philosophy in film

It’s not your America, it’s not my America, it’s their America. And that will make all the difference in the world. America is a frame of mind rooted in a particular set of experiences unfolding at a particular moment in time.

In other words, before it’s all those things that some of us will insist it is instead.

The rest is politics. Which is to say, why should hard working families ever have to live like this in the richest country on earth? And in that regard, those who “run things” here will always be scum to me. But, then again, that’s my America.

Imagine raising your own kids in “the dope addict building”.

Life is hard. But this film, in being based in large part on the director’s own life, shows lots of different ways to make it less so. But nothing ever makes it easy.

And always the same wrenching decision for some: With or without God?

Do you believe in miracles?

[nope]

trailer: youtu.be/CK4sLTF0MPA

IN AMERICA [2002]
Written and directed by Jim Sheridan

[b]Christy [voiceover]: There’s some things you should wish for and some things you shouldn’t. That’s what my little brother Frankie told me. He told me I only had three wishes, and I looked into his eyes, and I don’t know why I believed him.

Immigration Officer: How many children do you have?
Johnny: Three.
Sarah: Two.
Johnny: Two.
Immigration Officer: Says three here.
Johnny: We lost one.

Christy [voiceover]: We heard Manhattan before we ever saw it, a thousand strange voices coming from everywhere. And you’re not going to believe this, but we had to go under the water to get to the city. And we lost contact with everything; it was like we were on another planet.

Ariel: Cool!
Christy: Cool? Where’d you hear that?
Ariel: I don’t know, I just heard it.
Christy: Ugh, you’re already American, it’s disgusting![/b]

Hear, hear!

[b]Johnny: It’s a bit of a hole.

Christy [voiceover]:And then summer came, and with it the heat. And a new word; humidity.

Johnny: Give me the rent money.

Christy [voiceover]: Ariel was worried about a blind man called José.
Ariel: Christy, why can’t José see?
Christy: It’s not “José, can you see”, it’s “Oh say, can you see”.

Johnny: Why would youse wanna be the same as everybody else?
Ariel: 'Cause everybody else goes trick-or-treating.
Sarah: What’s that?
Ariel: It’s what they do here for Halloween.
Johnny: What do you mean? Like, help the Halloween party?
Christy: No. Not help the Halloween party. You don’t ask for help in America. You demand it. Trick-or-treat- you don’t ask, you threaten.
Sarah: You can’t do that on our street.
Christy: Why not?
Sarah: Because you can’t threaten drug addicts and transvestites, that’s why.
Ariel: What are transvestites?
Christy: A man who dresses up as a woman.
Ariel: For Halloween?

Johnny: Do you want me to lie?
Sarah: You’re the only actor in the world who can’t lie, Johnny. Not even for the sake of your kids.
Johnny: What does that mean?
Sarah: If you can’t touch somebody you created, how can you create somebody that’ll touch anybody?
Johnny [bewildered]: What are you going on about?
Sarah: Acting, Johnny. And bringing something to life, it’s the same thing. That’s why you can’t get a job acting, Johnny, because you can’t feel anything.

Mateo: You don’t believe.
Johnny: In what? In God? I asked him a favor once. I asked him to take me instead of him. But he took both of us. And look what he put in my place.

Johnny: Do you wanna be me? Do you wanna be in my place?
Mateo: I wish.
Johnny: Are you in love with her? Are you in love with her?
Mateo: No. I’m in love with you. And I’m in love with your beautiful woman. And I’m in love with your kids. And I’m even in love with your unborn child. I’m even in love with your anger! I’m in love with anything that lives!
Johnny: You’re dying
[long pause]
Johnny: I’m sorry.

Mateo: What was Frankie like?
Johnny: A warrior.
Mateo: Maselu masela.
Johnny: What does that mean?
Mateo: A warrior who is not afraid to go to the other side.
Johnny: The other side of what?

Christy [voiceover]: My mom had to go into hospital, so I thought about using my third wish. But I had to be careful. If the baby came too soon, the baby might die, and if the baby came too late, my mom might die. You have to be careful what you wish for.

Johnny [to himself]: “To be or not to be.” Blah, blah, blah. Whether 'tis nobler in the mind to stick me head in the damn oven and end it all.

Sarah: If the baby dies, just don’t wake me up.

Christy: What if I have it?
Johnny: Have what?
Christy: Mateo’s disease.
Johnny: That’s not possible, Christy?
Christy: How do you know that?
Johnny: God won’t let that happen to you.
Christy: You don’t believe in God.

Ariel: I’m scared.
Johnny: Don’t be scared.
Ariel: Everyone’s dying.

Johnny: Are you okay little girl?
Christy: Don’t “little girl” me. I’ve been carrying this family on my back for over a year, ever since Frankie died. He was my brother too. It’s not my fault that he’s dead. It’s not my fault that I’m still alive.
Johnny: Ah, Christy.
Christy: Mom was always crying because he was her son. But he was my brother too. I cried too…when no one was looking. I talked to him every night.
Ariel: She did, Dad.
Christy: I talked to him every night, until…
Johnny: …until when?
Christy: Until I realized I was talking to myself.

Christy [voiceover]: It was as hard for Frankie to smile when the tumor was malignant as it was for my dad to cry after. But they both managed it. I’m going to switch this off now. It’s not the way I want to see Frankie any more. Do you still have a picture of me in your head? Well, that’s like the picture I want to have of Frankie. One that you can keep in your head forever. So when you go back to reality, I’ll ask Frankie to please, please let me go.[/b]

First of all, a pet peeve of mine. Call it the Jeopardy Syndrome. When someone accummulates an extraordinary amount of knowledge about many vast and varied things we call her “smart”. Someone who solves the New York Times crossword puzzle the fastest. Someone who wins tons of money on Who Wants To be A Millionaire. They know lots and lots and lots of facts about the world around us. Or they have a phenomenal memory.

But what does this sort of knowledge have to do with figuring out things like, say, “why do millions of people still live in festering slums like the one protrayed here—and throughout the entire Third World?” Let alone in proposing possible solutions to rid the world of them.

As for the movie itself…it’s a fairy-tale. A preposterous fairy-tale probably. The same people who believe in it believe they can go on the show, become a millionaire and then live happily ever after. The whole point of movies like this may well be that all the other slum dwellers can live through them vicariously. A brief respite from the reality of their actual lives.

[See the wiki article below for all of the controversies surrounding the film. And the politics]

IMDb

[b]Mercedes-Benz asked that its logos be removed in scenes taking place in the slums. The company, according to Danny Boyle, did not want to be associated with the poverty-stricken area, fearing that that might taint its image.

As of 2010, this and Schindler’s List are the only films to win Best Picture, Director and Screenplay at the Golden Globes, BAFTAs and the Oscars.

Local Indian authorities decided to step in and move the children and their families from slums to new houses.[/b]

IMDb FAQs: imdb.com/title/tt1010048/faq?ref_=tt_faq_sm
wiki: en.wikipedia.org/wiki/Controvers … illionaire

SLUMDOG MILLIONAIRE [2008]
Directed by Danny Boyle, Loveleen Tandan

Title Card: Jamal Malik is one question away from 20 million rupees. How did he do it?
A: He cheated
B: He’s lucky
C: He’s a genius
D: It is written

He’s incredibly lucky! Most of the questions just happen to coincide with events in his life that would allow him to know the answer. It’s called a script. It is written [in other words] in advance.

[b]Interrogator: A little electricity will loosen his tongue. Give him.
Srinivas: Yes sir:
Interrogator [to Jamal who has been tortured and is now hanging from the ceiling]: Okay. So, were you wired up? Mobile or pager? A coughing accomplice in the audience…or a microchip under the skin? Why don’t you save us both a lot of time and tell me how you cheated.

Srinivas: What if he knows the answers?
Police Inspector [whispering to him]: Doctors… Lawyers… never get past 60 thousand rupees. He’s won 10 million.
[pause]
Police Inspector: What the hell can a slumdog possibly know?
Jamal [quietly]: The answers.
[spits out blood]
Jamal [quietly and gently]: I knew the answers.

The mob [shouting]: THEY’RE MUSLIMS, GET THEM!

Jamal: If it wasn’t for Rama and Allah, I would still have a mother.

Prem Kumar: If I were you, Jamal, I’d take the 16,000 rupees and run. You will never get the next one.

Police Inspector: What happened to the girl, they blinded her too?
Jamal: They had other plans for her. It took me a long time to find out.

Jamal [to an American tourist couple after being beaten by a cop]: You wanted to see a bit of the real India?
[then angrily to the cop]
Jamal: Well, here it is!

Jamal: I just need Maman to like my singing, and we’re in the money, big money Latika.
Latika: And then what? Can we stop begging?
Jamal: Begging? Are you kidding? We’ll live in a big house on Harbour Road. You, me and Salim, the three musketeers.
Latika: Harbour Road? Really?
Jamal: Yes, in the moonlight. You and me. You’ll dance with me won’t you?
[dances]
Latika [laughs]: I hope you sing better than you dance.

Salim [holding a gun]: Maman never forgets, isn’t that right?
Maman: Oh, Maman can make an exception, huh?
Salim [pulling the trigger]: I can’t take that risk, Maman. Sorry.

Javed: My enemy’s enemy is a friend.

Salim: Shut up! The man with the Colt 45 says shut up!

Police Inspector: Well, well. The Slumdog barks.

Prem Kumar: Its getting hot in here.
Jamal: Are you nervous?
Prem Kumar [after audience laughs]: What? Am I nervous ? It’s you who’s in the hot seat, my friend!

Salim: I left a message for you at work.
Jamal: There was no message.
Salim: I definitely left a mess…
Jamal: There was no message! There was no message! THERE WAS NO MESSAGE!
[looks down at Salim starting to cry a little]
Jamal: I will never forgive you!
Salim [more to himself]: I know.

Salim: That… used to be our slum. Can you believe that, huh?
[pointing]
Salim: We used to live right there, man. Now, it’s all business. India is at the center of the world now, bhai. And I…I am at the center…of the center. This is all Javed bhai’s.
Jamal: Javed Khan…the gangster from our slum? You work for him?
Salim: Come on, who else do you think would save us from Maman’s guys, huh?
Jamal: What do you do for him?
Salim: Anything he asks.
[pause as Salim’s phone rings]
Salim: He’s coming. You need to go now. Take my card.
Jamal: What for?
Salim: You think I’m gonna let you out of my sights again, huh? You stay with me now, younger brother. Now, go. My place.
Jamal: Salim, where is Latika?
Salim: Still…? She’s gone, brother. Long gone. Now, go. Go to my place.

Jamal: I love you.
Latika: So what?

Prem Kumar: Final question for twenty million rupees, and he’s smiling. I guess you know the answer.
Jamal: Do you believe it, I don’t.
Prem Kumar: You don’t? So you take the ten million and walk?
Jamal: No. I’ll play.[/b]

In the corporate media there are lines the “news division” can go up to and tip-toe around. And 60 Minutes will dance around it with the best of them.

But there are some topics – crony capitalism in the corporate media, the nature of American foreign policy, the military industrial complex – which are still largely taboo. They always remain in the shadows. Even folks like Keith Olbermann, Rachel Maddow, Chris Hayes, Ed Schultz etc. either play the game here, are co-opted or get bounced.

On the other hand, the tobacco industry is an easy target for liberals in the mainstream media. For one thing, they are not advertized on TV anymore.

But what happens when the President of CBS News stands to make a small fortune on the sale of CBS to Westinghouse and that sale might be jeopardized by a lawsuit against B&W?

Every once in a while [in films like this] you get to peek behind the curtain of America’s ruling class. The ending however says little or nothing about the really big lines.

And the last time I looked these very dangerous coffin nails – potent delivery devices for nicotine and carcinogens – are still perfectly legal to buy.

at wiki: en.wikipedia.org/wiki/The_Insider_(film

THE INSIDER [1999]
Directed by Michael Mann

[b]Wigand: How did a radical journalist from Ramparts Magazine end up at CBS?
Bergman: I still do the tough stories. “60 Minutes” reaches a lot of people.

Wigand: So, what you are saying Mr. Sandefur, is it isn’t enough that you fired me. For no good reason! Now you question my integrity? On top of the humiliation of being fired? You threaten me?! You threaten my family?! It never crossed my mind not to honor my agreement…But I will tell you, Mr. Sandefur, and Brown & Williamson, too… Fuck me? Well, fuck you!!

Bergman: They’re afraid of you, aren’t they?
Wigand: They should be.

Wallace: Am I missing something?
John Harris: What do you mean, Mike?
Wallace: I mean, he’s got a corporate secrecy agreement - give me a break! I mean, this is a public health issue! Like an unsafe airframe on a passenger jet or some company dumping cyanide into the East River, issues like that! He can talk, we can air it! They’ve got no right to hide behind a “corporate agreement”! Pass the milk.

Lawyer: The unlimited checkbook. That’s how Big Tobacco wins every time on everything, they spend you to death. Six hundred million a year in outside legal - Chadbourne-Park, uh, Ken Starr’s firm, Kirkland & Ellis? Listen: GM and Ford, they get nailed after eleven or twelve pickups blow up, right? These clowns have never, I mean EVER…
John Harris: Not even once.
Lawyer: - not even with hundreds of thousands dying each year from an illness related to their product, have EVER lost a personal injury lawsuit! On this case, they’ll issue gag orders, sue for breach, anticipatory breach, enjoin him, you, us, his pet dog, the dog’s veterinarian, tie 'em up in litigation for 10 or 15 years, I’m telling you, they bat a thousand every time! He knows that, that’s why he’s not gonna talk to you.

Liane reading her husband’s computer screen: WE WILL KILL YOU. WE WILL KILL ALL OF YOU. SHUT THE FUCK UP.

Agent: Do you have a history of emotional problems, Mr. Wigand?
Wigand: Yes. Yes, I do. I get extremely emotional when assholes put bullets in my mailbox!

Bergman [to FBI agent]: You’d better take a good look, because I’m getting two things: pissed off and curious.

Wallace: You heard Mr. Sandefur say before Congress that he believed nicotine was not addictive.
Wigand: I believe Mr. Sandefur perjured himself because I watched those testimonies very carefully.
Wallace: All of us did, and it was this whole line of people, whole line of CEOs up there, all swearing.
Wigand: Part of the reason I’m here is that I felt that their representations clearly misstated - at least within Brown and Williamson’s misrepresentations - clearly misstated what is common language within the company: “We are in the nicotine delivery business.”
Wallace: And that’s what cigarettes are for.
Wigand: A delivery device for nicotine.
Wallace: A delivery device for nicotine. Put it in your mouth, light it up, and you’re gonna get your fix.
Wigand: You’re gonna get your fix.
Wallace: You’re saying that Brown and Williamson manipulates and adjusts the nicotine fix not by artificially adding nicotine but by enhancing the effect of nicotine through the use of elements such as ammonia?
Wigand: The process is known as “impact boosting”. While not spiking nicotine, they clearly manipulate it. There was extensive use of this technology known as “ammonia chemistry”. It allows for the nicotine to be more rapidly absorbed in the lung and therefore affect the brain and central nervous system. The straw that broke the camel’s back for me, and really put me in trouble with Sandefur, was a compound called coumarin. When I came on board at B. and W., they had tried the transition from coumarin to a similar flavor that would give the same taste, and had been unsuccessful. I wanted out immediately. I was told that it could affect sales, so I should mind my own business. I constructed a memo to Mr. Sandefur indicating I could not in conscience continue with coumarin, a product we now know and we had documentation was similar to coumarin, a lung-specific carcinogen.
Wallace: And you sent the documents to Sandefur?
Wigand: I sent the documents forward to Sandefur. I was told that we would continue to work on a substitute but we weren’t going to remove it as it would impact sales, and that was his decision.
Wallace: In other words, you were charging Sandefur and Brown and Williamson with ignoring health considerations consciously?
Wigand: Most certainly.
Wallace: And on March 24th, Thomas Sandefur, CEO of Brown and Williamson, had you fired. And the reason he gave you?
Wigand: “Poor communication skills.”
Wallace: And you wish you hadn’t come forward? You wish you hadn’t blown the whistle?
Wigand: Yeah, at times I wish I hadn’t done it. There were times I felt compelled to do it. If you ask me would I do it again, do I think it’s worth it? Yeah, I think it’s worth it.

Wigand: How does one…“go…to…jail?” What does my family do? Go on welfare? If my wife has to work? Who’s going to look after the kids? Put food on the table? My children need me. If I’m not teaching…there’s no medical…no medical…even on co-pay, that’s like…Tuition…

Scruggs (low, personal): In the Navy I flew A-6’s off carriers… In combat, events have a duration of seconds, sometimes minutes… But what you’re going through goes on day in and day out. Whether you’re ready for it or not, week in, week out… Month after month after month. Whether you’re up or whether you’re down. You’re assaulted psychologically. You’re assaulted financially, which is its own special kind of violence. Because it’s directed at your kids…what school can you afford… How will that affect their lives. You’re asking yourself: Will that limit what they may become? You feel your whole family’s future’s compromised…held hostage…
[pause]
Scruggs: I do know how it is.

Wigand: Fuck it, let’s go to court.

Caperelli: Well, with tortious interference, I’m afraid…the greater the truth, the greater the damage.
Bergman: Come again?
Caperelli: They own the information he’s disclosing. The truer it is, the greater the damage to them. If he lied, he didn’t disclose their information. And the damages are smaller.
Bergman: Is this “Alice in Wonderland”?

Bergman [to Caperelli]: Is CBS corporate telling CBS News do not go to air with this story?

Bergman [after Kluster demands that Wigand’s interview be censored into an alternate version]: I’m not touching my film.
Eric Kluster: I’m afraid you are.
Bergman: No, I’m not.
Eric Kluster: We’re doing this with or without you, Lowell. If you like, I can sign another producer to edit your show.
Bergman: Uh, since when has the paragon of investigative journalism allowed LAWYERS to determine the news content on 60 minutes?

Bergman: Before you go…I discovered this SEC filing…For the sale of the CBS Corporation to Westinghouse Corporation.
Wallace: What?
Hewitt: Yeah, I heard rumors.
Bergman: It’s not a rumor. It’s a sale. If Tisch can unload CBS for $81 a share to Westinghouse and then is suddenly threatened with a multibillion-dollar lawsuit from Brown & Williamson, that could screw up the sale, could it not?
Kluster: (serene) And what are you implying?
Bergman: I’m not implying. I’m quoting. More vested interests…(reading from SEC filing) “Persons Who Will Profit From This Merger… (pause) Ms. Helen Caperelli, General Counsel of CBS News, 3.9 million. Mr. Eric Kluster, President of CBS News, 1.4 million…”
Hewitt: Are you suggesting that she and Eric are influenced by money?
Bergman: Oh, no, of course they’re not influenced by money. They work for free. And you are a Volunteer Executive Producer.
Hewitt: CBS does not do that. And, you’re questioning our journalistic integrity?!
Bergman: No, I’m questioning your hearing! You hear “reasonable” and “tortious interference.” I hear… “Potential Brown & Williamson lawsuit jeopardizing the sale of CBS to Westinghouse.” I hear… “Shut the segment down. Cut Wigand loose. Obey orders. And fuck off…!” That’s what I hear.

Bergman: You pay me to go get guys like Wigand, to draw him out. To get him to trust us, to get him to go on television. I do. I deliver him. He sits. He talks. He violates his own fucking confidentiality agreement. And he’s only the key witness in the biggest public health reform issue, maybe the biggest, most-expensive corporate-malfeasance case in U.S. history. And Jeffrey Wigand, who’s out on a limb, does he go on television and tell the truth? Yes. Is it newsworthy? Yes. Are we gonna air it? Of course not. Why? Because he’s not telling the truth? No. Because he is telling the truth. That’s why we’re not going to air it. And the more truth he tells, the worse it gets!
Hewitt: You are a fanatic. An anarchist. You know that? If we can’t have a whole show, then I want half a show rather than no show. But oh, no, not you. You won’t be satisfied unless you’re putting the company at risk!
Bergman: C’mon, what are you? And are you a businessman? Or are you a newsman?! Because that happens to be what Mike and I do for a living…
Wallace: Lowell…
Bergman: “Put the corporation at risk”…? Give me a fucking break!
Wallace: Lowell…
Bergman: These people are putting our whole reason for doing what we do…on the line!
Wallace: Lowell!
Bergman: What?
Wallace: I’m with Don on this.

Wallace [to Bergman]: Do me a favor, will you - spare me, for God’s sake, get in the real world, what do you think? I’m going to resign in protest? To force it on the air? The answer’s “no”. I don’t plan to spend the end of my days wandering in the wilderness of National Public Radio. That decision I’ve already made.

Wallace [after watching a preview of the “60 Minutes” Wigand interview that has been edited]: Where’s the rest? Where the hell’s the rest? [to Eric Kluster] You cut it! You cut the guts out of what I SAID!
Kluster: It was a time consideration, Mike.
Wallace: Time? Bullshit! You corporate lackey! Who told you your incompetent little fingers had the requisite skills to edit me! I’m trying to band-aid a situation, here, and you’re too dim to…
[Wallace is interrupted by Helen Caperelli, who walks up to him and Kluster]
Caperelli: Mike… Mike… Mike…
Wallace [ Caperelli]: Mike? Mike!
[there is a long pause]
Wallace: Mike? Try Mr. Wallace. We work in the same corporation doesn’t mean we work in the same profession. What are you gonna do now? You gonna finesse me? Lawyer me some more? I’ve been in this profession FIFTY FUCKING YEARS! You and the people you work for are destroying the most-respected, the highest-rated, the most-profitable show on this network!

Wigand [to Bergman]: You fought for me? You manipulated me into where I am now - staring at the Brown and Williamson Building. It’s all dark except the tenth floor. That’s the legal department, where they fuck with my life!

Wigand: I’m just a commodity to you, aren’t I? I could be anything. Right? Anything worth putting on between commercials.
Bergman: To a network, probably, we’re all commodities. To me? You are not a commodity. What you are is important.

Wallace: In the real world, when you get to where I am, there are other considerations.
Bergman: Like what? Corporate responsibility? What, are we talking celebrity here?
Wallace: I’m not talking celebrity, vanity, CBS. I’m talking about when you’re nearer the end of your life than the beginning. Now, what do you think you think about then? The future? In the future I’m going to do this? Become that? What future? No. What you think is “How will I be regarded in the end?” After I’m gone. Now, along the way I suppose I made some minor impact. I did Iran-Gate and the Ayatollah, Malcolm X, Martin Luther King, Saddam, Sadat, etcetera, etcetera. I showed them thieves in suits. I’ve spent a lifetime building all that. But history only remembers most what you did last. And should that be fronting a segment that allowed a tobacco giant to crash this network? Does it give someone at my time of life pause? Yeah.

Bergman: This news division has been villified by the New York Times! In print, on television, for caving to corporate interests!
Hewitt: New York Times ran a blow by blow of what we talked about behind closed doors! You fucked us!
Bergman: No, you fucked you! Don’t invert stuff! Big Tobacco tried to smear Wigand, you bought it. The Wall Street Journal, here: not exactly a bastion of anti-capitalist sentiment, refutes Big Tobacco’s smear campaign as the lowest form of character assassination! And now, even now, when every word of what Wigand has said on our show is printed, the entire deposition of his testimony in a court of law in the State of Mississippi, the cat totally out of the bag, you’re still standing here debating! Don, what the hell else do you need?
Hewitt: Mike, you tell him.
Wallace: You fucked up, Don.

Bergman: I quit, Mike.
Wallace: Bullshit.
[Bergman shakes his head]
Wallace: C’mon, it all worked out. You came out okay in the end…
Bergman: I did? What do I tell a source on the next tough story? Hang in with us. You’ll be fine…maybe? What got broken here…doesn’t go back together again.[/b]

The whole thing is just made up. A fairy-tale. A fantasy. And once you start with that how do you go about fitting it into the actual facts of history? The Nazis. The Holocaust. The Second World War. About as far removed from a fantasy as the human condition gets.

If I were a Jew, how might my reaction to it be different? But since Jews are no less dasein that will always only be more or less relevant.

Still, some will put it up along side inventions like Maus and complain this is what the Jews should have done. That, in other words, they more or less just let it all happen to them. As though creating something like the Basterds was really all there was to turning the tide.

I don’t know what Tarantino’s reaction to that is. But it must be a whole lot easier to kill the Nazis when all you have to do is write it in the script.

Then there are those who complain he doesn’t take Nietzsche’s warning about becoming a monster seriously enough. Brutes going after brutes. The end justifying the means. Any means.

IMDb

[b]When asked about the misspelled title, director Quentin Tarantino gave the following answer: “Here’s the thing. I’m never going to explain that. You do an artistic flourish like that, and to explain it would just take the piss out of it and invalidate the whole stroke in the first place.”

When asked how he got into the violent, baseball bat-wielding mindset of “The Bear Jew”, Eli Roth partially attributed his performance to the historically accurate costumes: “Being in wool underwear will make you want to kill anything.”

According to Brad Pitt, the film was shot sequentially.

Quentin Tarantino had all of the actors playing the Basterds go through a day of “scalping training” in preparation for the movie, and told them that the three best practice scalpers would be rewarded with close-ups of them doing just that in the film.[/b]

FAQs at IMDb: imdb.com/title/tt0361748/faq?ref_=tt_faq_sm
At wiki: en.wikipedia.org/wiki/Inglourious_Basterds

INGLOURIOUS BASTERDS [2009]
Written and directed by Quentin Tarantino

[b]Col. Landa: Now if one were to determine what attribute the German people share with a beast, it would be the cunning and the predatory instinct of a hawk. But if one were to determine what attributes the Jews share with a beast, it would be that of the rat. If a rat were to walk in here right now as I’m talking, would you treat it to a saucer of your delicious milk?
Perrier LaPadite: Probably not.
Col. Landa: I didn’t think so. You don’t like them. You don’t really know why you don’t like them. All you know is you find them repulsive. Consequently, a German soldier conducts a search of a house suspected of hiding Jews. Where does the hawk look? He looks in the barn, he looks in the attic, he looks in the cellar, he looks everywhere he would hide, but there’s so many places it would never occur to a hawk to hide. However, the reason the Führer’s brought me off my Alps in Austria and placed me in French cow country today is because it does occur to me. Because I’m aware what tremendous feats human beings are capable of once they abandon dignity.

Lt. Raine: My name is Lt. Aldo Raine and I’m putting together a special team, and I need me eight soldiers. Eight Jewish-American soldiers. Now, y’all might’ve heard rumors about the armada happening soon. Well, we’ll be leaving a little earlier. We’re gonna be dropped into France, dressed as civilians. And once we’re in enemy territory, as a bushwhackin’ guerrilla army, we’re gonna be doin’ one thing and one thing only… killin’ Nazis. Now, I don’t know about y’all, but I sure as hell didn’t come down from the goddamn Smoky Mountains, cross five thousand miles of water, fight my way through half of Sicily and jump out of a fuckin’ air-o-plane to teach the Nazis lessons in humanity. Nazi ain’t got no humanity. They’re the foot soldiers of a Jew-hatin’, mass murderin’ maniac and they need to be dee-stroyed. That’s why any and every every son of a bitch we find wearin’ a Nazi uniform, they’re gonna die. Now, I’m the direct descendant of the mountain man Jim Bridger. That means I got a little Injun in me. And our battle plan will be that of an Apache resistance. We will be cruel to the Germans, and through our cruelty they will know who we are. And they will find the evidence of our cruelty in the disemboweled, dismembered, and disfigured bodies of their brothers we leave behind us. And the German won’t not be able to help themselves but to imagine the cruelty their brothers endured at our hands, and our boot heels, and the edge of our knives. And the German will be sickened by us, and the German will talk about us, and the German will fear us. And when the German closes their eyes at night and they’re tortured by their subconscious for the evil they have done, it will be with thoughts of us they are tortured with. Sound good?
The Basterds: YES, SIR!
Lt. Raine: That’s what I like to hear. But I got a word of warning for all you would-be warriors. When you join my command, you take on debit. A debit you owe me personally. Each and every man under my command owes me one hundred Nazi scalps. And I want my scalps. And all y’all will git me one hundred Nazi scalps, taken from the heads of one hundred dead Nazis. Or you will die tryin’.

Lt. Raine: Sgt. Hugo Stiglitz?
[Stiglitz nods]
Lt. Raine: These are the Basterds, ever heard of us?
[Stiglitz nods again]
Lt. Raine: We just wanted to say we’re a big fan of your work. When it comes to killing Nazis I think you show great talent. And I pride myself on having an eye for that kind of talent. But your status as a Nazi killer is still amateur. We all come here to see if you wanna go pro.

Lt. Raine [Drawing a map]: Up the road apiece, there’s a orchard. Now, besides you, we know there’s another kraut patrol fuckin’ here somewhere. Now if that patrol were to have any crackshots, that orchard would be a goddamn sniper’s delight. Now if you ever want to eat a sauerkraut sandwich again, you gotta show me on this map where they are, you gotta tell me how many there are, and you gotta tell me what kinda artillery they’re carrying with ‘em.
Sgt. Rachtman: You can’t expect me to divulge information that would put German lives in danger?
Lt. Raine: Well Werner, that’s where you’re wrong, because that’s exactly what I expect. I need to about Germans hiding in them trees, and you need to tell me, and you need to tell me right now. Now take your finger and point out on this map where this party’s being held, how many’s coming, and what they brought to play with.
Sgt. Rachtman: I respectfully refuse.
Lt. Raine [a smack is heard offscreen]: Here that? That’s Sgt. Donny Donowitz. But you might know him better by his nickname. The Bear Jew. Now, if you heard of Aldo the Apache, you gotta have heard of the Bear Jew.
Sgt. Rachtman: I have heard of the Bear Jew.
Lt. Raine: What did you hear about him, Werner?
Sgt. Rachtman: He beats German soldiers with a club.
Lt. Raine: He bashes their brains in with a baseball bat is what he does. Now, Werner, I’m gonna ask you one more goddamn time, and if you still “respectfully refuse,” I’m callin’ the Bear Jew over here, and he’s gonna take that big-ole bat of his, and he’s gonna beat you to death with it. Now take your wiener schnitzel lickin’ finger and point out on this map what I want to know.
Sgt. Rachtman: Fuck you.
[pause]
Sgt. Rachtman: And your Jew dogs!
[the Basterds all laugh]
Lt. Raine: Actually, Werner, we’re all tickled to here you say that. Frankly, watchin’ Donny beat Nazis to death is is the closest we ever get to goin’ to the movies.
[calling offscreen]
Lt. Raine: DONNY!
Sgt. Donowitz [from offscreen]: Yeah?
Lt. Raine: We got a German here who wants to die for his country! Oblige him!

Sgt. Donowitz [watching Aldo carve a swastika into Private Butz’s forehead]: You know, Lieutenant, you’re getting pretty good at that.
Lt. Raine: You know how you get to Carnegie Hall, don’t ya? Practice.

Lt. Raine: You probably heard we ain’t in the prisoner-takin’ business; we in the killin’ Nazi business. And cousin, business is a-boomin’.

Lt. Raine: You didn’t say the goddamn rendezvous was in a fuckin’ basement.
Lt. Hicox: I didn’t know.
Lt. Raine: You said it was in a tavern.
Lt. Hicox: It is a tavern.
Lt. Raine: Yeah, in a basement. You know, fightin’ in a basement offers a lot of difficulties. Number one being, you’re fightin’ in a basement!

Lt. Hicox: You know, we’re not looking for trouble, right now. We’re simply making contact with our agent. Should be uneventful. However, on the off chance I’m wrong, and things prove eventful. I need to know, we can all remain calm.
Sgt. Stiglitz: I don’t look calm to you?

Major Hellstrom: Did you hear that? That’s the sound of my Luger pointed right at your testicles.
Lt. Wilcox: Why do you have a Luger pointed at my testicles?
Major Hellstrom: Because you’ve just given yourself away, Cap’t. Your no more German then that scotch.
Lt. Wilcox: Well, Major…
Bridget von Hammersmark: Major…
Major Hellstrom: Shut up slut. (To Hicox) You were saying?
Lt. Hilcox: I was saying that makes two of us. I’ve had a gun pointed at your balls since you sat down.

Bridget von Hammersmark: I can see since you didn’t see what happened inside, the Nazis being there must look odd.
Lt. Raine: Yeah, we got a word for that kinda odd in English. It’s called suspicious.

Lt. Raine: Well, I speak the most Italian, so I’ll be your escort. Donowitz speaks the second most, so he’ll be your Italian cameraman. Omar speaks third most, so he’ll be Donny’s assistant.
Pfc. Ulmer: I don’t speak Italian.
Lt. Raine: Like I said, third best.

Col. Landa [to Aldo]: So you’re “Aldo the Apache”.
Lt. Raine: So you’re “the Jew Hunter”.
Col. Landa: A detective. A damn good dectective. Finding people is my specialty so naturally I work for the Nazis finding people, and yes some of them were Jews. But “Jew Hunter”? It’s just a name that stuck.
Pfc. Utivich: Well, you do have to admit, it is catchy.
Col. Landa: Do you control the nicknames your enemies bestow on you? “Aldo the Apache” and “the Little Man”?
Pfc. Utivich [confused]: What do you mean “the Little Man”?
Col. Landa: Germans’ nickname for you.
Pfc. Utivich: The Germans’ nickname for me is “the Little Man”?
Col. Landa: And as if to make my point, I’m a little surprised how tall you were in real life. I mean, you’re a little fellow, but not circus-midget little, as your reputation would suggest.

Lt. Raine: You know, where I’m from…
Col. Landa: Yeah, where is that, exactly?
Lt. Raine: Maynardville, Tennessee.
[pause]
Lt. Raine: I’ve done my share of bootlegging. Up ‘ere, if you engage in what the federal government calls ‘illegal activity,’ but what we call ‘just a man tryin’ to make a livin’ for his family sellin’ moonshine liquor,’ it behooves oneself to keep his wits. Long story short, we hear a story too good to be true…it ain’t.
Col. Landa: Sitting in your chair, I would probably say the same thing. And 999, 999 times out of a million, you would be correct. But in the pages of history, every once in a while, fate reaches out and extends its hand.
[he slowly sweeps his arms out in a grand shrug]
Col. Landa: What shall the history books read?

Col. Landa: By the way, that last part is actually true.

Col. Landa: You’ll be shot for this!
Lt. Raine: Nah, I don’t think so. More like chewed out.

Lt. Raine: You know somethin’, Utivich? I think this just might be my masterpiece.[/b]

This sort of relationship is as philosophical as you need it to be.

We take these things out on each other…and we do it in an essentially absurd and meaningless world that dumps on us time and time and time again. We contribute to the wreckage, sure, but there is so much more “out there” that sets it all in motion. We’ll even make things up to bear it.

You just don’t see much of it here.

What makes this a particularly dysfunctional baroom brawl is how effectively the protagonists parlay their exceptional wit. They are born and bred of the university. So they are quite intelligent. This isn’t Al and Peg Bundy here.

Or maybe this is just reflective of the times. The gap between the 50s in theory and the 50s in practice.

And they are all bombed out of their skulls. All the easier to endure lives that are never fully anchored in either illusion or reality.

IMDb

Edward Albee said he came up with the title when he saw the phrase written on a men’s room wall in a New York tavern.

On the other hand:

[b]The title comes from rewriting the words to the children’s song, “Who’s afraid of the big bad wolf?” It comes up as a joke at Martha’s father’s party. The song is significant because it ties together the themes of childhood and parenthood, reality versus fantasy, and career success. The couples in this play do not have any children and remain tied to their parents. Martha and George rely on Martha’s father for his position and his paycheck. Honey and Nick rely upon Honey’s father for the money that he left them. This song, bastardized from a children’s ditty, shows how all four characters in the play still function more as children than they do as adults. The fact that the name is changed to “Virginia Woolf” is also significant. In her writing, Virginia Woolf attempted to reveal the truth of human experience, emotion, and thought: all of the things that the couples in this play try to cover up. When the couples sing the song together, then, they are making fun of their own fear of the truth. George, who seems to want to get back to some truthful interaction with Martha, only sings the song when he tries to overpower Martha’s disparagement of him, when Martha is necking with Nick, and when he tries to comfort Martha in the end. If one looks closely at these three different moments, it is clear that George uses the song to stop Martha from revealing truth about himself, to tease Martha for hiding from the truth behind an affair, and to give her courage to live without the phoniness they are used to. The song is consistently tied to moments in which the characters are projecting, or attempting to project, a false image. Finally, the song also ties into the theme of academic competition at the unnamed college where George and Nick work. Virginia Woolf is known to be a complex, difficult writer. Because she is an intellectual challenge, no one competing to demonstrate intellectual power would want to admit to being afraid of not understanding her writing. The song is a witty joke, but it also represents the very real, though also very petty, fear so common in intellectual circles.

The MPAA insisted on the removal of the term “screw you” from the film where it was replaced with the term “God damn you” but allowed the terms “screw” and “hump the hostess” to remain in the film.

When the film was shown on network television for the first time, some local television affiliates bumped the broadcast from 9:00 P.M. to 11:30 P.M., because a film with such adult language had never been shown on network TV.[/b]

WHO’S AFRAID OF VIRGINIA WOOLF? [1966]
Directed by Mike Nichols

[b]Martha: What a dump!

Martha: I swear, if you existed, I’d divorce you.

George: And try to keep your clothes on too. There’s no more sickening sight than you drunk and your skirt over your head.

Nick: Who did the painting?
George: Some Greek with a mustache Martha attacked one night.
Nick: It’s got a…
George: Quiet intensity?
Nick: Well, no, a…
George: Well then, a certain noisy relaxed quality maybe?
Nick: No, what I meant was…
George: How about a quietly noisy relaxed intensity?

George: Martha? Rubbing alcohol for you?

Nick [to Honey]: We’ll go in a little while.
George: Oh no. No, you mustn’t. Martha is changing, and Martha is not changing for me, Martha hasn’t changed for me in years. If Martha is changing, that means we’re going to be here for days. You’re being accorded an honor, and you mustn’t forget that Martha is the daughter of our beloved boss. She is his right…arm. I was going to use another word, but we’ll leave that sort of talk to Martha.

George [after Martha has changed into an embarrassingly tight and revealing outfit]: Why Martha! Your Sunday chapel dress!

Martha [derogatorily to George]: Hey, swamp! Hey swampy!
George: Yes, Martha? Can I get you something?
Martha: Ah, well, sure. You can, um, light my cigarette, if you’re of a mind to.
George: No. There are limits. I mean, a man can put up with only so much without he descends a rung or two on the old evolutionary ladder, which is up your line. Now, I will hold your hand when it’s dark and you’re afraid of the boogeyman and I will tote your gin bottles out after midnight so no one can see but I will not light your cigarette. And that, as they say, is that.
Martha: Jesus.

George: Pow. You’re dead.

George: Martha, in my mind you’re buried in cement right up to the neck. No, up to the nose, it’s much quieter.

George: I wouldn’t go on if I were you.
Martha: You wouldn’t? Well, you’re not!
George: You’ve already sprung a leak about you-know-what.
Martha: What?
George: About the little bugger. Our son. If you start in on this, I warn you…
Martha: I stand warned.

Martha: I hope that was an empty bottle, George! You can’t afford to waste good liquor, not on YOUR salary! Not on an associate professor’s salary!

Nick: I’m tired, I’ve been drinking since nine o’clock, my wife is vomiting, there’s been a lot of screaming going on around here!

George: You take the trouble to construct a civilization, to build a society based on the principles of… of principle. You make government and art and realize that they are, must be, both the same. You bring things to the saddest of all points, to the point where there is something to lose. Then, all at once, through all the music, through all the sensible sounds of men building, attempting, comes the Dies Irae. And what is it? What does the trumpet sound? Up yours.

[George takes a corner too fast, tossing everyone in the car from side to side]
Martha: Aren’t you going to apologize?
George: Not my fault, the road should’ve been straight.
Martha: No, aren’t you going to apologize for making Honey throw up?
George: I didn’t make her throw up.
Martha: What, you think it was sexy back there? You think he made his own wife sick?
George: Well, you make me sick.
Martha: That’s different.

George: I used to drink brandy.
Martha: You used to drink bergin, too.

George: Well, that’s one game. What shall we do now? Let’s do something else. We played Humiliate the Host, what’ll we do now? We must know other games, us college types. Can’t be the limit of our vocabulary. Haven’t had enough? There are other games. How about… How about Hump the Hostess? Want to play that one? Do you want to play Hump the Hostess?

George: And that’s how you play “Get the Guests”.

George: You can sit around with the gin running out of your mouth; you can humiliate me; you can tear me to pieces all night, that’s perfectly okay, that’s all right.
Martha: You can stand it!
George: I cannot stand it!
Martha: You can stand it, you married me for it!

George: You’re a monster - You are.
Martha: I’m loud and I’m vulgar, and I wear the pants in the house because somebody’s got to, but I am not a monster. I’m not.
George: You’re a spoiled, self-indulgent, willful, dirty-minded, liquor-ridden…
Martha: SNAP! It went SNAP! I’m not gonna try to get through to you any more. There was a second back there, yeah, there was a second, just a second when I could have gotten through to you, when maybe we could have cut through all this, this CRAP. But it’s past, and I’m not gonna try.

Martha: I looked at you tonight and you weren’t there… And I’m gonna howl it out, and I’m not gonna give a damn what I do and I’m gonna make the biggest god-damn explosion you’ve ever heard.
George: Try and I’ll beat you at your own game.
Martha: Is that a threat George, huh?
George: It’s a threat, Martha.
Martha: You’re gonna get it, baby.
George: Be careful Martha. I’ll rip you to pieces.
Martha: You’re not man enough. You haven’t the guts.
George: Total war?
Martha: Total.

Honey: I’m gonna be sick.
George: Ah yeah that’s nice.
Honey: I’m gonna die.
George: Good, good. Go right ahead.

Martha [mostly to herself]: George, my husband… George, who is out somewhere there in the dark, who is good to me - whom I revile, who can keep learning the games we play as quickly as I can change them. Who can make me happy and I do not wish to be happy. Yes, I do wish to be happy. George and Martha: Sad, sad, sad. Whom I will not forgive for having come to rest; for having seen me and having said: “yes, this will do”. Who has made the hideous, the hurting…the insulting mistake of loving me. And must be punished for it. Sad, sad, sad.

Martha: Truth and illusion, George. You don’t know the difference.
George: No, but we must carry on as though we did.
Martha: Amen.

George: When you get through the skin, and through the muscle…and slosh aside the organs, down to the bone, you know what you do? When you get down to the bone you aren’t all the way. Something’s inside the bone. The marrow. That’s what you got to get at.

Martha: A drowning man takes down those nearest, and he tried. And, God, how I fought him! How I fought him! The one thing…I tried to carry unscathed through the sewer of our marriage…through the sick nights and the pathetic, stupid days…through the derision and the laughter. God, the laughter! Through one failure after another. Each attempt more numbing, more sickening than the one before. The one thing, the one person I tried to protect…to raise above the mire of this vile, crushing marriage…the one light in all this hopeless darkness! Our son!

George: Who’s afraid of Virginia Woolf? Who’s afraid of Virgina Woolf?
Martha: I am, George.
George: Who’s afraid of Virginia Woolf?
Martha: I am, George. I am.[/b]

You don’t come across many true stories stranger than this one. Not in this sport. Is it all in the genes? Or mostly in the genes? Or is part of it buried in experiences some have at a very early age.

Nong Toom is thought to be a kathoey in Thailand. A ladyboy. This, in other words:
en.wikipedia.org/wiki/Kathoey
But he [now she] is more a sao praphet song.

I have absolutely no interest whatsoever in these manly arts myself. But I do know a fascinating story when I see one. And what balls this guy had to step into the ring like that. But then he becomes a celebrity. Shades of Ziggy Stardust.

And there is the thrill of victory.

Based on a true story.

trailer: youtu.be/6orM84owB7M

BEAUTIFUL BOXER [บิวตี้ฟูล บ๊อกเซอร์] 2004
Written [in part] and directed by Ekachai Uekrongtham

Jack [interviewer]: When did you first realize you wanted to be a woman? When did it all start?

And back in time we go…

Friend: Come to the temple fair with me, tonight.
Toom: I don’t like watching kickboxing. How could men just beat each other up like that? So painful…
Friend: For the prize money. If you win, you’ll get 500 baht!

And thus the birth of yet another human irony.

Mother: Toom, don’t go and fight with people again. You could get hurt. And it’s not your kind of thing.
Toom: I know. But I felt good today.
Mother: To be punched and kicked at?
Toom: No, Ma, to be able to protect myself.

There is that part.

[b]Toom [to Nat]: Is it true that kickboxers can make a lot of money?

Pi Chart [to exhausted Toom]: Just imagine that what you want most in the world is at the top. Now run to it.

Toom: Pi Bua, I don’t belong here. I’ll never be good at kickboxing. And Thai boxing is nothing but violence.

Toom [watching Pi Chart’s more advanced boxers perform like gymnists]: How beautiful.
Pi Bua: It is.
Toom: How come Pi Chart has never taught me these moves?
Pi Bua: He’ll only teach you when you are good enough.
Toom: What if I’m never good enough?
Bi Bua: Then Thai boxing will be nothing to you but violence.

Toom [to Jack]: It seemed the more makeup I put on the harder my opponents kicked me. So I kicked back harder still.

Toom [to Jack]: The crowd loved it when I kissed my defeated opponent. Especially the reporters. But they don’t know that I kiss to say, “I’m sorry, I don’t like to hurt strangers”. But in the ring, you have no choice.

Tam [to Noom]: Don’t you realize everyone thinks you’re a clown? They’re all laughing at you? Don’t you know that?!

Pi Bua: You are a clown the day you stop fighting like a man in the ring.

Toom: Pi Moo, do you think they will let me wear a bra in the ring?

Toom: That was the first time I had fought a woman. And the first time I wasn’t sure who I was. Or what I had become. A woman in a boxer’s body? Or an animal in a circus show?

Title card: Nong Toom is now a model and actress based in Bangkok. She no longer has to hide in toilets to put on her makeup.[/b]

It’s about how lives intertwine and the meaning we give to them while immersed in the flow. Part of a triology. Amores Perros is set in Mexico, 21 Grams in America and Babel spans the globe.

But it’s always about how human relationships become entangled in events and the extent to which we are or are not able to untangle them. Or make sense of them.

Some with and some without God.

Naomi Watts, Benicio del Toro and Sean Penn are nothing short of extraordinary here. Naomi Watts in particular. She just had the bad luck of being nominated for an Academy Award the same year that Monster came out.

These are extraordinary circumstances, sure, but most movies tend to revolve around them. They show us lives at their most ambiguous. But most of us can imagine [or try to imagine] our own reactions. And then measure them against the reactions of those on the screen.

IMDb

The title comes from the work of Dr. Duncan MacDougall of Haverhill, Massachusetts in the early twentieth century. MacDougall weighed dying subjects, in experiments of extremely dubious scientific value, believing that he was proving that the soul was material and measurable. His results in fact varied wildly.

wiki: en.wikipedia.org/wiki/21_Grams
trailer: youtu.be/Ss61_HwPVA8

21 GRAMS
Directed by Alejandro González Iñárritu

[b]Jack: Jesus gave me that truck.

Jack God knows when even a single hair moves on your head.

Paul [voiceover in ICU]: So, this is death’s waiting room. These ridiculous tubes. These needles swelling my arms. What am I doing in this pre-corpse club? What do I have to do with them?

Brown [firing Jack because club members complained about his tattoos]: Look, Jack, this club is for people different from me and you.

Daughter: Mommy, Freddy hit me in the arm.
Jack: Which arm, baby?
Daughter: This one.
Marianne: Jack, don’t start.
Jack: Hold out your other arm and let your brother hit you.
Marianne: Jack, no!
Jack: Hold it out. Whoever slaps you on the right cheek, turn the other to him also. [then to his son] Hit her. Don’t be afraid.
Marianne: Jack, no!
Jack [pounding table ] Hit her!

Jack [after smacking his son upside the head for hitting his sister]: There’s no hitting in this house.
[hits him again]
Jack: You understand?!

Jack [to Marianne]: I just ran over a man and two little girls.

Jack: Did you go?
[Marianne nods]
Jack: Are they dead?
[Marianne nods]
Jack: I’m gonna turn myself in.
Marianne: John says nobody saw you. Nobody. They don’t know the license plate or what kind of car. Some asshole even swears it was a cab.
Jack: Marianne, what would you do if these were our children? Tell me.
Marianne: But they’re not. It didn’t happen to us.
Jack: No, it didn’t happen to us. It happened to me.

Marianne: What the fuck do you gain by turning yourself in?
Jack: It’s my duty, Marianne.
Marianne: No, Jack, your duty is here with us. With your family.
Jack: My duty’s to God.

Paul: What abortion? What abortion, Mary?
Mary: I can explain.
Paul: Explain what?
Mary: There is an explanation.
Paul: Uh-huh. All that drama about artificial insemination. Kids’ names. You got pictures of our friends’ babies all over the place. Why? So you can flush it down the fuckin’ toilet?!

Paul: I can’t keep going like this. The insemination, the child. It’s like we’re trying to put a Band-Aid on something that’s already been bled dry.

Reverend John: Jack, Jesus didn’t come to free us from pain. He came to give us the strength to bear it.
Jack: Maybe He wanted this pain for me.
Reverend John: No, He had nothing to do with this. It was an accident.
Jack: No, it wasn’t an accident. Jesus chose me for this.
Reverend John: Jack, ask for the mercy of Jesus Christ.
Jack: If it was an accident, why do I have to ask for His mercy?

Reverend John: Stop this shit, or you’re going straight to hell!
Jack [pounding his skull with his knuckles]: Hell? This is hell. Right here!

Jack: I did everything He asked me to do! I changed! I gave Him my life, and He betrayed me. He put that fucking truck in my hand so I could carry out His will. Made me kill that man and those girls. But hey, He didn’t give me the strength to stay and save them.
Reverend John: Don’t blaspheme, you bastard! Christ had nothing to do with this!
Jack: God knows when even a single hair moves on your head. And you taught me that.

Jack: This is God’s will. So be it.
Marianne: Two years ago, you didn’t believe in anything. Now everything has to do with God. I think I preferred you the way you were before.
Jack: I was a fucking pig before. Is that what you prefer?
Marianne: At least it was you. Now I don’t have the slightest fucking idea who you are. Life has to go on Jack. With or without God.

Paul: Let me ask you something, and I want you to be really honest with me, okay? If I stay… will I be saved?
Dr. Rothberg: I can’t guarantee it. But if you don’t come back to the hospital, you’re condemning yourself to a terrible death. Your heart won’t work anymore. You’ll die, asphyxiated. It’s an awful death, Paul. You can’t imagine it. At least here we can help you to …
Paul: You can help me DIE better. That’s what you’re saying. You can help me die BETTER. Well, I’m not gonna do that, okay? I’d rather die outside.

Paul: There is a number hidden in every act of life, in every aspect of the universe. Fractals, matter-- that there’s a number screaming to tell us something. Am I boring you?
Cristina: No. No.
Paul: l–I’m sorry. I guess I try to tell them that numbers are a door to understanding a mystery that’s bigger than us. How two people, strangers, come to meet. There’s a poem by a Venezuelan writer that begins-- “The earth turned to bring us closer. It turned on itself and in us…until it finally brought us together in this dream.”
Cristina: That’s beautiful.
Paul: There are so many things that have to happen for two people to meet.

Daughter: Daddy, in school they said…you killed two little girls and their daddy. Is that true?
Jack: Yes.
Marianne: No.
Son: Yes. He killed them.
Marianne: It was an accident.

Paul: Cristina, wait. I have to tell you something. Okay. I have to tell you something.
Cristina: Please, kiss me.
Paul: Wait. Cristina. l–Cristina. I have Michael’s heart.
Cristina: What?
Paul: I have Michael’s heart. You understand what I’m saying? It was transplanted into me at St. Francis Hospital on October.
Cristina: No. No…
Paul: I tried to tell you. I just didn’t know how to tell you.
Cristina: How dare you. How dare you!
Paul: Cristina…
Cristina: How fucking dare you!
Paul: I’m here for a reason.
Cristina: Get out of my house!
Paul: Cristina…
Ceistina: Don’t touch me! Get out of my house now! You make me sick!
Paul: I had a reason. Can’t you see that?
Cristina: You get out of my fucking-- Get the fuck out of my house!
Paul: Okay.
Cristina: You make me sick! Get out!

Paul [to Cristina]: You don’t have to worry about me. I’ve got a good heart.

Paul [watching Cristina snort drugs]: Cristina. Cristina. Listen to me. You don’t need that shit. You don’t need it.
Cristina [fiercely]: Don’t tell me what I need!

Cristina: Katie could have lived. She’d be alive right now but that bastard left her there. Laying in the street. He left the three of them like animals. He didn’t care. She could be here with me. That son of a bitch is walking the streets, and I can’t even go into their room. I wanna kill him. I’m gonna kill Jack Jordan. I’m gonna kill that son of a bitch.
Paul: Slow down, just slow down.
Cristina: Slow down. Slow down. While I what, huh? While I what?
Paul: Take it easy.
Cristina: Take it easy?! My husband and my little girls are dead, and I’m supposed to take it fucking easy?!! I can’t just go on with my life! I am paralyzed here! I am a fucking amputee! Do you see that? Who are you? You owe it to Michael. No, you’ve got his heart. You’re in his house fucking his wife! And sitting in his chair! We have to kill him!
Paul: Not like this. Not like this.
Cristina: Then how? Tell me how!

Cristina: Katie died with red shoelaces on. She hated red shoelaces. And she kept asking me to get her some blue ones. And I never got her the blue ones. She was wearing those fucking red shoelaces when she was killed!

Paul [to Jack]: You…murderer. You just let them lie there on the street. Those two little girls, you just let them die like dogs…I should have killed you. Now you disappear. Don’t even go back to the motel and get your things. Just disappear.

Paul [voiceover]: How many lives do we live? How many times do we die? They say we all lose 21 grams…at the exact moment of our death. Everyone. And how much fits into 21 grams? How much is lost? When do we lose 21 grams? How much goes with them? How much is gained? How much is gained? Twenty-one grams. The weight of a stack of five nickels. The weight of a hummingbird. A chocolate bar. How much did 21 grams weigh?[/b]

The two leads are Guy and Girl. Uh oh. But they are easy to like and [like me] they love music. And they create music. And the music they create is well worth listening to. And they are easy to look at. And intelligent and personable.

What they call a “pitch perfect” film. Well, for some. It helps to be young yourself here. And to have a passion that resides in and around the world of music.

The guy does say “cool” a lot though.

Love. It’s all about timing.

IMDb

[b]During the filming of the opening scene, because the scene was shot with long lenses placing the crew far away, and without informing the public, who would be crossing through the scene, a bystander attempting to be a hero accidentally injured the thief as he was running away by kneeing him in the groin.

Bob Dylan was such a big fan of the film that he arranged to have the two leads, Glen Hansard and Markéta Irglová, open for him on part of his world tour. Hansard and Irglová also covered Dylan’s song “You Ain’t Goin’ Nowhere” for I’m Not There.

There is a moment when the guy asks the girl whether she loves her husband. She responds, “No. I love you.” However, her response is in unsubtitled Czech, so the man does not understand her - nor do audience members who don’t know the language.[/b]

wiki: en.wikipedia.org/wiki/Once_(film
trailer: youtu.be/I6xIF92OUos

ONCE [2006]
Written and directed by John Carney

[b]Guy [repeated line]: For fuck’s sake…

Girl: How come you don’t play during daytime? I see you here everyday.
Guy: During the daytime people would want to hear songs that they know, just songs that they recognize. I play these song at night or I wouldn’t make any money. People wouldn’t listen.
Girl: I listen.
Guy: Yeah, but you just gave me 10 cents.

Girl: Your son is a very talented guy, sir
Father: Well, he should be, I trained him myself.
Girl: Oh, no sir, I meant the songs.

Girl: I have to go now.
Guy: Do you want to stay?
Girl: What do you mean?
Guy: Stay the night?
Girl [surprised]: What?
[Guy gives her that “you know why” look]
Girl: Fuck this. Thanks for the Hoover.

Guy: I’m sorry. I was feeling lonely and you’re gorgeous…

Guy: You’re what? You’re married?
Girl: Does it surprise you.
Guy: For fuck’s sake.

Guy: What’s the Czech for, “Do you love him?”
Girl: Noor-esh-ho
Guy: So, noor-esh-ho?
Girl: Noor-ho-tebbe.[/b]

Nothing heavy as they say. Witty if not necessarily wise. But sometimes [just sometimes] that’s enough. And that is apparently as far as they ever intended to, uh, go.

Disaffected and drug-addled youth. Think of this as More Than Zero. But not much more.

It’s the sort of stuff that American Youth think is cool. For example, they try to, uh, emulate it in “real life”.

IMDb

The director picked the grocery store that the movie was filmed in because of its “run-down, big city” quality. When the producers paid the owner of the supermarket for permission to film there, the owners took some of that money and repainted and repaired the store, for a more “hollywood” look. The director and producers were understandably unhappy with this, since the only reason they picked the store was how it looked in the first place. The producers, after getting consent from the store, hired a crew to bring the store back to what it had looked like before. The finished product is what you see in the film.

trailer: youtu.be/0KTWEFpDOis

GO [1999]
Directed by Doug Liman

[b]Customer: Don’t think you’re something you’re not. I used to have your job.
Ronna: Look how far it got you.

Todd: You come to me out of the blue, asking to buy 20 hits. Just so happens that 20 being the magic number at which intent to sell becomes trafficking!
Ronna: Todd, I would never fuck you like that.
Todd: How would you fuck me?

Burke: I just want to make a deal. Can we make a deal?
Ronna: Who the hell are you? Monty Hall?

Ronna [selling allergy medicine as drugs]: You know what makes it even better? If you take like a lot of pot with it. I mean like, like a lot of pot.

Tiny: Yo, I told you, my mother’s mother’s mother was black!
Marcus: Your mother’s mother’s mother, fuck, this ain’t “Roots”, mutha… Man, I wanna see a picture of this Nubian princess. If you were any less black, you would be clear.

Marcus: Oh, he’s the good drug dealer.

Victor Sr.: You know what wakes me up in the middle of the night covered in a cold sweat? Knowing that you aren’t any worse than anyone else in your whole screwed up generation. In the old days, you know how you got to the top? Huh? By being better than the guy ahead of you. How do you people get to the top? By being so fucking incompetent, that the guy ahead of you can’t do his job, so he falls on his ass and congratulations, you are now on top. And now the top is down here, it used to be up here…and you don’t even know the fucking difference.

Singh: Just so we’re clear, you stole a car, shot a bouncer, and had sex with two women?

Marcus: It’s them!
Singh: Who’s “them”?

Tiny: WHO DA FUCK WE RUNNIN’ FROM?!

Claire: Gay men are so hot. It’s tragic.

Zack: It really didn’t go as bad as it could have.
Adam: A girl is dead, Zack.
Zack: I didn’t say it went perfectly.

Claire: So, what do you have against The Family Circus?
Todd: Okay. You sit down and read your paper, and you’re enjoying your entire two-page comics spread. Right? And then there’s the Family fucking Circus, bottom right-hand corner, just waiting to suck.
Claire: You could just not read it.
Todd: I hate it, yet I’m uncontrollably drawn to it.

Todd [looking at his cat come down the stairs]: How’d you get out?

Jonna [to Claire]: Things didn’t go exactly as planned, you know?

Claire: And where’s Mannie?
Jonna: Oh, fuck me![/b]

Sniff sniff.

Those kind of people. Both upstairs and downstairs.

The idea of someone waiting on me hand and foot is just short of repugnant. The idea of doing it myself for another is not short of it at all.

What is crucial for folks able to sustain this mentality [from either end] is pursuing the quotidian as though very single detail of every single day were a matter of life and death. They give me, how shall I put this, the creeps? As no doubt someone like I, them.

But it’s still no less intriguing to peek inside their world. To at least try to imagine what it might be like to live [and to think and feel] this way. And some do actually thrive on service to others.

And then there is the part about the Nazis. And the part about being oblivious to them. And the part about being afraid to resist them when more than you can bear to lose is at stake.

At heart a love story some insist. Not one I am familiar with though.

IMDb

Anthony Hopkins, as a guest on the TV show Inside the Actors Studio, said that he got tips on how to play a butler from a real-life butler, Cyril Dickman who served for 50 years at Buckingham Palace. The butler said there was nothing to being a butler, really - when you’re in the room it should be even more empty.

wiki: en.wikipedia.org/wiki/The_Remain … Day(film

THE REMAINS OF THE DAY [1993]
Directed by James Ivory

[b]Father: There was this English butler out in India. One day, he goes in the dining room and what does he see under the table? A tiger. Not turning a hair, he goes straight to the drawing room. “Hum, hum. Excuse me, my lord,” and whispering, so as not to upset the ladies : “I’m very sorry my lord. There appears to be a tiger in the dining room. Perhaps his Lordship will permit use of the twelve bores?” They go on drinking their tea. And then, there’s three gunshots. Well, they don’t think nothing of it, this being out in India where they’re used to anything. When the butler is back to refresh the teapots, he says, cool as a cucumber: “Dinner will be served at the usual time, my lord. And I am pleased to say there will be no discernible traces left of the recent occurence by that time.” I’ll repeat that: “There will be no discernible traces of the recent occurrence by that time!”

Miss Kenton: Look at it! Is that or is it not the wrong chinaman?
Stevens: Miss Kenton, I’m very busy. I am surprised that you have nothing better to do than stand around all day…
Miss Kenton: Mr. Stevens, look at that chinaman and tell me the truth!
Stevens: Miss Kenton, I would ask you to keep your voice down. What would the other servants think to hear us shouting at the top of our voices about… chinamen?
Miss Kenton: And I would ask you, Mr. Stevens, to turn around and look at the chinaman.

Stevens [to Reginald]: I do have one or two words more to convey on the topic of, well, as you put it the glories of nature.
Reginald: I’ll look forward to that. But I’m more of a fish man myself.
Stevens: Fish, sir?
Reginald: I know all about fish. Freshwater and salt.
Stevens: Well, all living creatures would be relevant to our discussion.

Lewis: You are, all of you, amateurs. And international affairs should never be run by gentlemen amateurs. Do you have any idea of what sort of place the world is becoming all around you? The days when you could just act out of your noble instincts, are over. Europe has become the arena of realpolitik, the politics of reality. If you like: real politics. What you need is not gentlemen politicians, but real ones. You need professionals to run your affairs, or you’re headed for disaster![/b]

You could say that. Of course, Stevens is as fiercely concerned about serving the meal as these men are at preventing [or waging] another war in Europe.

[b]Miss Kenton: I’m sorry to say your father passed away a four minutes ago.
Stevens: Oh, I see.
Miss Kenton: I’m so very sorry. Will you come up and see him?
Stevens: Well, I’m very busy at the moment. In a little while, perhaps. Miss Kenton: In that case, will you permit me to close his eyes.
Stevens: I would be most grateful to you. Thank you.

Mr Benn: Gentlemen, you speak of Jews and Gypsies and Negroes, so on and so forth. But one has to regard the racial laws of the Fascists as a sanitary measure, much overdue in my opinion. You cannot run a country without a penal system. Here in England we call them prision. There, they call them concentration camps. What’s the difference?

Stevens: In my philosophy, Mr. Benn, a man cannot call himself well-contented until he has done all he can to be of service to his employer. Of course, this assumes that one’s employer is a superior person, not only in rank, or wealth, but in moral stature.[/b]

And if he is a Nazi?

[b]Stevens: My Lord, may I say the both work extremely well. They[re intelligent, polite and very clean.
Lord Darlington: I’m sorry, but I’ve looked into this matter very carefully. There are larger issues at stake. I’m sorry but there it is. They’re Jews.

Miss Fenton: Mr Stevens, I warn you, if those girls go, I shall leave this house.

Stevens: Didn’t you say you would be leaving because of the German girls?
Miss Denton: I’m not leaving. I’ve nowhere to go. I have no family. I’m a coward.
Stevens: No, no…
Miss Denton: Yes. I am a coward. I’m frightened of leaving, and that’s the truth. All I see out in the world is lonliness, and it frightens me. That’s all my high principles are worth. I’m ashamed of myself.

Stevens: Do you know what I am doing, Miss Kenton? I am placing my mind elsewhere while you chatter away.

Miss Kenton: What’s in that book? Come on, let me see!
Stevens: This is my private time. You’re invading it.
Miss Kenton: Oh, is that so?
Stevens: Yes.
Miss Kenton: I’m invading your private time, am I?
Stevens: Yes.[/b]

They’re just friends. But from his end who is kidding who. Or, to invoke Harry Burns, no man can stay “just friends” with a woman he finds sexually attractive. And what’s not to find sexually attractive about Lori? Or course it works pretty much the same way regarding women. They just seem a tad less biologically engineered to go in that direction. But not being one of them myself that’s just a personal observation based on my own experiences.

Then he meets Darcy. Sometimes. But she is young and beautiful all the time too. And more…exotic? mysterious? Tough choice. But [given who he is] not really.

Let the games begin!

But often it is less about the games we play and more about the ambiguities we feel in sorting out love from sex and both from friendship. And this is more clearly the case here when both parties are introspective…loners. Or one for sure.

But there are secrets here none of us are really privy to.

trailer: youtu.be/Syesvh_jUVQ

CHARLOTTE SOMETIMES [2002]
Written and directed by Eric Byler

[b]Michael: We’re just friends.
Darcy: Do you find her sexually attractive?
Michael: Sometimes.

Darcy: We could have some fun tonight if you admit that’s what you want.
Michael: There are other ways to get to know someone.
Darcy: Sex is faster.
[pause]
Darcy: I really can’t decides just what it is you want from me.
Michael: What I would really like is to spend more time with you.[/b]

But she only has tonight and [maybe] tomorrow. Then she’ll be gone.

[b]Michael: A shortcut implies we know where we are going.

Michael: Does any of this even matter to you? No shortcuts.
Darcy: Okay, no shortcuts.

Lori: Two requests. One, stay away from Justin. He might be the one. We might get married.
Darcy: That’s wonderful.
Lori: Just say you’ll do it.
Darcy: Fine.
Lori: My other condition has to do with Michael.
Darcy: I might have guessed.
Lori: Please, just keep it real.
Darcy: You really do see me as a monster.
Lori: I’ve seen what you can do.

Justin: You know, it’s not really that far a drop. If she fell, she might survive.
Darcy: Or then again I might die. I’ll decide on the way down.

Michael: I know who you are.
Darcy: She told you?
Michael: No, I saw pictures of you as kids.
Darcy: I’m sorry.

Darcy [to Justin…but more to herself]: It doesn’t wait anymore. It doesn’t wait until afterwards. I feel it even as I’m coming. This wave of loneliness. This wave of disgust. I hate it so much. I wish I didn’t have to do this.

Lori: She’s a liar. You should be glad she’s gone.
Michael: I’m not.
Lori: You don’t even know her. You don’t even know her name. Do you?

Michael: What is her name, anyway?
Lori [whispering in his ear]: That can wait…Michael.[/b]

Some make comparisons between this and the “infamous murder of James Bulger”:
en.wikipedia.org/wiki/James_Patr … _the_media

Some kids do terrible things because they are “just kids”. They don’t think them through with the level of maturity or understanding [of the consequences] that most adults would. Or they follow the leader…get involved with the wrong person. But it can all come back to haunt them…follow them to the grave. Or even push them into it.

In films like this we are always forced to choose the manner in which we will stitch together the present and the past.

For one thing he was bullied as a boy. And then he met someone who stopped that dead in its tracks. And his family was a bit…dysfunctional.

And why does his new life fall apart at the seams? Because of a few mumbled words in drunken stupor? That’s about it.

This is what can happen to children who [in any number of ways] are grieviously abused. Eventually others will pay the price for it. Just not the ones that deserve to.

Look for Peter Parker.

trailer: youtu.be/1Ii_v14DNCU

BOY A [2007]
Directed by John Crowley

[b]Jack: They…They said I could choose me own name.
Terry: That’s right.
Jack: Any name.
Terry: You got one?

Jack: Jack
Terry: What?
Jack: That’s the name I want.
Terry: Okay…Jack. Well, that’s the first thing taken care of.

Jack: I was wondering if m-maybe at some stage we could take a trip.
Terry: To where?
Jack: To see Philip’s grave.

Phillip: You wanna see something cool?

Jack [at Philip’s grave]: Was it guilt, do you think?
Terry: Who knows?
Jack: Or…a way of saying sorry? Was he sick of the world?
Terry: We should go.

Jack reading a tabloid headline about his release: EVIL COMES OF AGE

Son: I really despised you.
Terry: No, no.
Son: No, no, no. Let me explain, me. Let me…All the shit that happened, I know it wasn’t your fault. It was just shit that happens, right? But as a kid, the point of view you take - is the one that’s given to you…
Terry: Your mum?
Son: Yeah, my mum.

Chris: We’re all so delicate. We die so easily.

Philip: You ever get fucked by a guy?
Eric [Jack as a boy]: What? No.
Philip: I did.
Eric: Oh. Yeah?
Puilip: You remember my brother?
Eric: Did…Did he put it right in?
Philip: Mm-hmm, a lot of times.
Eric: Did it hurt?
Philip: What do you think? Just closed my eyes. When he does it. Just close 'em. And I think of a room with hundreds of doors. Hundreds of doors, and they’re closing. The one’s furthest away first, and then getting closer, just closing, just banging shut. And I think, if I can keep from crying until the last one shuts… then I won’t cry at all. And I don’t.

Jack: Listen, I’m not really sure…
Dave: What?
Jack: Well, that I want my photo taken, all right?
Dave: Why? Jesus, Jack, it’s just a photo.

Terry: You can never do this. You understand what I’m saying? You can never ever do this. Never!
Jack: Never?
Terry: Never, never.
Jack: Michelle would understand. I know it.
Terry: Listen, listen. Her understanding’s not the issue, okay? Knowledge is the issue. Your safety is the issue. Okay? Do you, do you know… Fuck it. There’s been a bounty posted for you on the internet.
Jack: A what?
Terry: For information regarding your whereabouts. Now listen, I wasn’t going to tell you.
Jack: Am I in danger?
Terry: No, no, no, no. But do you now realize there are people out there who want you? They hate you. They will never let go of what happened. Ever, ever!

Jack: How much is it for?
Terry: It doesn’t matter.
Jack: Terry how much is it for?
Terry [after long pause]: 20 grand.
Jack: Oh, fuck.

Dave [on phone]: Jack, Dave. Listen, we’re not going to need you at work today.
Jack: Oh, why not?
Dave: Or for the foreseeable future.
Jack: What’ve I done?
Dave: Don’t come to the depot again. Do you understand? We’ll send you what you’re owed in wages.
Jack: Wait. Dave, Dave? Um, uh, just…
Dave: Goodbye, Jack.

Jack [on phone]: Oi, mate, it’s Jack here. Hey, um, Dave just called me. Told me not to come in.
Chris: He obviously knows you’re not who you say you are. Is he wrong?
Jack: Chr- Chris?
Chris: No, of course he’s not.[/b]

He’s back in the news.

[b]Jack [aloud to himself]: No, I ain’t that boy. No, I ain’t that boy. I ain’t that boy. No, I ain’t that boy. Fuck! Fuck!

Son: A monster, Dad! You choose a monster over me!!

Jack [reading a letter from the little girl he rescued]: “Thank you for saving me. I hope you were an angel. Love, Catharine Thompson.”[/b]

The rule of God…and patriarchy. Not a good time to be of the female gender. And especially not if you are deeply enscounced in a working class community besotted of Catholicism. One of those places where you are raped and it is you that are sent away to be “reformed”…to be “saved”. Here’s how it works:

Sister Bridgett: All men are sinners and therefore, prone to temptation. and therefore, all men are prone to temptation. In God fearing countries, if men want to be saved from themselves, temptation must be removed.

The assumption some embrace today is that we can never go back to that again. But that’s politics. It’s just getting harder and harder to brainwash people. But not altogether out of the question.

It’s almost impossible at times to comprehend just how inane these people are. But that’s the way most of us would have behaved too had we been raised among them. You’re watching this thinking, “no way in hell I would have put up with it. The bastards would all be dead.”

But life doesn’t work that way for the preponderance of us. Ideas, realites are put into our heads as children and you can’t just make them go away like snapping your fingers. But some do manage to prevail. Then it’s only a matter of what they put in its place, isn’t it? But the crucial factor here is always God. Take religion out of the picture and the sky is the limit. That and the power to prevail.

In one particular way rather than another.

IMDb

[b]The film was “inspired by the documentary Sex in a Cold Climate produced and directed by Steve Humphries.”

Peter Mullan has remarked that the film was initially made because victims of Magdalene Asylums had no closure. They had not received any recognition, compensation, or apology, and many remained lifelong devout Catholics.

Former Magdalen Asylum inmate, Mary-Jo McDonagh, told director and writer Peter Mullan that the reality of the Magdalene Asylums was much worse than depicted in the film.[/b]

at wiki: en.wikipedia.org/wiki/The_Magdalene_Sisters

trailer: youtu.be/IhXKI9tAI_M

THE MAGDALENE SISTERS [2002]
Written and directed by Peter Mullan

[b]Margaret: Well, what is it you’re wanting to show me? Come on, Kevin, what’s the secret?

Father Doonigan: Rose, I am father Doonigan. I work for the St. John Adoption Society. Your father and I think the best thing for the child is to give him up for adoption. A child born outside of wedlock is a bastard. You want him to live all his life as an outcast, refused and scorned by all honest members of society? You committed a horrible sin.
Rose: I know, Father. I am repentant.
Father Doonigan: Do you want your child to pay for your sins?
Rose: No, Father.
Father Doonigan: So you do want to give him a chance in life, and have him raised in a Catholic family with a mother and father. Sign here.

Sister Bridget: The philosophy that supports us in the Magdalene Asylums is simple: Thanks to the power of prayer, of cleanliness, of hard work, Iost, fallen women can find their way back to Jesus Christ, our Lord and Savior. Mary Magdalene, holy patron of the Magdalene Asylums, was a sinner of the worst kind. For money, she gave her body to the depraved and lustful. She was saved by doing pennance for her sins, giving up the pleasures of the flesh, including food and sleep. She worked beyond the resistance of a human being so that she could offer her soul to God, cross the gates of Paradise, and live an eternal life.

Mr. O’Connor [returning his daughter to the asylum]: You’ve got no home. You have no mother. You got no father. You killed us, you slut. You killed us both. You run away again, I’ll cripple you. I swear to God.

Bernadette: Having a baby’s not a crime.
Rose: Having a baby before you’re married is a mortal sin!
Bernadette: All the mortal sins in the world wouldn’t justify this place. I’ll tell you, I’d commit any sin, mortal or otherwise, to get the hell out of here.

Sister Bridget: Open your eyes, girl. Open them. I want you to see what you really are. Now that your hair and your vanity has gone and your arrogance has been defeated, you are free to choose between right and wrong, good and evil. Look into the bottom of your soul and find what is pure and offer it up to God. That is the only way to salvation.

Sister: There’s nothing like exercise before dinner. Anyway, someone should eat less potatoes. Hands along your sides. Frances, not only are your breasts the smallest I’ve ever seen, but you don’t even have nipples! Did you notice? That can’t be natural, right? We agree. Frances has the smallest breasts. Who has the biggest? I’d say Patricia. No. She has a big behind. Turn around, Patricia. See? Patricia, you have a bricklayer’s back. With a couple of tattoos, you’d look like a sailor. No, Cecilia is surely the winner for the biggest breasts. An applause for Cecilia. Good girl. We saw the biggest breasts, the smallest, and the biggest behind. There is only the hairiest one left. Crispina, one step forward. Bernadette, one step forward. Get alongside of each other. Crispina, take your hands away from there! Bernadette, you have more hair there than on your head. But the winner is… Crispina. Crispina, you won! Why are you crying?
Crispina: I don’t know, Sister.
Sister: Well, neither do I. It’s just a game. Ah, put your clothes on the lot of you. Time for tea.

Margaret: Crispina, why did you want to kill yourself?
Bernadette: Jesus, that’s a stupid thing to ask in this place!
Margaret: I’m just trying to stop her from killing herself.
Bernadette: Why?

Margaret: We all feel desperate in this place, but remember that one day you’ll leave, and play with your son.
Bernadette: When?
Margaret: I don’t know.
Bernadette: Then why do you say it?
Margaret: Because it’s true!
Bernadette: Then tell her when. In a week, a month, a century?
Margaret: I’m just trying to stop her from killing herself.
Bernadette: I know what you’re trying to do. I just don’t know why you are doing it.

Crispina: My Saint Christopher, you found it, God bless ya.
Margaret [to Bernadette]: You dirty thieving bitch! You’re a wicked bitch, you know that? You’re a wicked thieving bitch! She had Crispina’s Saint Christopher under her bed! The only thing that girl owns in the whole world and you stole it!
Crispina: You found my Saint Christopher. Thank you, thank you!
Margaret: Don’t you understand? She stole it!
Crispina: Yeah, but you found it.
Margaret: Am I the only one who thinks that what she did was completely despicable?
[long silence]
Margaret: Oh, you can all just go to hell![/b]

Later…

[b]Rose: Why? Why did you take it?
Bernadette: Because she did not suffer enough. We’re penitents, remember? We’re supposed to suffer. Now fuck off and let me sleep.

Crispina: You’re not a man of God! You’re not a man of God! You’re not a man of God! You’re not a man of God! You’re not a man of God! You’re not a man of God! You’re not a man of God! You’re not a man of God! You’re not a man of God! You’re not a man of God! You’re not a man of God! You’re not a man of God! You’re not a man of God! You’re not a man of God! You’re not a man of God! You’re not a man of God! You’re not a man of God! You’re not a man of God! You’re not a man of God! You’re not a man of God! You’re not a man of God! You’re not a man of God! You’re not a man of God! You’re not a man of God You’re not a man of God! You’re not a man of God! You’re not a man of God![/b]

Truly, one of the funniest scenes in all of cinema! Right up until the truth behind it is revealed. Fucking Catholic priests…

[b]Margaret: Can you believe that it’s that simple?

Katie [a stoolie for the Sisters]: The nuns don’t want you to leave me alone. I’ll tell the nuns if you leave me alone.
Bernadette: All the Sisters want is that the work be done. Don’t you realize that? The Sisters don’t give a shite about you, and neither do I. So do yourself and me a big favor. Hurry up and die.

Bernadette [to Katie]: You dead yet?

Rose [after Sister Bridget has denied Rose’s request to send her son a birthday card]: But I’m his Mother, Sister.
Sister Bridget: You’re not his mother! A mother puts a child to bed at night, looks after him when hes sick. Feeds, clothes and educates him. You’ve done none of that. How can you take credit for something you haven’t done?

Bernadette: Please, Sister, Katie’s dead.
Sister: May she rest in peace.
[to Rose]
Sister: Remember this beating, girl.

Rose: What about you? You know she’ll have the police after you.
Bernadette: They can’t touch me. I’m an apprentice hairdresser. Therefore, respectable. They can’t touch you if you’re respectable.

Title card: It is estimated that as many as 30,000 women were detained at Magdalene Asyums throughout Ireland. The last laundry closed in 1996.[/b]

Thugs, bullies, gangbangers. I can’t get enough – even if only vicariously – of those able to make them go away. By any means necessary…if necessary. As long as they keep making films like this, I’ll watch them. Probably because they remind me of all the assholes I had stumbled into in my own life. And couldn’t do much about.

On the other hand, there are films [like Boy A above] adept at pointing how how [why] they became assholes in the first place. And even though I can’t reconcile them [who can?] I do the best I can in intergrating them into my own rationalizations. All you can do in the end is react to each atrocity one at a time.

So much of this is rooted in the worst of poor and working class communities. Some are little more than human cesspools. They breed these monsters. I know this in part because I grew up around them.

I was warned when I was younger that, as you get older, you tend to get more and more conservative [reactionary?] regarding these things. Well, I scoffed at that of course. I just don’t scoff nearly as much anymore.

The vigilante can be the cure that is worse than the disease. No doubt about it. But what other viable recourse is available at times. The ultimate solution is economic, political. But who is kidding whom that that is on the horizon?

trailer: youtu.be/I2S3SraFmI0

HARRY BROWN [2009]
Directed by: Daniel Barber

[b]Radio newscaster: “Single mother Karen Dobbs was shot in front of her two year old son. A police spokesman says Dobbs was a victum of a random and senseless act of violence. The toddler will be placed in the care of the local authority.”

Len: Did you ever kill anyone?
Harry: The marines were a lifetime ago. I was a different man then. When I met my Kath, I knew that all that stuff had to be locked away. I made the decision all those years ago. And I stuck to it.

Len: Harry, I’m scared. I’m scared all the time. They push dogshit through my letter box. One of them spat in my face. They call me…you know the ones. I’m not gonna take it anymore.

Inspector Frampton: Noel? You never ask us the most important question.
Noel: Oh, yeah? What’s that, then?
Inspector Frampton: You didn’t ask us who you were supposed to have killed.

Noel: Think you got rid of my old man?
D.S. Hicock: Yeah.
Noel: Well you haven’t. He’s still out there now, doing what he’s always done. You know how? I am my old man.

Harry: He showed it to me. The day he died! Now, before you say another word, he was using it for protection. I mean that man was frightened, terrified. These kids on the estate were harassing him. He came to me and asked me for help. I said, “Why don’t you go and talk to the police?”
Inspector Frampton: Well that was the right thing.
Harry: He told me he already talked to the police. And what did you lot do? Nothing.

Stretch: What do you want a gun for, brother?
Harry: I want to shoot the pigeons…off my roof.

Harry [after shooting a drug dealer whose gun jammed when he tried to kill him]: You failed to maintain your weapon, Son.

Harry: I don’t reckon you’ve got long. Seen that before. Gut wound. The slug’s probably torn right through your liver. Mate of mine in Ulster got caught in sniper fire. Bullet blew his inside out. He screamed for a good 10 minutes. We couldn’t send a medic in, the section was too hot. So we all took cover…and watched him die. I’ve never told that…to anyone…you should’ve called an ambulance… for the girl.

Inspector Frampton: I think he’s going to the estate. I think he’s going to kill Noel Winters.
D.S. Hicock: Who gives a fuck? Noel Winters is a cunt. His dad was a cunt. One day he’s going to have loads of cunty kids. As far as I’m concerned, Harry Brown is doing us a favor.

Inspector Frampton: It’s not Northern Ireland Harry.
Harry: No it’s not. Those people were fighting for something; for a cause. To them out there, this is just entertainment.

Harry: Where’s Noel…Uncle Sid.

Sid: He’s my sister’s boy. He’s blood.
Harry: Blood? Do you want to see Leonard’s blood? These fucking animals filmed the whole thing on their fucking phones.

S.I. Childs: Crime in the Estate has declined by almost 30 percent. With continued help from the members of the community, we hope to eradicate the criminal element who have long since blighted the lives of the silent majority.[/b]

What a crock of bullshit. But what can the police really do when the socio-economic conditions stay the same? Or get worse.

This is what can happen to the “suits” when capitalism implodes. Some will argue their plight is even worse than the guys with the blue collars because they tumble so much farther down. My own reaction though is more in line with this:

Critic Michael Phillips:

Wells is no crushing realist: He wants to offer a full dose of hope and comfort to America’s afflicted classes (middle and upper-middle especially) with his story. “They were good people, Jim,” bemoans Jones’ conscience-stricken executive, regarding the recently canned. “Not our responsibility,” replies the honcho played with as much humanity as the writing allows, by Craig T. Nelson. “We work for the stockholders now.” I’d like to think the earnest sentiments and machine-tooled dramatic complications of Wells’ script could find a receptive audience in late 2010. I’d like to think, too, that the mess we’re in demands a tougher, gutsier script.

But it will always be a complex admixture of the capitalist political economy and the actual flesh and blood men and women struggling to survive from day to day entwined in it.

Businesspeak is everywhere here. But corporations are run this way because [in competitive fields] that’s how they must be run. And the boom and bust cycles are [historically] built right into capitalism organically. It’s the nature of the beast. And every once in a while calamities on a global scale can be sparked by speculation run wild. Or corruption. Or cronyism.

Hey, it’s nothing personal. Most of the time.

trailer: youtu.be/xa5qg7cB1ZQ

THE COMPANY MEN [2010]
Written and directed by John Wells

[b]Phil [to Bobby]: Ah, shit. Did they say who else is on the block?

Secretary: Did they say anything about me? About me still having a job?
Bobby: You know, I didn’t ask.

Phil: I won’t let the bastards kick me out after 30 years. I’ll take an AK-47 to this fucking place first.

Gene: It’s my goddamn division!
James: It’s my goddamn company!!

Gene: We innovate, we retool…
James: American heavy manufacturing is dead. Steel, autos, your precious shipbuilding. The future’s in healthcare, and power generation.

James: We work for the stockholders now!

Employment workshop counselor: Fear, anxiety, loss. How many of you are feeling these things?

Employment workshop counselor: Everyone say it: “I will win! Why? Because I have faith, courage, enthusiasm!”

Jack: You know, if things get tough, I could, uh, always use some extra help this winter.
Bobby: Hanging drywall?
Jack: Yeah, there’d be lots of work.
Bobby: Thanks, Jack. I don’t exactly see myself pounding nails though. You know? Appreciate it.
[He walks away]
Jack [to Maggie]: Your husband is such a dick.

Gene: How about selling the new headquarters building?
Noah: We’re going to need that space.
Gene: Not if we keep firing people we’re not.
James [loudly]: I’m not selling the new building!
[awkward pause]
James: Get a hold of human resources, have them start making up a list for another round of downsizing.

Bobby: I looked like a fucking deadbeat!!
Maggie: This is real Bobby, okay? This is happening to us. You are walking around like you are in some kind of daze? Playing golf? Getting your Porsche detailed?
Bobby: I need to look successful, okay? I can’t just look like another asshole with a resume.
Maggie: But you are just another asshole with a resume!

Bobby: I’ve been out there now for three months trying to get a job. I haven’t had one offer. I’ve been to everbody we know. And a lot of people we don’t. And I have begged. I’ve fucking begged! For a lead, anything. There’s thousands of MBAs out there. No mortgage, no kids. Work 90 hour work weeks, for nothing. You want honesty Maggie? I’m a 37 year old loser who can’t support his family.

Paul [HR Director]: I’m confident all these dismissals will stand up under legal scrutiny.
Gene: What about ethical scrutiny.
Paul: We’re not breaking any laws, Gene.
Gene: I guess I always assumed were trying for a higher standard than that, Paul.[/b]

This is what still shocks lots of folks about capitalism as it’s played today. That it might actually be about something other than the bottom line! Except for a tiny percentage, everyone is expendable.

[b]Gene: You fired Phil Woodward. Hire him back.
Sally: Gene…
Gene: Goddamn it, Sally, we talked about this.
Sally [sending him his own pink slip]: Gene…

Phil: You too?! Aw, fuck 'em.

Employment counselor: …and here where you’ve noted your military service, don’t say Vietnam. Combat infantryman is impressive enough. Do you smoke, Phil?
Phil: Occasionally.
Employment counselor: Quit. Employers don’t want employee health problems. You may want to think about dying your hair, get rid of some of that grey.

Phil: Dress code pretty lax around here?
Bobby: You should see casual-Friday…

Phil: You know the worst part?
[pause]
Phil: The world didn’t stop. The newspaper still came every morning, the automatic sprinklers went off at six. Jeff next door still washed his car every Sunday.
[then]
Phil: My life ended and nobody noticed.

Gene [to Bobby]: Two thousand men a shift, three shifts a day.
[pointing to a long abandoned shipyard building]
Gene: Six thousand men earned an honest wage in that room. Fed their kids, bought homes. Made enough to send their kids to college. Buy a second car. Building something they could see, touch, feel…a ship; now everything I was trying to build for myself and everybody else is…gone.[/b]

I know. I was once employed as an electrician at the long defunct Maryland Shipbuilding and Drydock Company. Part of the “old economy”.

James: Hell, it’s a business not a charity.
Gene: You took home 22 million dollar last year and these people have lost their homes, their marriages, the respect of their children.
James: We did what the market required of us to survive!

What would you be willing to do to resist the Nazis? What more would you be willing to do if they slaughtered your entire family?

But even here there are capitalist “entrepreneurs” ready to scam you. And “compatriots” willing to betray you. Life or death is an ever recurring [and grueling] propsect here.

And always trade-offs to be made. You save these folks here but it means those other folks there are doomed. So which folks mean the most to you? The “Jews”…or the “good Dutchmen”?

There are three kinds of people depicted in the film. Those who are in it for [one or another] “cause”. Those who are in it only for themselves. And those who shuttle back and forth between them.

And what adds to the tension is that the Russians are already in Berlin. The war is nearly over. So the last thing you want to do is fuck up now.

I suspect perhaps the plot here comes closer to fantasy than reality. It goes a bit over the top at times. But maybe not. What do I know about the Dutch Resistance?

Yet it is after the war is over that things get really surrealistic. Those stabbing some in the back are being stabbed in the back in turn by others.

at wiki: en.wikipedia.org/wiki/Black_Book_(film
trailer: youtu.be/DIklvGsU7bM

BLACK BOOK [Zwartboek] 2006
Written [in part] and directed by Paul Verhoeven

[b]Farmer [hiding Rachel – now Ellis – from the Germans]: If the Jews had listened to Jesus, they wouldn’t be in such a mess now.

Boy: The voice on the record…that’s you.

Smaal: Don’t you want to count it first?
Rachel: No, I trust you.
Smaal: Rachel…you shouldn’t be so trusting. Not in times like these.[/b]

She’ll find that out soon enough.

[b]Rachel: Mr. Smaal knew where you were?
Father: Of course. He helped us find our hiding place.
Rachel: He swore up and down he didn’t know. That’s odd.

Gerben: You met that Muntze on the train, right? And he liked you?
Hans: Liked her…? He fell for her!
Ellis [Rachel’s new name in the resistance]: He just showed me his stamp collection.
Gerben: How far would you go with him? For Tim and the others…?
Ellis: How far…? You mean would I screw him…?
Gerben: That’s rather crude.
Ellis: I want things to be clear, is that what you mean?
Gerben: How far would you go to save Tim and the others?
Ellis: As far as that Muntze wants to go. Okay?

Hans [watching Ellis dye her hair pubic hair blonde]: You think of everything.

Ellis: It is their intention that, for the queen and my fatherland, I hook up with a powerful Gestapo chief. Sleep with him…
Smaal: Well you’re on your own then. I can’t help you with that.

Ellis: Winner takes all.
Muntze: Exactly.

Ellis [putting Muntze’s hands on her breasts]: Are these Jewish?

Ellis: I know that voice.
Hans: What?
Ellis: The man who arranged the crossing.

Ellis: They’re working off a list. Of Jews with money. They promise to take them to Belgium. Then they murder them.
Gerben: How do you know all this?
Ellis: Because I was set up myself! Because I’ve seen my entire family slaughtered![/b]

Later…

Hans: Ellis, I agree. We can’t let those Jews be slaughtered.
Ellis: But Gerben is right. Killing van Gein is not the answer.
Hans: What if we kidnap him?
Ellis: Franken would still shoot the hostages.
Hans: No, he’d think van Gein had bolted.
Ellis: Just after he promised him a new list?
Hans: Van Gein is just trying to hedge his bets for after the war. If he disappears, Franken will think he’s skipped. Kuipers and Smaal forget one thing. Someone is fingering rich Jews. Van Gein thinks he knows who. I’ll beat it out of him if I have to.

But nothing is as it seems here.

[b]Muntze [to Ellis]: You have a choice. You play dumb and I turn you over to Franken. Or you tell me everything.

General Käutner: Obersturmführer, open your safe.
Franken: Of course. Which files would you like to see?
General Käutner: None. You’re suspected of killing rich Jews. There’s nothing wrong with that. But you’ve been looting the bodies and keeping the valuables for yourself. Failure to turn Jewish property over to the Reich is punishable by death. Open the safe.
Franken: As you wish, Obergruppenführer.

Ronnie: But Garbo got it in the end.

Franken [setting Ellis up as the rat]: You sure earned your money.
Resistance member: That bitch betrayed us. And for money too. What a sneaky Jewish trick.
Resistance member: You can never trust them.

Ellis [to Muntze]: I never knew this could happen. To fear the liberation…

Ellis: There’s one more thing. Muntze has been arrested and I want to see him.
Hans: Haven’t you heard?
Ellis: What?
Hans: It’s crazy, really. Some Canadian asshole…allowed the Krauts to carry out the death sentence on Muntze.
Ellis [Shaking, wailing in despair]: Does it never end?!![/b]

Nope:

[b]Hans: Yes, Ellis, insulin. Lots of insulin. It’ll make you sleep. Forever.
[he hears the crowd shouting for him in the streets]
Hans: The “hero” must take his bow. Lie there quietly. In a few minutes, you’ll be reunited with your family. And maybe even Muntze.

Gerben [pointing to Tim’s dead body]: Do you know who this is?
Ellis: [nods]
Gerben: What do you have to say for yourself?
Ellis: This.
[holds up the black book - which has the list of victims and offenders during the war]
Ellis: This says everything.

Ellis: We should actually get up and open the coffin.
Gerben: Yeah. We should…
[both Rachel and Gerben remain seated, gazing at the river]
Gerben: What should we do with all the money?
Ellis: It doesn’t belong to us.
Gerben: It doesn’t belong to anybody.
Ellis: To the dead…
[the sound of Hans’s screams stop…he is now dead. Gerben raises his finger]
Gerben: He’s quiet. Finally.
Ellis: It seemed forever.[/b]

Another horror film in which man himself is the monster. By far the scariest. But what would you do to the monster you thought brutally raped and murdered your beloved 8 year old daughter?

What this guy does? Probably not. But maybe. I become particularly enraged at those who do harm to children. Raping and murdering one? No mercy. But I also believe that anyone who chooses this path should be punished for it. We can’t live in a world [with at least a modicum of civilization] where everyone gets to decide for themselves what the fate of those who do them harm shall be. Without the law here we’re back in the jungle.

But when revenge becomes an all-consuming passion there is practically no limit to what you might do in pursuit of it. Or maybe it only makes sense to talk about this with someone who has, in fact, actually felt compelled to seek out revenge against another who has committed a particularly heinous act against someone they dearly loved.

What makes me most uncomfortable though is the tug of war that goes on inside my head. If this man really did brutally rape and murder an 8 year old girl, he deserves to suffer in turn. But this much? And how do we know with absolute certainty that he is the guilty man? He was never tried. Instead, the father makes the assumption that he is based on the information he got from the police: the sperm in the little girl matches the DNA profile of the man he is torturing. And, as it turns out, he is guilty. But that’s in the script.

Unfortunately, it jumps the shark when Bruno kidnaps Mrs. Masson. Then he becomes too much the monster even for me. Nothing excuses it. To impose his narrative on her…another victum of the monster that started it all? I have to draw the line here myself.

IMDb

There is no music in the entire movie, not even during the end credits.

trailer: youtu.be/uZHQRkWkGfo

[b]Note: Some explicit dialog[/b]

7 DAYS [Les 7 Jours du Talion] 2010
Directed by Daniel Grou

[b]Det. Mercure: Sorry to bother you at this difficult time but we think we’ve found your little girl’s murderer. We have solid physical evidence. Plus we analyzed the DNA of the sperm we found. It matches the suspect’s DNA. In my opinion, the trial will be a formality.

Sylvie: How much will he get?
Bruno: 15 to 20 years. 25.

Lemaire [chained to the floor in agony]: You are commiting a major injustice, man. It’s you who will go to jail, you asshole!

Dectective: If I were Hamel, I would cut off his balls. And make sure he was conscious when I did it.

Bruno [on phone]: Yesterday I wrecked his knee. That’s just the beginning. It’s your turn. Tell me what to do next.
Sylvie: I want you to stop and come home.
Bruno: I was hoping you would understand.
Sylvie: No one approves of what you are doing. Your family. Your friends.
Bruno: I don’t care. Fuck 'em. It’s for Jasmine. I owe it to her.

Det. Mercure [on phone]: This is detective Mercure. If you turn yourself in now, the mitigating circumstances…
Bruno: I’ll turn myself in. Next Friday, my daughter’s birthday. I’m going to kill him. I’ll turn myself in after.

Bruno: What else do you know.
Det. Mercure: What you are feeling.
Bruno: I’d be surprised.
Det. Mercure: My wife was shot six months ago in a grocery by a young thief for 58 bucks.
Bruno: Didn’t you want to kill him?
Det. Mercure: Yes. But I knew it was pointless.
Bruno: Where is he?
Det. Mercure: In prison where he belongs.
Bruno: And that satisfies you? At night lying in your empty bed, does it console you to know your wife’s killer is in jail? Does it make your life more bearable?

Detective: Does it really matter? After all, Lemaire’s a child rapist. Why should we bust our ass to save a guy who murders little girls?
Det. Mercure: It’s not Lemaire I want to save.

Bruno [on phone]: What made you tell the press I’ve gone crazy? I’m not crazy; I’ve never been so lucid.
Sylvie: Come back. Stop all this.
Bruno: How can you ask that? If you loved Jasmine, you’d know this is for her!
Sylvie: You’re doing it out of guilt!
Bruno: You finally said it. You think it’s my fault, right?
Sylvie: It’s you who…
Bruno: Who what?! You could have gone with her. But you wanted to fuck! While you were having your orgasm, your little girl was being raped!!

[Bruno holds up a small bottle labled “Curare”]
Lemaire: What’s that? What is it? Curare?
Bruno holds up a sheet of paper for Lemaire to read: “CURARE: PARALYZES THE MOTOR SYSTEM BUT NOT CONSCIOUSNESS.”
Lemaire: Don’t do it. Don’t do it. I can’t take it anymore. You’re worse than me. You’re worse than me!
[Bruno shows him a picture of his little girl. He lays the photo on Lemaire’s stomach. Then he…][/b]

Well, let’s just say he is a surgeon.

[b]Lemaire: I fugured out what you did. Fuck your food. I’m not going to shit out of my stomach again.

Lemaire: The worst thing is you don’t even seem to be enjoying yourself.

Lemaire: Running low on motivation? I’ll help you, okay? Your daughter wasn’t the only one. Those little sluts. I killed three others too. Marion Houle, Laurie Thibodeau and Charlotte Masson. I fucked 'em and then I killed them, all three. But your little girl, Jasmine…she was the best. She was the prettiest. Real pretty. Fucking tease! The way she was dressed. She deserved to get her cunt reamed. And while I was fucking her, she kept screaming, “Daddy! Daddy!”
[Bruno chokes him]
Lemaire: Kill me! Kill me!

Det. Mercure [on phone]: Yes, Dr. Hamel?
Bruno: You didn’t answer last time.
Det. Mercure: What was the question?
Bruno: The fact that your wife’s murderer is in prison, does that make life more bearable?
Det. Mercure: No.
Bruno: I don’t know why I called. I shouldn’t have.
Det. Mercure: That’s not true. You know why. I can help you.
Bruno: You can’t even help yourself.
Det. Mercure: You’re drowing, Dr. Hamel. And you’re starting to realize it.
Bruno: Yes. Let me sink.

Convenience store clerk [to Bruno]: I know who you are. I’m with you. Thanks.

Bruno [to Mrs. Masson]: I’ll give you time to realize he exists.

Mrs. Masson: I’d erased that man from my life.
Bruno: You can’t.
Mrs. Masson: Yes, you can. It’s hard. It takes a long time, but you can. By bringing me here you destroyed that. It’s like…It’s like you killed my girl a second time. Everytime you torture that man, you kill your own daughter.
[Bruno punches her in the face and knocks her out]

Reporter: Dr. Hamel, do you still think vengeance is the right answer?
Bruno: No.
Reporter: So you regret what you’ve done?
Bruno: No.[/b]

Everyone seems to know [in a more or less sophisticated manner] that the lives of those who choose to interact with others of their own species become intertwined in all manner of complex and convoluted ways. But we think about the implications of this from [at times] very different philosophical perspectives. My own [gasp!] revolving around dasein and situational ethics.

Here the crucial factor [or the one that struck me] is how, in more or less important ways, we become a part of each other’s lives…and we are not even aware it. Or not fully aware. We change over the course of time but we can never really calculate with any precision how this evolution is to be “understood”. There are just too many variables that seem to float in and out of our lives on the margins. But not always of marginal importance. We just don’t calculate from the perspective of someone who has a bird’s eye view of all our interactions. Instead, we have only a particular existential vantage point.

The irony of course is that our reactions to the film are no less entwined in the point it is trying to make.

wiki

The plot was inspired in part by events in Jill Sprecher’s life, including two muggings and a subway assault. The character of Beatrice is based on Sprecher’s experiences when she moved to Manhattan following college graduation: “Clea Duvall’s character is very autobiographical … I was that person who only saw good things around me and then, of course, after getting mugged, I sort of changed my opinion of human beings.”

trailer: youtu.be/H1Lm5Jieg5c

13 CONVERSATIONS ABOUT ONE THING [2001]
Written [in part] and directed by Jill Sprecher

[b]Patricia: What is it that you want?
Walker: What everyone wants. To experience life. To wake up enthused. To be happy.

Troy: I don’t believe in luck. Luck is the lazy man’s excuse.
Gene: Ah, spoken like a man who’s had nothing but good luck.

Troy: The guy was a habitual offender. He belongs in jail. That’s what’s so damn beautiful about our jobs. We prosecute the guilty. We hold them responsible for their actions. I believe that’s what people want. They want an example to show them some concrete proof that there is an order in this world. To show them a system that can determine right from wrong.[/b]

And then his luck changes.

[b]Walker: Ignorance is bliss, is that it?
Helen: Maybe he’s better off living under an illusion. The mind is its own place. And in itself can make a heaven of hell and a hell of heaven. Paradise Lost. I’m teaching Milton this semester.

Patricia: I heard about a study once that said human beings require 18 inches of personal space. Silly, isn’t it? To put a number on it like that.

Beatrice: Life isn’t fair.
Dorrie: What?
Beatrice: I said life isn’t fair. You were right.
Dorrie: What are you saying that for?
Beatrice: The architech thought I had stole his watch.
Dorrie: That guy is an idiot…
Beatrice: I should have taken it, since I was blamed for it. I thought and thought about why I got hit by that car and why I was standing on that corner at that moment and why that white shirt blew out of my hand. And then I realized there is no reason.
Dorrie: Well, I just think that you never know what’s coming around the next corner. That’s what you say all the time.
Beatrice: My eyes have been opened. I can never go back.

Walker: It’s perverse, isn’t it? People spend years developing their minds and educating themselves, but in the end, they just want to shut them off.

Walker: Why do you wanna be a doctor anyhow?
Chris: So I can help people.
Walker: How? By keeping them alive today so you can prolong their misery until tomorrow?[/b]

The next day in class…

[b]Walker: I see Chris Hammond is late again.
Student: There was a party last night. He fell from the top of the math building under the quad.
Student: No he didn’t. The range is too great. If he had fallen he would have landed near the bushes. He must have jumped…wouldn’t that be right professor?

Troy: I believe that if there is such a thing as luck, I’m lucky enough to notice it when it comes my way.[/b]

Of course luck runs in both directions. As he is soon to discover in spades.

[b]Richard: …it seems that in the court of law there’s no way to prove the effectiveness of prayer, or as judge put it: “Faith is the antithesis of proof”.
Gene: Still, you gotta have faith in something…

Richard [to Gene]: I wish, I wish we could see into the future sometimes. That’s the problem, isn’t it? I mean, life - it only makes sense when you look at it backwards. Too bad we gotta live it forwards.[/b]

Since the screenplay [by Nick Hornby] is derived from a memior this must be [more or less] based on a true story. And since it takes place in the early 1960s, it’s still really the 1950s for all practical purposes. Which is just to point out the “action” takes place before the tumultuous reprecussions of a well known cultural revolution. If you lived through it yourself it might make all the difference in the world how you react to the film.

Of course the deck is stacked here. David is basically a rotten sonofabitch. But in “real life” he didn’t have to be…right? Or maybe he’s not really so bad after all. Maybe you’d even like to be him.

Where is the best place to get an education though? More in or out of school? The answer: Yes.

Needless to say, this all unfolds deeply enscounced in the middle class. You don’t even need subtitles to understand what they are saying!

Alas, the sophisticates are crooks. So stay in school and become one the right way.

And, as is often the case, I think the arguments are superb from both sides.

wiki on the allegations of anti-Semitism:

[b]The film’s release immediately raised questions regarding the necessity of having the con man be Jewish, a theme that plays into traditional anti-Semitic stereotypes. In an interview with The Forward, Hornby explained that he had wrestled with this question and had decided to remain faithful to the original essay, where the lead character is a Jewish con man. Hornby said he did not see the con man as particularly greedy, only a “petty criminal”, and that he hopes that “we’re beyond the point where you can only show ethnic and religious groups in a positive light”.

Hornby also explained that the anti-Semitic comments by certain characters in the film upset people because “we didn’t kill the characters that make antisemitic remarks — that they’re not actually punished within the film. I think that people are not used to the idea that people go unpunished in movies”.

However, critics such as Joe Baltake argue that the film’s plot itself goes out of its way to justify these anti-Semitic outbursts: “the ethnicity of her lover is unnecessarily made a crucial part in her betrayal”. Irina Bragin argues that the film presents the stereotypical greedy and dishonest “wandering Jew” as the counter-stereotype to “refined, attractive, honest, sober and hard working” British Christian values.

In an atypical, syllogistic review of the film, Daniel Valella suggests that, because Sarsgaard’s character David lies about seemingly everything, his Jewish identity might also be a lie. Furthermore, Valella argues that the film presents its anti-Semitic characters in a rather negative light (even if they are never “punished within the film”), and thus the anti-Semitism featured in the film is more a critique of 1960s England than it is a bigoted fault of the filmmakers.[/b]

Too close to call?

trailer: youtu.be/JMHQX_Dr0GQ

AN EDUCATION [2009]
Directed by Lone Scherfig

[b]David: Do you go to concerts?
Jenny: No. We don’t believe in concerts.
David: Oh, I assure you, they’re real.

David: Which University?
Jenny: Oxford. If I’m lucky. Did you go anywhere?
David: I studied at what I believe they call the “University of Life”.

Jenny: Camus doesn’t want you to like him. Feeling is bourgeois. Being engagee is bourgeois. He kills someone and he doesn’t feel anything. His mother dies and he doesn’t feel anything.
Friend: I wouldn’t feel anything if my mother died. Does that make me an existentialist?
Jenny: No. That makes you a cow.

Jenny [to her father]: Oh, by the way… David’s a Jew. A wandering Jew. So watch yourself.

Helen: God, I always think I’m going to my own funeral when I listen to classical music. That was classical, wasn’t it?
Danny: Yes. Very classical. As classical as you can get.

Jenny: How do you know those negro people?
David: They’re clients.
Jenny: Clients?
David: Schwarzers have to live somewhere. It’s not as if they can rent off their own kind, is it?

Jack: All of this is free! That chair. This sofa. It’s all free. We don’t have to pay for any of it. You see, that’s the beauty of life, Jenny. You don’t have to pay for anything. You know, there’s a lovely Oxford tree growing in the garden, lucky for you, because that’s Oxford taken care of. And there’s a whole orchard of school trees, so that’s school is free. And I think there’s even a private tuition tree in there. I’ll just go and check, shall I?
Marjorie [Jenny’s mom]: Jack?
Jack: That’s all right, Marjorie. Don’t worry. It’ll only be a second. Because I think there’s a whole clump of them surrounding the pocket money tree. I’ll just go make sure, they’re all nice and safe, shall I? Oh, by the way, you might be lucky, there might be a man with deep pockets growing out there. Because God knows, you’re gonna need one!

Helen: Jenny…
Jenny: Aren’t you coming?
Helen: We don’t go in.
Jenny: What are you talking about?
Danny: Why don’t you go and get a nice cup of tea somewhere. Helen will look after you.
Jenny: I don’t need looking after, thank you very much. David?
Danny: I’m not going to tell you a second time. Run along.
Helen: They won’t be long. Either way.
Jenny: “Either way?”
Helen: Well sometimes they find something, and sometimes they don’t. And when they do find something, we often have to leave quite quickly. They can be a quite naughty, sometimes.

David: We liberated it.
Jenny: Liberated? That’s one word for it.
David: Don’t be bourgeois, Jenny. You’re better than that.

David [to Jenny]: You want to know what stats are? Stats are old ladies who are scared of coloured people. So we move the coloureds in and the old ladies move out and I buy their flats cheap. That’s what I do. So now you know.[/b]

By now though, she’s hooked.

[b]Jenny: You have no idea how boring everything was before I met you.

Jack [to David]: What about your Aunt Helen?

Jenny: I don’t want to lose my virginity to a piece of fruit!

Jenny [thinking about sex] It’s funny though, isn’t it? All that poetry and all those songs, about something that lasts no time at all.[/b]

But you can do it again and again. And there’s the part about love.

[b]Miss Stubbs: It’s because of people like you that I plough through illiterate essays by Sandra Lovell about her pony. But I know where this comes from, Jenny. And If I took it, I’ll feel like I’d be betraying both of us. Jenny. You can do anything you want. You know that. You’re clever and you’re pretty… Is your boyfriend interested in clever Jenny?
Jenny: I’m not quite sure what you’re trying to tell me.
Miss Stubbs: I’m telling you to go to Oxford. No matter what. 'Cause if you don’t, you’ll break my heart.

Jenny: Maybe will our lives going to end up with pony essays. Or housework. And yes, maybe we’ll go to Oxford. But if we’re all going to die the moment we graduate, Isn’t it what we do before that counts.
Miss Stubbs: I’m sorry you think I’m dead.

Headmistress: He’s a Jew? You’re aware, I take it, that the Jews killed our Lord?
Jenny: And you’re aware, I suppose, that our Lord was Jewish?

Headmistress: Nobody does anything worth doing without a degree.
Jenny: Nobody does anything worth doing WITH a degree. No woman anyway.
Headmistress: So what I do isn’t worth doing? Or what Miss Stubbs does, or Mrs. Wilson, or any of us here? Because none of us would be here without a degree. You do realize that, don’t you? And yes, of course studying is hard and boring…
Jenny: Boring!
Headmistress: I’m sorry?
Jenny: Studying is hard and boring. Teaching is hard and boring. So, what you’re telling me is to be bored, and then bored, and finally bored again, but this time for the rest of my life? This whole stupid country is bored! There’s no life in it, or color, or fun! It’s probably just as well the Russians are going to drop a nuclear bomb on us any day now. So my choice is to do something hard and boring, or to marry my…Jew, and go to Paris and Rome and listen to jazz, and read, and eat good food in nice restaurants, and have fun! It’s not enough to educate us anymore Ms. Walters. You’ve got to tell us why you’re doing it.[/b]

Reductionism here cuts both ways. But she’ll soon see the light.

[b]Jenny [to David after finding out he is married]: I have nothing. I didn’t take my exams. I…I left school. Where’s it all going now?

Jenny [to David]: Two minutes. Or I’ll come out and drag you in.

Sarah [David’s wife]: Oh, no. Don’t tell me. Good God. You’re a child. You didn’t know about any of this. Presumably. No. They never do. You’re not in the family way, are you? Because that’s happened before.
[Jenny shakes head head]
Sarah: Thank God for that.

Jack: We have to have this out. Well, if you won’t do it, I will. I’m still your father.
Jenny: You’re my father again now, are you? And what were you when you encouraged me to throw my life away? Silly schoolgirls are always getting seduced by glamorous older men, but what about you two?

Jenny: Miss Stubbs, I need your help.
Miss Stubbs: I was so hoping that’s what you were going to say.[/b]

Before the wages of fear is the desparation goading you to take them. But there will always be men lining up to make that exchange. Of course those who pay them insist that no one forces them to. It’s a, uh, free country.

Everything here is about power. Both kinds. That and the extent to which you can manipulate the beliefs others have about your own.

But sometimes you just can’t win. Not when you are your own worst enemy.

trailer: youtu.be/vPuO14OgTEc

IMDb

[b]Accusations of anti-Americanism led to the US censor cutting several key scenes from the film.

Henri-Georges Clouzot originally planned on shooting the film in Spain, but Yves Montand refused to work in Spain as long as fascist dictator Francisco Franco was in power.

Yves Montand and Charles Vanel both contracted conjunctivitis after filming in a pool of crude oil and being exposed to gas fumes.[/b]

I can believe it. Wait’ll you see that part: oil, oil everywhere. They may as well have been swimming in it.

THE WAGES OF FEAR [Le Salaire de la Peur] 1953
Written and directed by Henri-Georges Clouzot

[b]Mario: There’s only one chronic sickness here, hunger. That’s what kills most of us.

Mario: That’s for Americans.
Jo: Americans here?
Mario: Wherever there’s oil, there’s Americans. SOC is their company. They’ve got a camp. They’re organized. Houses, a canteen, a cemetary. All prefabricated.

Luigi: Easy to strut with that.
Jo [gives the gun to Luigi]: Here.
[pause]
Jo: Well, shoot.
Luigi: I can’t that way.
[Jo slaps him hard across the face]
Jo: How about this way?
[Luigi tosses the gun and walks away]
Jo: You look pale. A gun’s not enough. You need guts.
Luigi: I’m not a murderer.

O’brien [on phone]: The safety commision is coming out to see you this afternoon. Give them a good meal and plenty of liquor. Blame it all on the victums.

O’Brien: The hell with the Union! There’s plenty of tramps in town, all volunteers. I’m not worried. To get that bonus, they’ll carry the entire charge on their backs.
Bradley: You mean you’re gonna put those bums to work?
O’Brien: Yes, Mr. Bradley, because those bums don’t have any union, nor any families. And if they blow up, nobody’ll come around bothering me for any contribution.

Dick: When I was a kid, I used to see men go off on these kinds of jobs… and not come back. When they did, they were wrecks. Their hair had turned white and their hands were shaking like palsy! You don’t know what fear is. But you’ll see. It’s catching, it’s catching like small pox! And once you get it, it’s for life! So long, boys, and good luck.

Mario: Only 300 miles to go.

Bimba [looking at the word “EXPLOSIVES” painted on the truck]: We’ll blow it up!

Luigi [to Mario of Jo]: Can’t you see he’s just a walking corpse?

Mario: We thought you were dead!
Luigi: So did I!

Luigi: You sure are something! Mario’s got guts. So have I. Jo has none at all. But you take the cake!
Bimba: Ever worked in a salt mine? The Nazis gave me 3 years in it. I was nearly dead when I got out. Compared to that, this is a joke.[/b]

Or maybe not: Boom!

[b]Jo: Do you smell it? It’s my leg.
Mario: It’s only the oil.
Jo: No, it’s me. I smell like a corpse.

Mario: No thanks. When someone else is driving, I’m scared.[/b]

The worst mistake he ever made.