of 40. It is the lower-class male, often Negro, who finds it difficult to control his urges. However, perfect inhibition although an ideal to be striven for is not always achievable. Stress and the worries of the day can lead to a weakening of resolve opening the door to temptation. When tense at bedtime I find there are little tricks to relaxing. If I can’t get to sleep I like to close my eyes and think of all theJohns I know. [ muffled snickering from the class] Oh, and not only Johns. Sometimes Peters. [more snickering, chuckling from the class]
The lone “Negro” Student: How about Dicks?
[The class bursts into loud Laughter]
Professor Rice [nonplussed]: I’m sorry?

Alfred: Love is the answer, isn’t it? But, sex raises a lot of very interesting questions…

Professor Kinsey: Why offer a marriage course? Because society has interfered with what should be a normal biological development causing a scandalous delay of sexual activity which leads to sexual difficulty in early marriage. In an uninhibited society, a 12-year-old would know most of the biology which I will have to give you in formal lectures. So, let’s start with the six stages of the coital sequence.[/b]

Than of course there is the love/lust can of worms. Talk about daseins and “conflicting goods”!

Alfred: It’s not you, Mac. You’re the best partner any man could have.
Clara: I’m just not enough. Is that it?
Alfred: Please, Mac. This is inside of me. To what extent, I don’t know. But I’d be a hypocrite if I pretended it wasn’t there. When I took your history…
Clara: Don’t! Don’t!
Alfred: …didn’t you admit to having sexual feelings for other men?
Clara: Don’t use that against me!
Alfred: I’m sorry. But what keeps you from acting on your feelings? Convention.
Clara: No! It’s our marriage! It’s our children!
Alfred: Exactly. Social restraints.
Clara: Did you ever stop to think that perhaps those restraints are there…to keep people from hurting each other? I don’t sleep with other men because I love you…and I don’t want to hurt you.
Alfred: But what if it didn’t hurt me?
Clara: Then I’d be hurt.
Alfred: You’re just afraid that I won’t love you anymore, which is impossible, Mac. The human animal is capable of all kinds of sexual expression. Not all sex has to be sanctioned by love, enriched by emotion. To the Greeks–
Clara: Stop! Stop lecturing, Prok. Stop using science to justify what you’ve done.
Alfred: Listen to me. You’re my girl. You always will be. The bond we have, the life we share-- sex is nothing compared to that.
Clara: I can’t talk about this anymore.

And that is because talk here just sends us going around and around in circles.

[b][Kinsey’s Voice]: Most people think that what they do sexually is what everyone does…or should do. But I might remark that nearly all the so-called sexual perversions fall within the range ofbiologic normality. For example, masturbation, mouth-genital contacts and homosexual acts are common among most mammals including humans. Society might condemn such practices on moral grounds. However, it’s ludicrous to call them unnatural. But based on the first Book of Genesis and according to public opinion there’s only one correct sexual equation–man plus woman equals baby. Everything else is vice.

Kinsey [teaching his first class] Who can tell me which part of the human body can enlarge a hundred times. You, miss?
Female Student: [indignantly] I’m sure I don’t know. And you’ve no right to ask me such a question in a mixed class.
Alfred: [amused] I was referring to the pupil in your eye, young lady.
[class laughs]

Kinsey [lecturing his class] Why are some cows highly sexed while others just stand there? Why do some men need 20 orgasms a week and others almost none? Because everyone is different. The problem is, most people want to be the same. They find it easier to simply ignore this fundamental aspect of the human condition. They’re so eager to be part of the group that they’ll betray their own nature to get there. If something pleasurable and strongly desired is prohibited it becomes an obsession.[/b]

And not only with respect to sex, eh?

[b]Kinsey: One key to understanding a foreign culture is its pornography. Every culture produces its own peculiar sexual imagery–as distinct as its cuisine. As you can see, Brazil’s imagery tends towards zoophilia while Italy favors nuns and priests. In England, one often sees depictions of the stern headmistress–wankers and spankers. While in the Far East, it’s soft '‘flage’'and light bondage.

Kinsey: One of the aims of science is to simplify. The only way to study sex with any scientific accuracy is to strip away everything but its physiological functions.[/b]

Right.

[b]Interviewer: How often do you reach orgasm?
Research subject: Once.
Interviewer: A day?
Research subject: No. Only once. About 20 years ago. I was sitting on a piano stool listening to music.

Research subject: I guess I was about nine. One of them old gals caught me out in the field. And she say she was gonna show me a new game called ‘‘puddin’.’’ And, well, I guess I kinda liked it.

Clyde: When did you first begin masturbating?
Old Woman: I INVENTED it, son.

Wardell: How old were you when you first engaged in sexual activity with a partner?
Research Subject: 14.
Wardell: How?
Research Subject: With horse.
Wardell: [pause] How often were you having intercourse with animals at age 14?
Research Subject: [stunned] It’s true. I fucked a pony. You are genius, how did you know?
Wardell: You just said you had [pause] sex with horse.
Research Subject: Nooo… Whores, not horse, whores.

Effete Man in Gay Bar: [referring to Kinsey] Mary here says he’s from the University of Indiana and she’d like to interview me about my “sex history”.
Effete Man’s Friend: Tell him to stick around and watch.

Clyde: You know, this thing between Prok and me was fine for a while, but I guess I just really miss sleeping with women.
Alfred: That’s perfectly understandable. It’s clear from your history you have a greater sexual interest in women than men.
Clyde: Good. Then you wont mind if I ask Mac to have sex with me. Only if it appeals to you, of course.
Clara: Would it be separately or together?
Clyde: Oh, no, definitely just you and I.
Clara: I think I might like that. What do you think, Prok?

Alfred: The doctors say my heart sounds like a cement mixer.
Clyde: At least they found one.

Clyde: You know what amazes me? There’s no relation between how sexy a girl looks and her sex life. The ugly ones seem to get all the action.
Clara: I always thought ugly was an ugly word

Reporter: What brings you to New York, Dr. Kinsey?
Kinsey: We’ll be taking the sex histories of artists, writers and actors…including the entire cast of A Streetcar Named Desire.

Reporter: Any plans on a Hollywood picture based on the book?
Kinsey: I can’t think of anything more pointless.[/b]

Then the reactionary [religious] backlash:

[b]Herman: Seems that the archbishop of Fort Wayne tipped off the customs board.
Alfred: What is it with these people? They’re simply depictions of man in his natural state.
Herman: I don’t know much about natural states, Prok but here in the state of Indiana we have a problem.
Alfred: We’ll just have to take the customs office to court.
Herman: And who’s gonna pay for that, the Rockefeller Foundation? You’re an inch away from losing your grant as it is.
Alfred: That’s not true. What do you mean?
Herman: J Edgar Hoover is still annoyed that you won’t help him find homosexuals in the State Department.

Alfred [reading from an article about him]: “Self-appointed messiah of the sexually despised.” ‘‘Having had his way with the male of the species Kinsey now insecticizes American womanhood.’’
Clara: Did you get any sleep at all last night?
Alfred: How many years do I have to study human behavior before I’m no longer an entomologist?
Clara: Why do you read them, Prok?
Alfred: I’m trying to find out why people hate this book so.
Clara: You told them their grandmothers and their daughters are masturbating…having premarital sex, sex with each other. What did you expect?

Alfred: Do you two have any idea what a delicate time this is? Our enemies are watching everything we do. We can’t afford a single slip-up.
Clyde Martin: This has nothing to do with the project.
Alfred: Everything is about the project!
Paul: It’s just a—a misunderstanding.
Alfred: No, it’s not.! You let things get out ofhand with Martin’s wife and now she wants to leave him. Isn’t that right, Martin? [Clyde nods] And what about you, Gebhard? Are you planning to leave Agnes and the kids?
Paul: No, of course not.
Alfred: Then end it.
Paul: I’ve tried.
Alfred: It’s not difficult. Just tell her it’s over. No explanation necessary.
Paul: All right. Clyde, I’m—I’m very sorry about all of this. [Paul leaves the room]
Alfred: I saw this coming. Gebhard should have nipped it in the bud.
Clyde: You are so full of shit! What are we to you, Prok? We’re just lab rats? Is this just another part of the project to prove that sex–No. No, I’m sorry–fucking is nothing more than than friction and harmless fun? Well, let me tell you…that is a risky game, because fucking isn’t just something. It’s the whole thing. And if you’re not careful it will cut you wide open![/b]

Oh, boy. Science meets its own limitations.

[b]Alfred: I thought the rules were clear. No intense romantic entanglements. They only make people’s lives unstable.
Wardell: I guess we all can’t be as disciplined as you, Prok.

Kinsey [trying to persuade a more “adult” audience]: The question of marital infidelity remains one of the most complicated issues facing our society today. Reconciliation of the married individual’s desire for a variety of sexual partners and the maintenance of a stable marriage presents a problem which has not been satisfactorily resolved in our culture. The fact is, America is awash in sexual activity - only a small portion of which is sanctioned by society. - [ Whispering Chatter] Sexual morality needs to be reformed… and science will show the way. - [ Whispering Continues ] - Sometimes–I sometimes wonder what this country would look like if the Puritans had stayed at home. What if all the rogues and libertines had crossed the Atlantic instead? [ Constricted Voice ] But the enforcers of chastity are massing once again to dissuade the scientist, intimidate him…convince him to…cease research.[/b]

Flashback…

Clyde: Just, uh, one more question. You’ve just told me your entire history – childhood, family, career, every person you’ve ever had sex with – but there hasn’t been a single mention of love.
Alfred: That’s because it’s impossible to measure love. And as you know, without measurements, there can be no science. But I’ve been thinking a lot about the problem lately.
Clyde: Oh. Problem?
Alfred: When it comes to love, we’re all in the dark.

Full disclosure: I don’t like sports. And, in particular, I loathe the manner in which professional sports are used to distract millions from the manner in which our political economy thumps “the masses”. As for professional football, to call these guys “heroes” is a disgrace to the human race. In my own opinion, of course.

North Dallas Forty is a not often affectionaite take on this pernicious institution. So, naturally, I loved it.

And it also gives us insights into all the different ways in which a corporation can treat even “a star” as just a piece of meat.

IMDb:

“A semi-fictional account of life as a professional Football (American-style) player. Loosely based on the Dallas Cowboys team of the early 1970s”

And:

“The character of Seth Maxwell (Mac Davis) was allegedly based on quarterback Don Meredith (Meredith was even offered the role); B. A. Strothers (G.D. Spradlin) on Tom Landry, and Phillip Elliott (Nick Nolte) on wide receiver Peter Gent.”

NORTH DALLAS FORTY
Directeed by Ted Kotcheff

[b]Seth: You had better learn how to play the game, and I don’t mean just the game of football.

Conrad Hunter: There’s one thing I learned early on in life. The most important thing a man can have.
Phil: What’s that, money?
Conrad Hunter: Luck. Luck tells me something about a man. If my people are lucky, they tap into a big field. If not, they can have every geology degree in the world and drill one dry duster after another. Look at me. I’m the luckiet man in the world. Sure as hell ain’t brains, is it?

Jo Bob: Where’s your gun, Elliott?
Phil: Freud says that guns are an extension of your dick, Jo Bob

Phil: Jo Bob is here to remind us that the meanest and the biggest get to make all the rules.
Charlotte: Well I don’t agree with that.
Phil: Agreement doesn’t enter into it.

Phil: Oh, hell, they’re shooting at cows!

Seth: Look, you may keep me on the sports page, but he keeps me out of the obituaries. Where the hell would I be with Jo Bob’s confidence destroyed?..Goddamn it, son, what did she expect? These girls know what happens at these parties. That’s why they come here.
Phil: She didn’t seem like that to me.
Seth: Just lay off Jo Bob. I want you both at your best Monday night.
Phil: Oh, for Christ’s sake, I didn’t hurt Jo Bob.
Seth: Damn it, just quit aggravating him. Let him have what he wants.
Phil: What he wants? What about what I want?
Seth: He’s a baby for Christ’s sake. Don’t put yourself on his level. Rise above it.

Seth: Come on, let’s go get in a pile.
Phil: It’s the same old pile, Seth.

Phil: Hey, Del. You gonna get a shot?
Delma: No shots we me, turkey. I can’t stand needles.
Phil: You got the master the game’s technology.
Delma: How do you do that. Take those pills and shots, man. They do terrible things to your body.
Phil: If you last long enough you’ll realize the only way to survive is the pills and shots.
Delma: Not me, turkey. I got respect for my body.
Phil [as Del walks away]: You’ll get past that.

Jo Bob: I’ve never seen titties like yours. Could I show your titties to my friend O.W.?

Coach Johnson: This is national TV. So don’t pick your noses or scratch your nuts.

B.A.: The key to being a professional is consistency. And the computer measures that quality. No one of you is as good as that computer.

Phil: Hey, Douglas, isn’t this the kind of day you’d rather be by a fire with a good book?
Douglas: Fuck you, faggot.

Phil: It’s like you told me, Seth. You got to cheat.
Seth: I wrote the book on that, hoss
Phil: I believe it.

Seth: I never saw a guy having so much fun and crying at the same time!

Seth: You know I’m getting to like the pain.
Phil: Huh?
Seth: Remember when I busted my elbow? I knew it was dislocated the second it happened. When I was laying there, yelling, flopping all over the field in front of all those people, you know what I felt?
Phil: Satisfaction.
Seth: Yeah. I mean, it made me feel like I was doing something important, you know. When the pain got the worst that’s when I felt the most secure.
Phil: I hear ya. I hear ya.
Seth: And the answer is “no”.
Phil: No, what?
Seth: I ain’t never loved nobody.

Coach: Our punting team gave them 4.5 yards per kick more than our reasonable goal and 9.9 yards more than our outstanding. Offense–four turnovers. Five scoring opportunities blown. Third down conversions we failed 6 times more than our seasonal average. Pass completions were 49%. That’s 6.3% less than reasonable and it’s 19% less than our outstanding. That is a negative 19% against Seattle!!

Phil: You can always count on me to do whatever it takes to play. Hell coach, I love needles [pause] I guess that’s what we call maturity. Huh?

Phil: What are you going to call the restaurants?
Jo Bob: “Jo Bob’s Fine Foods”
Phil: “Jo Bob’s Fine Foods - Eat Here, or I’ll Kill Ya!”

Seth: Hell, Poot, we’re all whores; might as well be the best

Phil: [as he receives a numbing injection in his knee] Better football through chemistry.

Monsignor [right before the Big Game]: Dear Lord, I ask your blessing on these brave boys as they venture out to battle.
Coach: TAKE OFF YOUR FUCKING HATS! Sorry, Monsignor.
Monsignor: We ask not for victory, not for glory, not for fame. We ask only for the preservation of our bodies and of our minds. Bless also the entire Hunter family who have so unselfishly given us everything we need for victory. Amen.
Player: LET’S GO KILL THOSE COCKSUCKERS!!

O.W.: Jesus, Jo Bob, we hurt him bad.
Jo Bob: Fuck him. Fuck him.

Jo Bob [to Phil]: You played a good game out there. A good game.
Coach [to Jo Bob] I wish we could say the same thing for you, Jo Bob. You should have studied Weeks tendencies.
Jo Bob: I thought I did.
Coach: You don’t listen. We would have won if we’d studied those tendencies.
O.W.: Aw shit! You never bring us anything to bring in the game except your fucking facts and tendencies! To you, it’s just a business. But to us it’s still got to be a sport.
Coach: You’re supposed to be professional!
O.W.: We work harder than anyone to win. But when we’re dead tired in the fourth quarter winning’s got to be more than just money.
Coach: You’re hired to do a job!
O.W.: I don’t want no fucking job! I want to play football, you assshole! I want some feeling! I want some fucking team spitit!!
Coach: This ain’t no high school. You don’t have to love each other to play.
O.W.: That’s what I mean, you bastard. Everytime I call it a game, you call it a business. And everytime I call it a business, you call it a game. You and B.A. and all the other coaches are chicken shit cocksuckers. No feeling for the game at all. You’ll win, but it will just be numbers on a scoreboard. Numbers, that’s all you care about. That’s not enough for me!
Eliot: Far out!

Phil [to Charlotte]: I thought I was going to start that game. Hell, I even shot up my knee. But they weren’t going to let me start. They were just using me to get another ball player to deaden his leg.

Phil: But what’s important is my performing. The moment of the catch, that feeling, that high. Hell, I can take the crap. I can take the manipulation. I can take the pain. As long as I get a chance to play every Sunday.
Charlotte: I think that this game is twisting your mind.
Phil: The game is not twisting my mind. I know the game. It’s the rules they make up. I’m gonna play. So I’m going by their rules.
Charlotte: You can’t separate one from the other.
Phil: Yeah, but I can’t buck their system or fight them.

Phil: You know, when you think about it, they’re not worse than anybody else, really.[/b]

Oh yeah? Have “they” got a surprise in store for him. Now he is a “suspect”.

[b]Phil: Are you part of this, B.A.?
B.A.: Phil, you have the best hands in football. But there’s a lot more to this business than ability.
Phil: No, no, no, B.A., you’re wrong. You’re wrong because it is ability. It is what I can do with these hands, and that’s why I play the game.
B.A.: It’s dedication. It’s discipline. It’s sacrifice. You can’t take all the time. You have to give something back to the game.
Phil: For Christ’s sake, my nose is busted. I can’t even breathe through it. I can hardly stand up. I haven’t slept more than three hours at a stretch in two years. Isn’t that giving something back? There’s pieces of me scattered from here to Pittsburg. Isn’t that giving something back to the game?
B.A.: It’s your childish attitude. You hurt the team.
Phil: Team? Aw, for Christ’s sake, B.A., we’re not the team! [pointing to the Hunters] They’re the team! These guys right here, B.A., they’re the team. We’re the equipment. We’re the jockstraps, the helmets. And they just depreciate us and take us off their goddamn tax returns!

Phil: You are right, B.A., thank you. It’s time to put away childish things.

Seth: Things get ugly up there?
Phil: Pretty ugly.
Seth: My name come up?

Seth: Hoss, I appreciate you keeping my name out of it.
Phil: Ah, no sweat [pause] You knew about it? You know everything don’t you, Max?
SethL That I do, Poot. That I do.

Seth: Hey, Poot.
Phil: Yeah?
Seth: You got any of them ole pain killers?
Phil [pulling a bottle of pills out of his pocket and tossing it over]: You keep em, cowboy. You’re gonna need them.

Phil: Hey Seth. We really had 'em worried in Chicago, didn’t we?
Seth: Best catch I ever seen Poot.
Phil: Not a bad pass either.[/b]

I have never had even the slightest inclination to gamble. So it is particularly hard for me to fathom the mind of someone who actually gets addicted to it. “Punters” in other words. Especially casino gambling. The “games” here revolve almost entirely around luck. At least with things like poker you can become good at it. There are actual skills to be learned.

But I am addicted to other things so…so how much different can it really be?

Anyway, this film is really more about being on the grift. And if you can con your own flesh and blood [and for their own good no less] the world’s your oyster.

So, in this world, who are the winners and who are the losers?

IMDb:

“Disqualified from the Academy Awards after being shown on Dutch television.”

Huh?

CROUPIER [1998]
Directed by Mike Hodges

[b]Giles: Let me give you three words of advice, Jack. Don’t give up. Stick with it. Who persists wins. That’s my motto. Write, write, write.
Jack [voiceover]: And Jack had three words for, Giles. Go fuck yourself.

Jack [voiceover]: Marion saw life differently. She was a romantic. And thought he was too.

Jack: [voiceover]: Now he had become the still center of that spinning wheel of misfortune. The world turned 'round him leaving him miraculously untouched. The croupier had reached his goal. He no longer heard the sound of the ball.

Jack [voiceover]: Welcome back Jack, to the house of addiction.

Marion [near to tears]: What do I mean to you? I want to know. Tell me.
Jack: You’re my conscience.
Marion: Haven’t you got a conscience of your own?

Jack: If I see you cheating again, I’ll report it.
Matt: I don’t get you. Even if it was true, which it isn’t, what the fuck difference would it make to you?
Jack: Because if a supervisor knew I’d seen you and I hadn’t reported it, I’d lose my job as well. And I can’t afford that.
Matt: So it’s Mr Clean. Wise up, Jack, this whole business is bent. The casino is nothing but legal theft. And that’s OK. It’s the system. Half the punters who come in are using stolen money, drug money, they haven’t earned it. We earn our money.
Jack [voiceover]: Matt was an escape artist. Like Jack’s father.

Jack [voiceover]: Jack could hear Matt saying it…“I want to fuck the whole world over. It’s my mission.” At last he had found what he’d been looking for. A clear and simple theme. And a protagonist to act it out. Little Matt. Chapter One…

Woman at table [to Jack]: What’s that aftershave you’re wearing?
Jack [voiceover]: Never converse with the punters. It slows things down. Speed is volume, and volume is profit for the casino. Aim at 40 spins an hour.

Jack [voiceover as Jani sits down at the table]: Now, this was no coincidence…

Jack [voiceover]: Jani de Villiers had just entered his book…

Jani: Do you believe in astrology?
Jack: Absolutely not! But then, I’m a Gemini.

Marion: I don’t like it at all. You had a wonderful character before, the Gambler. He was so romantic.
Jack: He was a loser. This guy’s a croupier. He can’t lose. People have shat on him all his life. Now he’s in control. He’s a winner.
Marion: Is that your idea of a winner? He doesn’t give a shit about anyone. He uses people and…
Jack: It’s because of the sex, isn’t it? You don’t like the sex in it.
Marion: I don’t give a fuck about the sex. Most men’ll fuck a lamppost. He’s just a miserable zombie. Is that the way you feel now? Is that what’s happened to you?
Jack: Marion. It’s a book.
Marion: Oh really. Then why is he called Jake. Why don’t you come clean and call him Jack. There’s no hope in it.
Jack: It’s the truth.
Marion: Without hope there’s no point to anything.
Jack: Now wait a minute. What’s so hopeful about your job? Spending the day catching poor people stealing. You said yourself the organised gangs get away with it. At least in the casino everybody gets caught. Rich or poor, the odds are the same. It’s all relative.
Marion: Crap. It’s not relative. It’s unfair. Like your casino. It’s designed unfair. And your croupier’s a little shit because he goes along with it.

Bella [to Marion]: Your boyfriend fucked me, smoked my dope, then shopped me. What do you think of that? I can’t get a job now. [to Jack] You bastard. You’re no different from Matt. A pair of vicious little shits, that’s what you are.
Jack: Look Bella, I don’t know anything about this. You should talk to Matt.
Bella: You’re all scumbags.
Marion: I agree.

Jack: Hang on tightly, let go lightly.

Jack: Gambling’s not about money…Gambling’s about not facing reality, ignoring the odds.

Marion: You’re an enigma…you are an enigma.
Jack: [voiceover] I’m not an enigma, just a contradiction.

Jack: [voiceover] A wave of elation came over him; he was hooked again… watching people lose.

Jack: “The world breaks everyone, and afterwards, some are strong at the broken places”-Ernest Hemingway.
Matt: Wasn’t he the one who shot himself?

Jack [voiceover]: The world breaks everyone, and afterwards many are strong at the broken places. But those that will not break, it kills - it kills the very good, and the very gentle, and the very brave, impartially. If you are none of these, you can be sure it will kill you, too, but there will be no special hurry.

Jack [voiceover]: Chapter 13. It’s all numbers, the croupier thought. Spin of the wheel, turn of the card, time of your life, date of your birth, year of your death. In the book of Numbers the Lord said, “Thou shall count thy steps.”

Jack [voiceover]: Jack wondered why he was even considering it. Ten grand. In cash. That was why. But Jack didn’t need the money. His father would have taken it, like a shot. But his father was a gambler. He was always broke. Jack suddenly realised… it was Jake who was considering it.

Jack [voiceover]: He watched their faces as they lost hour after hour, night after night, relentlessly. He questioned the conventional wisdom that gamblers are self- destructive. He had come to believe that in reality, they want to destroy everyone else - their families and loved ones, everyone. Fuck over the whole world…
[The white balls lands. The faces of the losers, resigned, desperate, angry… The punters who are cleaned out get off their chairs, tear up their sequence cards, turn and walk away, quickly, slowly.]
Jack [voiceover]: Without emotion he watched them go. Jake stayed.

Jack [voiceover] So that was it. The final card. Blackjack. His father, eight thousand miles and twenty seven years away, was still dealing to his son Jack from the bottom of the deck. [a smile spreads across his face] But Jake the croupier had a sense of humour.

Jack [voiceover]: Now he had reached the point where he no longer heard the sound of the ball…the spin of the wheel had brought him home to the place where he was born…The croupier’s mission was accomplished…At last he was Master of the Game. He had aquired the power to make you lose.[/b]

I’m trying to imagine my reaction if the blurb said, “based on a true story”. Could someone get into a frame of mind this “mysterious drifter” embodies “in reality”? But then [for all I know] maybe it is based on “actual events”.

To wit: breaking into the homes of families on vacation, using their stuff but then, before leaving, doing all the household chores and fixing anything that’s broken.

Not exactly an epic love story but certainly one worthy fantacizing about. As we flit about between reality and dreams.

3 IRON [Bin-jip] 2004
Written and directed by Ki-duk Kim

[b]Husband: You wanted to go on a vacation so badly. What’s wrong now?
Wife: You call that a vacation? It was hell
[young son points toy gun at father’s head]
Father: Get rid of that right now!
[son goes over to mother and points the gun at her]
Mother: Shoot me. Shoot me. Please, make my day.

Detective: Illegal entry. Murder. Abandoning a dead body. Kidnapping. And what did you do to that woman? What did you do to her to keep her so silent?

Cop: Sir, he’s clean. Also, I called some of the houses he shot with the camera, and they said nothing was stolen.
Detective: Really?

Cop: Sir, the autopsy results have come out. It’s not murder, it’s lung cancer.
Detective: What? Lung cancer? Are they sure?
Cop: Yes, sir. He was delicately shrouded. Apart from a real ceremony, he buried his body better than any son could.

Detective: Smile again.

Prison guard: You son of a bitch! Why do you keep hiding? Wanna disappear from the world altogether?[/b]

International trailer:
youtube.com/watch?v=Ydh1JQSOiH8