philosophy in film

Think Escape From New York set in Paris. But Snake Plissken is no Leïto. This guy is nothing short of dazzling. The “action” scenes are at times, well, mesmerizing. And even though the dystopian ghetto plot has been done over and over again he just brings something to it that all the others sorely miss: the poetry of motion. And Captain Tomaso isn’t so bad either. They come to share a bond not really all that different from the cop and the criminal in The Killers.

As for the “poetry” they call this “parkour”: en.wikipedia.org/wiki/Parkour

It is tantaumont to being a gymnast [or maybe an artist?] with the city’s buildings themselves becoming the “apparatus”. Prepare to be amazed. In part because there are virtually no special effects involved. What you see them do is in fact what they are doing.

Other than that it’s the usual assortment of good guys and bad guys…and guys you think are one but then turn out to be the other. Cops and government officials for example. Corrupt? Oh, yeah.

Some people are just expendable. And rather than allowing them to intermingle freely with the rest of us, the powers that be [with plently of support from the citizenry no doubt] literally wall them up in a “ghetto”. But why stop there?

Look for the Yeti.

at wiki: en.wikipedia.org/wiki/District_13
trailer: youtu.be/Mcmkx1klOpEDISTRICT

DISTRICT B13 [Banlieue 13] 2004
Directed by Pierre Morel

[b]Title Card: Paris, 2010. Faced with rampant crime in certain suburbs, or barrios the government authorized the construction of an isolation wall around neighborhoods classified as high risk.

K2 [to Taha]: He’s like, uh…like a bar of soap.

K2 [to Taha]: His sister Lola. Leito’s sister works at the supermarket. If we’ve got her he won’t stay in hiding for long.

Corrupt cop [to Leito]: You go into the cell…
[he turns to Taha]
Corrupt cop: …and you pick up your dope and clear out.
Leito: Don’t do that, for Christ’s sake! If you let him go, it’ll be worse than before.
Corrupt cop: It won’t be worse, 'cause we’re getting out. When the shit falls, we’ll be far away.
Leito: You won’t be here, but it’s still going to go on and you’re the ones who are supposed to stop it.
Corrupt cop: I’ll bet that you still believe that. The barbed wire and the walls. Did you forget all that? They’re going to put a lid on it and blow it all up.

Damien [to Benito]: Doesn’t squeak anymore.

Damien: What’s inside the truck?
Kruger [Secretary of State]: An experimental scatter-type bomb sometimes known as a clean bomb. It’s a prototype based on neutron technology. Medium range about 8 kilometers. The waves are of short duration. They’re absorbed very fast. The risk of polluting the atmosphere is close to zero.
Damien: You’re worried they’ll move the bomb. Is that it? It wouldn’t be so clean in the center of town, would it?
Kruger: Yes, and that’s one of our primary concerns.

Damien: Colonel, you know the way I function. I study the terrain for weeks and weeks then it takes me months to infiltrate.
Colonel: Damien, there are 2 million people living out there and maybe half of them are scum of the earth but the other half are entitled to our assistance. So you’re gonna change the way you operate unless you don’t care anymore about saving innocent people.[/b]

Doesn’t really matter. There’s more to this than meets the eye. In the interim: Damien, meet Leito.

[b]Damien: But the bomb will kill millions.
Taha: Ah, but they should have thought of that. When they made it, for example.

Damien: I’ve got the bomb in front of me. I need the code.
Kruger: Where are you now?
Damien: The bomb’s in front of me with 3 and 1/2 minutes left. Give me the code, and we’ll talk later.
Kruger: Where are you? The exact spot.
Damian: On the roof of a building in Barrio 13. Do you want the weather forecast as well?!
Kruger: Good work, Tomaso.We’re all very proud of you.
Damian: Thanks, but time’s running out.

Leito [regarding the code]: B-13? Like Barrio 13?
Damien: Yeah.
Leito: Doesn’t it seem strange that the bomb’s code is Barrio 13…
Damien: Just coincidence.
Leito: Damien, wait! Hold on. If the bomb wasn’t scheduled to come here…why the hell does it have the same number as this barrio? Damien, listen. What if it’s the reverse?
Damien: The reverse of what?
Leito: You detonate the bomb with the code instead.

Damien: Why send me, then, if they wanted the fucking thing to explode in the first place Explain that!
Leito: So it blows up right here where they want the center of Barrio 13.

Leito: Open your eyes, Damien! Nobody gives a shit about this barrio. Twenty years, and they can’t solve the problem. They built a wall around us and now they’re going to clean it out for good. How come there are no civil servants here? No post office or schools, and just by chance the police station was shut down.

Damien: It can’t be possible, Leito! You don’t kill two million people 'cause you can’t solve their problems!
Leito: No? They murdered six million because none of them were blond with blue eyes!

Kruger: Barrio 13 is uncontrollable. It costs a fortune to the state. The taxpayers are worried. Worried, frightened, and fed up with paying for such scum!
Damien: So we clean it out with a bomb?
Kruger: Yes. It’s not very democratic, but it solves all the problems.[/b]

Carnage. It’s everywhere here. For example, the most obvious: what the bullfigher does to the bull and what the bull does to the bullfighter.

Then there are all the things the characters do to each other. Gore takes on many forms. Some more visceral than others. Some in fact are little more than frames of mind. Enigmatic no less. And some are self-inflicted.

And, if you believe in God, there is all the carnage he seems oblivious to.

Another obvious strand is the manner in which we are often interconnected with others but not really aware of just how that impacts on the things we choose to do. Then something happens and for reasons no one is able to grasp in full a set of people find themselves connected to it—setting into motion events that further ramify on their lives. It’s as though we try to imagine a more all encompassing point of view. Someone we can go to perhaps to give us a more comprehensive understanding of how these things seem to unfold—as though they were either meant to all along or for seeming random, mysterious or fortuitous reasons.

In other words, this is six dgrees of separation at a distance. Something happens and it becomes a part of our life. We behave in a particular way as a result of it and because we do it ripples though reality and effects the loves of others. But we never meet and can’t know what that is. But, let’s face it, this will always intrigue some people more than others. It’s easy enough to shrug it all off and I certainly have no problem with those who do. Except they might be missing something about human interaction that to me is not negligible. But no more accessible. And no more assessable.

This one is not for the literal [or the linear] minded. Here you get to fill in the blanks yourself. You get to use your imagination, for example.

at wiki: en.wikipedia.org/wiki/Carnage_(2002_film
trailer: traileraddict.com/trailer/carnage/trailer

CARNAGE [Carnages] 2002
Written and directed by Delphine Gleize

Teacher [talking about Winnie’s drawing]: And what’s this?
Winnie: A little girl.
Teacher: Winnie, a human being can’t be smaller than a dog.

Oh yeah? Wait until you see the size of this fucking dog!

[b]Winnie: Fred, you want some Vallium?

Jacques [to Betty]: You think too much.

Jacques [to his colleague]: Blind in one eye. A lot of bulls are born that way. One-eyed bulls are the most dangerous. They leave the pen and the audience thinks they are just like the others, but no. It can’t see everything. It holds its head differently. It must be a terrible feeling for the bullfighter. You realize you are alone with it and that it’s hiding something from you, that its body is hiding aomething.Your view of him is altered. In the bullring, even if you know how to fight, there’s a clinical factor in the bull that shatters your bearings. Doubt kicks in at that point.

Alexia: I used to be a philosopher. I wrote notes…those books to help with exams.
Carlotta: It’s a pity you’ve given up philosophy. I failed my exams. But I remember those notes were useful.
Alexia: I hope you didn’t fail because of me. You know, it’s hard to help people in their despair. They look at me, sitting there, on their shelves…the cause and witness of their failure. It’s hard to live with.
Carlotta: I can imagine.

Carllota [holding Alexis up naked in the pool with other naked people holding each other up along side them]: I think I am finding my scream.

Carlotta: Dead meat in the living room is a health hazard.
Alexis: After all, by now the worms are moving in.[/b]

Be careful who you fall in love with. Especially if you are from one side of the tracks and she is from the other.

And what can someone from the wrong side really know about someone named Tamsim? On the other hand, Mona seems a bit more managable. And more down to earth. For one thing she is much less likely to live in a world that she makes up as she goes along. Not that Tamsim spins the yarn as a spider spins the web. She is just the proverbial poor little rich girl who is not getting the love she deserves from Mommy and Daddy. They are [predictably] self-absorbed assholes and leave her to her own devices. And then Mona comes along. And, in her own way, she too is off the beaten path. And particularly vulnerable now because she just lost her brother. To God. He suddenly discovered that he is born again. And, for Mona, nothing could possibly be more insufferable.

It’s not that Tamsim plays Mona for a sucker. I think the feelings she develops for her are largely genuine. But she can only be genuine up to a point. She is really from another world when push comes to shove. She goes to a boarding school and is considerably more sophisticated about the things that girls who go to boarding schools generally are—like intellectual and cultural pursuits. What is there really left to share once the novelty of being teenagers in love wears off?

IMDb

Marcel Cerdan, the boxer, wasn’t Édith Piaf’s husband. He was her lover and the love of her life. He died in a plane crash and she never recovered from his death. She never killed anyone, let alone with a fork.

at wiki: en.wikipedia.org/wiki/My_Summer_of_Love
trailer: youtu.be/hS8hHUaVyG0

MY SUMMER OF LOVE [2004]
Written and directed by Pawel Pawlikowski

[b]Phil [speaking to the congregation while Mona listens in sullenly, scornfully]: I looked to the Pub and I thought, God what have I been doing? Thank you Lord. I now see what I can do. Our room is not a Pub, our room is a spiritual center where people can come and learn about Jesus Christ. Because we will give this valley back to Jesus Christ. Because people need spiritual fullfilment. They need to know that the Lord is there for them. They need an echo of it. They need to know their Lord. How great is the Lord? We’re gonna bring love to this valley. We’re gonna bring the name of Jesus Christ to the lost people of this valley. We will let them know that He is there for them!

Tamsin [finishes playing the cello]: It was “The Swan” by Saint-Saens.
Mona: I live above “The Swan”. The pub.
Tamsin: You live in a pub?
Mona: Yeah.

Tamsin: Have you read Nietzsche?
Mona: Who?
Tamsin: Nietzsche. He was a great philosopher and he just believed that, you know, people, there are some people that are put on this planet who are made to succeed, who are just made to blossom. And it doesn’t matter how many lesser mortals suffer and get fucked over, it doesn’t matter, as long as they succeed. You know like Shakespeare and Wagner. And your brother with all that crap. I mean Nietzsche would string him up with all that stuff about God God’s dead. This is what is real here
Mona: The here and now.
Tansim: Yeah, you should read him. I think you’d like him. Or Freud.

Tamsin: So what are you gonna do with your life?
Mona: I’m gonna be a lawyer.
[pause]
Mona: I’m gonna get a job in an abattoir, work really hard, get a boyfriend who’s like a bastard, and churn out all these kids, right, with mental problems. And then I’m gonna wait for menopause…or cancer.

Phil: Why are you always trying to hurt me?
Mona: Cause I think you’re a fucking fake, that’s why.

Phil: What is wrong with you?
Mona: I just miss me brother.
Phil: I’m right here.
Mona: That ain’t you. It ain’t.
Phil: Oh no, this is me, this is the real me.
Mona: I want the old Phil.
Phil: Well that old Phil, he didn’t make me very happy.
Mona [weeping]: He made me happy. I love my brother, he used to be real. I haven’t got any family, me home’s changed, no one fancies me…
Phil [hugging Mona]: Oh, Jesus, watch over this child, watch over her…
Mona [revolted]: Oh no, fuck off! Fuck off!!!

Tamsin: What’s he making?
Mona: A cross. He’s putting it up at the top of the hill to cleanse the valley of evil.

Tamsin: You see that house there…and the posh Jaguar parked outside? It’s my dad’s car. And he comes here quite a lot, I think…cause this is where his girlfriend lives. And he is in there fucking her now. He has her bent over and he is fucking her in her ass.
[she starts crying]
Tansim: Oh man, you should see her. She’s just a dog, a fucking whore. She’s got blond hair and big tits and these high heels. She’s got no fucking brains at all. She’s got nothing.

Tamsin: This is Edith Piaf. I just adore her. She was this marvellous Parisian woman who had such a wonderfully tragic life. She was married 3 times & each husband died in mysterious circumstances. The last one was a boxing champion and she killed him with a fork. She didn’t even go to prison because in France crimes of passion are forgiven.

Mona [to Phil after pretending to have hung herself]: I am the the Anti-Christ and I will never die!

Phil [to the congregation]: …just fucking go…get out, get out, go! You bunch of fakes go…fuck off! Get out! Fucking move! Move it!!! Get out and take the fucking Bibles with you. You’re all fakers!!!

Sadie: Excuse me…Can I have my top back, please?
Mona: You’re Sadie!!!

Tamsin: I’ve got to go back to school, Mona. You’ve always known that. Look, I couldn’t be myself back there in front of my mother. Anyway, I was just playing a part. That wasn’t even me. Come on, you know me. You know me. And don’t be upset about Sadie. Sadie was just… Sadie was just a bit of poetic licence. I mean, I am a fantasist. You can’t tell me we haven’t had fun.

Tamsin [after Mona chokes and very nearly drowns her]: What the fuck are you doing?!! You’re a crazy fucking bitch![/b]

This is one of those films that was roundly thumped by the critics. But not by the general public. Over at RT the critics gave it a 19% fresh rating. And on 156 reviews. Meanwhile from nearly 60,000 user ratings it score a whopping 79%. This is almost unheard of. At Metacritic it scored only a 31% approval rating while Amazon users gave it a 75%. At IMDb, it garnered a 74% rating from over 65,000 users.

Now, I usually always side with the critics here. But not this time. This isn’t nearly in the same league with Dead Man Walking. For one thing it hardly gives equal time to both sides. But I really couldn’t believe some of the shit the critics were saying about it. You’d think it was a Jerry Springer production. Though, sure, there were parts that were way over the top. But the film was never really about the death penality itself so much as the life of one particular man who tried to put a stop to it.

In part the film explores how a political debate [being conducted by actual flesh and blood human beings] can easily become entangled in ego. Then it becomes less about demonstrating that you are right and more about demonstrating that your opponent is wrong. And not only that: a fucking idiot.

Or maybe the critiques revolved in part around the manner in which it seemed to show how easy it could be for former student of David Gale to falsely accuse him of rape. Not a very liberal frame of mind. And even though the charges are later dropped he has already lost his job…and his career is down the toilet. Then he loses custody of his son. It follows him around wherever he goes.

But mostly the legitimate criticism revolves around this hopelessly contrived, convoluted plot to prove that innocent people are executed. In fact there are already so many more actual examples [not hopelessly contrived and convoluted] that clearly show this to be the case. Besides, as the governor rationalizes on TV, “the system cannot be blamed for the acts of one deranged individual with a political ax to grind.”

at wiki: en.wikipedia.org/wiki/The_Life_of_David_Gale
trailer: youtu.be/BnbNu4vl2Q0

THE LIFE OF DAVID GALE [2003]
Directed by Alan Parker

[b]Barbara: I don’t get to make the rules, Joe. Please, I’m a fat black woman.

Bitsey: You know you are in the bible belt when there are more churches than Starbucks.
Zack: When there are more prisons than Starbucks.

Grover [prison PR man]: All executions in the state of Texas occur over at our Huntsville unit downtown but death row is here for the time being. This is home to all 442 offenders prior to their date. Average stay is nine years. Now, some get commuted, but most get put to death.

David: My lawyer respectfully requests that you adjust the volume on the speaker system.
Prison guard: GALE. SIT DOWN.
David: They’re practicing being cruel and unusual.

David: No one who looks through that glass sees a person. They see a crime. I’m not David Gale. I’m a murderer and a rapist…

Bitsey: So where do we begin?
David: Well, I suppose I should tell you how I became the head of philosophy at the University of Austin…

David [lecturing his class]: I want you to reach back into those minds and tell me, tell us all… What is it that you fantasize about? World peace? Do you fantasize about international fame? Do you fantasize about winning a Pulitzer Prize? Or a Nobel Peace Prize? An MTV Music Award? Do you fantasize about meeting some genius hunk, ostensibly bad…but secretly simmering with noble passion…and willing to sleep on the wet spot? Fantasies have to be unrealistic because the moment, the second that you get what you seek, you don’t, you can’t want it anymore. In order to continue to exist, desire must have its objects perpetually absent. It’s not the “it” that you want, it’s the fantasy of “it.” So, desire supports crazy fantasies. This is what Pascal means when he says that we are only truly happy when daydreaming about future happiness. Or why we say the hunt is sweeter than the kill. Or be careful what you wish for. Not because you’ll get it, but because you’re doomed not to want it once you do. So the lesson of Lacan is, living by your wants will never make you happy. What it means to be fully human is to strive to live by ideas and ideals and not to measure your life by what you’ve attained in terms of your desires but those small moments of integrity, compassion, rationality, even self-sacrifice. Because in the end, the only way that we can measure the significance of our own lives is by valuing the lives of others.[/b]

Yep, he’s a philosopher alright. And an idealist. Is he also a fool?

[b]Constance: The T.A. finished transcribing all the governor’s radio and TV comments. Listen to this gem. “Journalist: Governor, don’t you think three executions in one week is excessive? Governor: 'I say, bring’em in, strap’em down and let’s rock and roll.”’
David: It’s good to hear that our governor’s in touch with his inner frat boy.
Constance: I’ve highlighted stuff. He’ll do the whole “down home wisdom” thing…capital punishment is God’s law, an eye for an eye. Stick to arguments about rational facts. And watch your ego. Don’t come across as one of those "I hate authority… 'cause everyone around here wears big hats and nobody in charge reads The New Yorker.

David: Something profoundly stupid happened last night.
Constance: I hope you used a condom. Oh. Jesus Christ, David. Was she one of yours?
David: It was Berlin.
Constance: Oh, great! Oh, that’s great. I can hear the grapevine now. “They had to suspend her so that Gale could dick her with a clear conscience.”

Constance [to David who is about to debate the governor on a TV progam]: There are 17,000 murders a year in the United States. Ten of the 12 states that have abolished the death penalty have a murder rate that’s lower than the national average. And if he starts with the religious stuff, just say that nearly every denomination in the United States opposes the death penalty.

Governor: Alan, let me say something I always say and I’m gonna keep on saying. And that is that I HATE killin’. That’s why my administration is willing to kill to stop it.
David: Murderers are not deterred by the thought of execution. They’re just not, and you know it. Every single study that’s been done on this subject…and there’s been over 200… and you’ve read them… has reached the same conclusion. They all say the same thing.
Governor: Well, maybe you should read your Bible. Deuteronomy 19::21. An eye for an eye, tooth for a tooth.
David: What did Gandhi say about that? “The old law of an eye for an eye leaves us all blind.” Governor: Well, I’m sorry…and with respect…that’s fuzzy liberal thinking.
David: You really believe that, Governor?
Governor: Of course.
David: That’s interesting. 'Cause you said that yourself in a speech in your first campaign.
Governor [flustered]: You’ve got me, Professor. But let me, in my defense, offer YOU a quote. Winston Churchill: ‘If you’re not a liberal at twenty, you have no heart, if you’re still a liberal at thirty, you’ve got no brain.’
David: So, basically, you feel, to choose another quote, ‘society must be cleansed of elements which represent its own death.’
Governor: Well, yes. I’d have to agree. Did I say that too?
David Gale: No, that was Hitler.

Zach: You still don’t think he’s telling the truth.
Bitsey: On the Berlin rap?
Zach: On the whole rap.
Bitsey: Who knows? Anyway, there is no truth, only perspectives.
Zach: If you say there’s no truth, you’re claiming it’s true there’s no truth. It’s a logical contradiction.
Bitsey: Working on our Philosophy Merit Badge, are we?

Bitsey: Whoever this is knows how hard it is to get a retrial in Texas. They know the magazine can’t give this any substantial play before the execution. We’d have to give it to a daily or a network. That won’t happen. But mostly, they know I’ll tell Gale today.
Zach: So?
Bitsey: What if Constance’s murder was just a means of getting at Gale…not only to get rid of him, but to make abolishionists look crazy? Of course he sympathizes with murderers. He is one. They make sure he sits six years on death row for a brutal rape and murder, then they let him die…die knowing everyone will remember him with disgust. They destroy his life, his work, his memory…and they make him watch. That’s a lot of hate.
Zach: Well, then why release it?
Bitsey: Hate’s no fun if you keep it to yourself.[/b]

Nope. That’s not it. Not even close.

[b]Constance: You work so hard not to be seen as a sex object. Before long, you’re not seen at all.

David [to Constance]: You want to make it five?

David: Bitsey, we spend our whole lives trying to stop death. Eating, inventing, loving, praying… fighting, killing. But what do we really know about death? Just that nobody comes back. But there comes a point in life…a moment…when your mind outlives its desires, its obsessions. When your habits survive your dreams…and when your losses…
[pause]
David: Maybe death is a gift.[/b]

And maybe it’s a release from all that.

duplicate post

He found her when she was six years old. Or kidnapped her if you believe others. He raised her on a fishing boat. Why? Because he intends to marry her when she turns 17. She is 16 now. But, being an honorable man, he has not yet touched her…inappropriately. And he won’t until she is of age. That is how he rationalizes it. On the other hand, he does bathe her everynight.

And she seems to be pleased with the arrangment. But it is the only world she has ever really known. And the old man treats her in a kindly and loving manner. Even when he is shooting arrows past her in his fortune telling venture.

In other words, one suspects that were she to be given the choice to stay with the old man or to go back to her family, she would choose to stay. No question about it. Not that this justifies what the old man did.

Of course she is beautiful. No need to rationalize that. It’s just understood. In South Korea no less than everywhere else.

And, if you are able to rationalize this sort of thing, it could have had a happy ending. Except the old man makes a mistake. He brings someone onto his fishing boat who brings along his son. His son is [of course] very handsome and is the same age as the young girl. The rest isn’t hard to imagine. In fact as soon as the boy comes on board the old man sees the look on the young girl’s face. Then it’s only a matter of time. But the ending is not necessarily in sync with it.

Lesson to be learned: that we go along content in one rendition of reality and then another rendition comes along. We might still prefer the old to the new. Over and again. But there are only so many times this can happen. Sooner or later a better rendition comes along. And that means change. And that means consequences. And that means conflicting reactions to them.

at wiki: en.wikipedia.org/wiki/The_Bow_(film
trailer: youtu.be/eXDkdjHAVIU

THE BOW [Hwal] 2005
Written and directed by Ki-duk Kim

You lose someone. You grieve. But [as they say] no two people grieve alike.

Least of all as she does. And she grieves for someone who may not even have existed. For a relationship only as she imagined it was. She tetters back and forth between lucidity and delusion. And her friends tetter back and forth between trying to help her and risking a reaction that will only make her worse.

And then the mystery surrounding his disappearance. Did he commit suicide? Was it an accident? Did he even drown at all? Or did he only want it to appear as though he did. Why? To get away from her perhaps?

Into the mix we also have a woman who is right on the cusp betwen the part in the middle and the part at the end. Death is getting closer and closer. That tugs her into the past, that tugs her into the future. It is a frame of mind that must be actually experienced I suppose.

This is about how well we really do know those that we think we know inside and out. You see this time and time and time again on true crime accounts of husbands and wives and families who don’t really have a clue regarding the people they imagine one way when in fact they are really quite the opposite.

Is it better to know or not to know? But every context is different. In the end it all seems to come down to options. The ones you actually have and the ones you try to convince yourself you have.

at wiki: en.wikipedia.org/wiki/Sous_le_sable
trailer: youtu.be/Mz1ffVq55cQ

UNDER THE SAND [Sous le Sable] 2000
Written in part and directed by François Ozon

[b]Marie: I love teaching. Right now we’re working on “The Waves” by Virginia Woolf. It’s a wonderful book. The students like it.
Vincent: I read it as a teenager. But I don’t really remember it.
Marie: “I have the feeling that I shall go mad. I hear voices and I cannot concentrate on my work. I’ve tried to fight it but I cannot fight it any longer. I owe all my happiness in my life to you. You’ve been so perfectly good I cannot go and spoil your life.”
Vincent: That’s…
Marie: The suicide note she left to her loved ones.
Vincent: Terrifying. She drowned herself with rocks in her pockets.
Marie: I think it’s a beautiful death.
Vincent: I’m not suprised. The English are fascinated by things morbid.

Marie: Amanda, if you knew anything about him you would tell me, wouldn’t you?
Amanda: Of course I would. You are my best friend. But now it is time to forget. There is no point in going over it again and again. You have to carry on. You have to live for yourself.
Marie: Do you think Jean is unhappy with me?

Marie: I think Jean may have killed himself.
Mother: My son, suicide? There are no suicides in the Drillon family.
Marie: I just wanted to tell you that Jean was depressed.
Mother: I knew that.
Marie: How did you know it?
Mother: I’m his mother.
Marie: And I’m his wife.
Mother: But you didn’t realize he was suffering.
Marie: It’s hard for me to believe that Jean confided in you.
Mother: Well, you’re wrong. You underestimate our relationship.
Marie: Oh, give me a break. If you know something, tell me. I can’t stand it anymore.
Mother: I don’t think for a minute Jean committed suicide. Or even drowned. The truth is more cruel. He disappeared, quite simply, because he was bored. Or more accurately, bored with you. He wanted a new life. To start over. That’s understandable, isn’t it? Many men dream of doing it.[/b]

And many women too.

Marie [to Jean’s mother]: You belong in an insane asylum, not a rest home.
Mother: You’ll be in one before I am.

Some people are more pathetic than others. And though committing adulty doesn’t necessarily make you pathetic it might be an indication you are heading in that direction. It depends on just how much of a fool you are willing to make of yourself.

And some people [for whatever reason] are just not cut out to be parents. Children can spot them a mile away. And they let Mommy and Daddy know this. But this tends only to further the distance between them. Sooner or later something’s got to give.

It works the same way between husbands and wives. They are not really cut out to be married and yet there they are married. Married with children. Psychologists no doubt are still working on it. Unfornately, it will come too late for folks like me.

And then there is always that gap between the work you do and the work you want to do instead. If you have a job at all.

But then most folks seem pretty much convinced that being a pedophile makes you pathetic. But here it seems that people can become pathetic when they spend their whole life hounding them. If only because they have little else to do. Or they need a scapegoat. Or because of something they did in the past. Larry, in other words, is clearly the most pathetic one of all. But then look where that comes from.

Or maybe it’s Sheila.

The bottom line is that one way or another these suburban denizens are inclined to do pathetic things. In other words, things that you wouldn’t do. But where do you draw the line here between being pathetic and being…evil?

Anyway, there really isn’t anyone to root for here. Or no one I felt inclined to.

IMDb

The narrator is Will Lyman. Lyman’s distinctive voice is often heard on Frontline, a documentary show where his narration is similar to that heard in the film.

at wiki: en.wikipedia.org/wiki/Little_Children_(film
trailer: youtu.be/IiJLJd7cH1c

LITTLE CHILDREN [2006]
Written in part and directed by Todd Field

[b]Narrator: Smiling politely to mask a familiar feeling of desperation, Sarah reminded herself to think like an anthropologist. She was a researcher studying the behavior of typical suburban women. She was not a typical suburban woman herself.

Mary Ann [the park mothers are discussing Ronnie]: He should just be castrated. Just snip, quick and easy. Chop it off.
Sarah [sarcastically]: You know what else you should do? Nail his penis above the entrance to the elementary school. That’d really teach him a lesson.

Brad [talking about his wife]: She makes documentaries.
Sarah: Oh, like Michael Moore?
Brad: Like PBS.

Sarah [to Brad]: Do you know what would really freak them out?

Narrator: For the past few days Sarah hadn’t been able to concentrate on anything but the prom king and the curious thing that had happened to them on the playground. She didn’t feel shame or guilt, only a sense of profound disorientation…as if she had been kidnapped by aliens and then released unharmed a few hours later.

Narrator: It felt so good to be standing there beneath the bright lights. And he was filled with a feeling similar to the one he had right before kissing Sarah, like his world had cracked open to reveal a thrilling new possibility.

Narrator: If there was one thing life had taught Richard, it was that it was ridiculous to be at war with his own desires. We want what we want Richard thought, and there’s not much we can do about it.

Brad: You have a nice place here.
Sarah: You think? Yeah, Richard does pretty well for himself.
Brad: Oh, yeah? What’s he do?
Sarah: He lies.

Mom: Why wouldn’t these women not want to meet a nice person like you?
Ronnie: I’m not a nice person.
Mom: You did a bad thing. But that doesn’t make you a bad person.
Ronnie: I have a psycho-sexual disease.
Mom: You’re better now. They wouldn’t have let you out if you weren’t.
Ron nie: They let me out because they had to.

Mom: You’re a miracle, Ronnie. We’re all miracles. Know why? Because as humans, every day we go about our business, and all that time we know…we all know…that the things we love…the people we love, at any time now can all be taken away. We live knowing that and we keep going anyway. Animals don’t do that.

Sarah: I think I understand your feelings about this book. I used to have some problems with it, myself. When I read it in grad school, Madam Bovary just seemed like a fool. She marries the wrong man; makes one foolish mistake after another; but when I read it this time, I just fell in love with her. She’s trapped! She has a choice: she can either accept a life of misery or she can struggle against it. And she chooses to struggle.
Mary Ann: Some struggle. Hop into bed with every guy who says hello.
Sarah: She fails in the end, but there’s something beautiful and even heroic in her rebellion. My professors would kill me for even thinking this, but in her own strange way, Emma Bovary is a feminist.
Mary Ann: Oh, that’s nice. So now cheating on your husband makes you a feminist?
Sarah: No, no, it’s not the cheating. It’s the hunger. The hunger for an alternative, and the refusal to accept a life of unhappiness.

Narrator: Sexual tension is an elusive thing, but Kathy had pretty good radar for it. It was like someone had turned a knob to the right, and the radio station clicked in so loud and clear it almost knocked her over. Once she became aware of the connection between them, it seemed impossible that she’d missed it before.

Larry: Oh fuck. This is all I need.

Narrator: In his wildest dreams Larry would never have imagined he’d once again be in this position, where precious minutes count. Tonight he could save a life. He knew Ronnie had done some bad things in the past, but so had Larry. You couldn’t change the past. But the future could be a different story. And it had to start somewhere.[/b]

In other words, they all come to their senses and go back to living their lies.

Nowhere near as good as the original [Le Femme Nikita] but ever since Single White Female I sort of fell in love with Bridget Fonda. You know, from a distance.

Personally, I don’t think the shadow government [or what some folks insist is the real government] has actually gone this far yet. But if it turns out that they have, I wouldn’t exactly be surprised. Let alone shocked.

And, after all, she only killed a cop trying to help her, right?

The whole plot is preposterous. But then so are the expalnations the government gives in order to rationalize the things it does behind the curtain. Like train assassins. And not just on “foreign soil”. On the other hand, we all know that the CIA [and their ilk] are not “chartered” to do their thing on U.S. soil. These folks must be an aberration.

at wiki: en.wikipedia.org/wiki/Point_of_N … (1993_film
trailer: youtu.be/loWM25F_SOY

POINT OF NO RETURN [1993]
Directed by John Badham

[b]Maggie: So…you’re going to give me this ‘chance.’ What do I got to do?
Bob: Learn, Maggie. Learn to speak properly; learn to stand up straight for a start. Then languages, computers, and so on.
Maggie: What if I’m not interested?
Bob: Row 48, Plot 12.

Maggie: And what if I say I need more time?
Bob: And what if I say there is no more time?
Maggie: And what if I say you can kiss my ass right in the crack?

Maggie [to Bob]: Oh, I think she’s saying, “Stick it in me twice a day, and I’ll do anything for you.”

Bob: And now for the bad stuff. Kaufmann has drawn the line in the sand. He says he is not going to take any more crap from you. He mentioned the word “bullet,” and he mentioned the word “brain.”[/b]

Kill her in other words. And why not, she is already dead to the world.

[b]Bob: So, how are you?
Maggie: I just blew up a hotel. How the hell do you think I am?

Maggie: Fuck you ! That was My last job! I’m through! I’m out!
Bob: Listen, which word don’t you understand? There is no out, there is no through, there is no out!

Victor: I’m Victor. I’m the cleaner.[/b]

And it won’t be the last time either.

Maggie: I never did mind about the little things.

There must be hundreds of them by now: films about disaffected youth in suburbia.

This one is based on actual events. It springs from the creation of a “planned community” that neglected to plan anything for the kids to do. And the kids [15 and younger] represented 25% of the entire community. The only available outlet for them was a rec center that closed at 6 P.M. And this was before the invention of video-games and distractions like the internet or smart phones or cable TV with 67 zillion channels.

So, kids being kids [and this being America], they came up with a few things to do on their own.

But, hey, what these kids had to endure in this all white upper middle class community is pretty brutal. The kids from The Wire lived in a veritable paradise by comparison.

In other words, you really can’t take any of this too seriously. The kids here are basically narcissistic assholes for whom everything revolves around Me. Me and dope and partying and "hanging out” with all the other “rebels without a cause”.

The parents of course are straight out of The Ice Storm.

Or maybe you should just approach this as another snapshot of American culture. And for the millions and millions of folks who wallow in it day after day after day. Yet this is the part that most folks imagine to be the American Dream. To live in an affluent community like this is way beyond the reach of so many others barely struggling to survive from week to week. They have their own problems. And what they wouldn’t give to be able to trade them in for theirs.

This all unfolds in the late 1970s. So right around the corner is Ronald Reagan and his own particular reaction to disaffected youth. And now, 30 years later, look where American culture is today. Youth culture in particular. A vast wasteland.

All that’s left for some is to view a film like this as [unintentionally] a black comedy. You’re mind just boggles trying to imagine something like this actually happening today. But most surreal of all is how far removed it is from a more sophisticated political understanding of how gaps like this occur between the "kids” and the “adults” who are by and large only concerned with their own narcissistic bullshit values.

IMDb

[b]Charles S. Haas based his story on true events which occurred in the planned community of Foster City, California in the early 1970s. In fact, a California headline about the incident, “Mouse Packs: Kids On A Crime Spree”, was authored by Haas when he was a reporter with the San Francisco Examiner.

Originally completed in 1979, the movie was not released until two years later when it was run on HBO. At the time, the studio thought the movie was too controversial and feared that it would spark violence, which apparently occurred with the film The Warriors.

Matt Dillon didn’t actually want or expect to be cast in the movie. He went to the audition just so he could skip school. This is his first movie.

Was one of the main inspirations for Nirvana’s ‘Smells Like Teen Spirit’ music video.[/b]

at wiki: en.wikipedia.org/wiki/Over_the_Edge_(film
trailer: youtu.be/ereen__ld8g

OVER THE EDGE [1979]
Directed by Jonathan Kaplan

Firing people. That’s what he does for a livng. And one can imagine what that was like “back then”. Back then being smack dab in the middle of the Great Recession. The one many of us are still in. You could sure rack up a lot of frequent flyer miles doing that. And he did. In fact, he was closing in on 10,000,000. That’s a lot of wrecked lives behind him.

That’s where Natalie comes in. She wants to “revolutionize” the way they fire folks. On line, for example. That means you don’t need guys like Ryan to actually get on a plane and fly to all those destinations. He can do it right from the home office.

Of course in corporatespeak they don’t fire folks with white collars so much as give them a nudge into the future. Thus they are referred to euphemistically as “career transition counselors”. And how comforting does that sound? Maybe that’s why you don’t run into many career transition counselors if your collar is blue. You get fired the old fashioned way: as though you don’t even exist at all. Which, to the employer, you don’t.

Natalie does change the terminology though. When you fire someone over the internet you are what she calls a “termination engineer”. And to make it all more impersonal still everyone is required to learn the “script”. To follow the “process”.

Then there’s the other part of the movie. The part where we delve into the personal lives of the three main protagonist. We follow the evolution of their relationships. That’s the part they should have trimmed.

In the end you are left to wrestle with the possibility that this might be the best of all possible worlds. And how fucking depressing is that?

IMDb

A large amount of the people we see fired in the film are not actors but people who were recently laid off. The filmmakers put out ads in St. Louis and Detroit posing as a documentary crew looking to document the effect of the recession. When people showed up, they were instructed to treat the camera like the person who fired them and respond as they did or use the opportunity to say what they wished they had. A way to discern who are the actors and who are the real people is that the real people do not have dialogue with George Clooney or Anna Kendrick, as they were shot separately. Jason Reitman did this intentionally, feeling that the real people would freak out Clooney and Kendrick.

By all means, let’s spare them.

at wiki: en.wikipedia.org/wiki/Up_in_the_Air_(2009_film
trailer: youtu.be/rTL1FmvVCuA

UP IN THE AIR [2009]
Written in part and directed by Jason Reitman

[b][They just got fired]
Man: “This is what I get in return for 30 years of service for my company? And they send some yo-yo like you in here, to try to tell me that I’m out of a job? They should be telling you you’re out of a job.”
Woman: “You have a lot of gall, coming in here and firing your No.1 producer. Then you’re going to go home tomorrow and make more money than you’ve ever made in your life and I’m going to go home without a pay check. Fuck you.”
Man: “I guess you leave me dumbfounded. I don’t know where this is coming from. How am I supposed to go home as a man and explain to my wife I lost my job?”
Man: “On a stress level, I’ve heard that losing your job is like a death in the family. But personally, I feel more like the people I worked with were my family and I died.”
Woman: “I can’t afford to be unemployed. I have a house payment, I have children.”
Man: “I don’t know how you can live with yourself, but I’m sure that you’ll find a way while the rest of us are suffering.”
Man: “Who the fuck are you, man?!”

Ryan [voiceover]: Excellent question. Who the fuck am I? Poor Steve has worked here for seven years. He’s never had a meeting with me before or passed me in the hall, or told me a story in the break room. That’s because I don’t work here. I work for another company that lends me out to pussies like Steve’s boss who don’t have the balls to sack their own employees. And in some cases for good reason, because people do crazy shit when they get fired.

Ryan [before an audience]: How much does your life weigh? Imagine for a second that you’re carrying a backpack. I want you to pack it with all the stuff that you have in your life. You start with the little things. The shelves, the drawers, the knickknacks, then you start adding larger stuff. Clothes, tabletop appliances, lamps, your TV…the backpack should be getting pretty heavy now. You go bigger. Your couch, your car, your home. I want you to stuff it all into that backpack. Now try to walk. This is what we do to ourselves on a daily basis We weigh ourselves down until we can’t even move. And make no mistake…moving is living. Now, I’m gonna set that backpack on fire. What do you want to take out of it? Photos? Photos are for people who can’t remember. Drink some ginkgo and let the photos burn. In fact, let everything burn and imagine waking up tomorrow with nothing. It’s kind of exhilarating, isn’t it?

Alex: Oh, my God. I wasn’t sure this actually existed. This is the American Airlines…
Ryan: It’s a Concierge Key, yeah.
Alex: What is that, carbon fibre?
Ryan: Graphite.
Alex: Oh, I love the weight.
Ryan: I was pretty excited the day that bad boy came in.
Alex: I’ll say. I put up pretty pedestrian numbers. 60 thousand a year, domestic.
Ryan: That’s not bad.
Alex: Don’t patronize me. What’s your total?
Ryan: It’s a personal question.
Alex: Please.
Ryan: And we hardly know each other.
Alex: Come on, show some hubris. Come on, impress me. I bet it’s huge.
Ryan: You have no idea.
Alex: How big? What is it, this big? This big?
Ryan: I don’t want to brag.
Alex: Oh, come on! Come on.
Ryan: Let’s just say I have a number in mind and I haven’t hit it yet.
Alex: This is pretty fucking sexy.
Ryan: Hope it doesn’t cheapen our relationship.
Alex: We’re two people who get turned on by elite status. I think cheap is our starting point.
Ryan: There’s nothing cheap about loyalty.

Craig [the boss]: I’m thrilled that everyone’s back under one roof. Welcome home, boys. I know there’s been a lot of whispering about why we’re here, so let me jump right in. Retailers are down 20%. Auto industry is in the dump. Housing market doesn’t have a heartbeat. It is one of the worst times on record for America. This is our moment.

Ryan: Bingo - Asians.
Natalie: You can’t be serious.
Ryan: Never get behind people traveling with infants. I’ve never seen a stroller collapse in less than 20 minutes. Old people are worse. Their bodies are littered with hidden metal and they never seem to appreciate how little time they have left on earth. Five words: randomly selected for additional screening. Asians, they pack light, travel efficiently, and they’ve got a thing for slip-on shoes, God love em.
Natalie: That’s racist.
Ryan: I’m like my mother, I stereotype. It’s faster.

Employee being fired [holding up a photo of his kids]: What do you suggest I tell them?
Natalie: Perhaps you’re underestimating the positive effect that your career transition can have on your children.
Employee being fired: The positive effect? I make about 90 grand a year now. Unemployment is what - 250 bucks a week? Is that one of your positive effects? We’ll get to be cosier cause I’m not gonna be able to pay my mortgage on my house. So maybe we can move into a nice fucking one-bedroom apartment somewhere. And I guess without benefits, I’ll be able to hold my daughter as she, you know, suffers from her asthma that I won’t be able to afford the medication for.
Natalie: Well…tests have shown that children under moderate trauma have a tendency to apply themselves academically as a method of coping.
Employee being fired: Go fuck yourself.

Natalie: Okay, you got to fill me in on the miles thing. What is that about? You’re talking about, like, frequent flyer miles?
Ryan: You really want to know?
Natalie: I’m dying to know.
Ryan: I don’t spend a nickel, if I can help it, unless it somehow profits my mileage account.
Natalie: So, what are you saving up for? Hawaii? South of France?
Ryan: It’s not like that. The miles are the goal.
Natalie: That’s it? You’re saving just to save?
Ryan: Let’s just say that I have a number in mind and I haven’t hit it yet.
Natalie: That’s a little abstract. What’s the target?
Ryan: I’d rather not…
Natalie: Is it a secret target?
Ryan: It’s ten million miles.
Natalie: Okay. Isn’t ten million just a number?
Ryan: Pi is just a number.

Natalie [to ryan]: Please, for the love of God, can I fire the next one?

Ryan [to Natalie after the woman she fired threatened to commit suicide]: They say crazy things. They get worked up.
Natalie: She was really calm.
Ryan: I think that’s a good sign.
Natalie: So they don’t ever actually do it?
Ryan: No. No. It’s just talk.
Natalie: How do you know? Do you follow up?
Ryan: I mean, no, nothing good’s gonna come of that, but… I wouldn’t worry about it. This is what we do, Natalie. We take people at their most fragile and we set em adrift.

Ryan [speaking to audience]: Now I want you to fill your backpack with people. Start with casual acquaintances, friends of friends, folks around the office… and then you move into the people you trust with your most intimate secrets. Your brothers, your sisters, your children, your parents and finally your husband, your wife, your boyfriend, your girlfriend. You get them into that backpack, feel the weight of that bag. Make no mistake your relationships are the heaviest components in your life. All those negotiations and arguments and secrets, the compromises. The slower we move the faster we die. Make no mistake, moving is living. Some animals were meant to carry each other to live symbiotically over a lifetime. Star crossed lovers, monogamous swans. We are not swans. We are sharks.[/b]

This is the actual mentality that many key components in the capitalist system subscribe to: everyone is expendable in the end. It’s always us or them.

[b]Natalie: How does it not cross your mind that you might want a future with someone?
Ryan: It’s simple. You know that moment when you look into somebody’s eyes and you can feel them staring into your soul and the whole world goes quiet just for a second?
Natalie: Yes.
Ryan: Right. Well, I don’t.

[Natalie fires Mr. Samuels over the internet]
Mr Samuels: What’s all this? What’s going on?
Natalie: Hello, Mr Samuels. I wish I were here with better news. However, your position here at Wertheimer’s is no longer available.
Mr Samuels: What are you talking about?
Natalie: You’ve been let go.
Mr. Samuels: Just like that? Who are you?
Natalie: My name is Miss Keener and I’m here today to talk about your options.
Mr Samuels: I worked for this company for 17 years and they send a 4th-grader to can me? What the fuck is this?
Natalie: It’s perfectly normal to be upset. However, the sooner you can tell yourself that greater opportunities…
Mr. Samuels: Greater opportunities? I’m 57 fucking years old!
Natalie: Anybody who ever built an empire or changed the world sat where you are now. And it’s because they sat there that they were able to do it. There’s a packet in front of you. I want you to take some time and review it. All the answers you’re looking for are inside those pages. The sooner you trust the process, the sooner the next step of your life will unveil itself. I need you to go back to your office now and put together your personal things.
[Mr. Samuels breaks down into tears]
Natalie: Mr Samuels, that’s all we can discuss now. Mr Samuels. Mr Samuels. Mr Samuels![/b]

One down, 50 more to go.

Karen: Don’t you talk for a living? Motivational type stuff?
Ryan: I tell people how to avoid commitment.
Karen: What kind of fucked up message is that?!
Ryan: It’s a philosophy.
Karen: It’s stupid.
Ryan: Hey, it could have helped you.
Karen: Look, you haven’t been around much. Fuck…basically, you don’t exist to us. I know you wanna be there for her. Well, here it is. This is your chance.

Sure, this works for most folks.

Craig: Do you remember Karen Barnes, part of a 30-person reduction a few weeks back in Wichita? Natalie fired her.
Ryan: We fired dozens of people a day. I…
Craig: She killed herself - jumped off a bridge.
Ryan: Fuck.
Craig: I need to know if you remember any woman that gave you any signals, depression…
Ryan: They’re all depressed. We’re firing them.
Craig: Hey, I need to ask you this stuff, OK?
Ryan: No, I don’t remember anything. You never think that they’re…
Craig: You don’t remember any woman that gave you any signals? Anything at all, Ryan?
Ryan: No, nothing stands out. Is Natalie all right?
Craig: Natalie quit.

Like you, I wasn’t actually there to witness the final days of Adolph Hitler’s Nazi regime. The fact is I [like you probably] wasn’t even born yet. So we both have to assume that what we are seeing on the screen is a reasonably accurate portrayal of what did in fact happen. In part because the film is based on information that comes from those who were actually there.

But even that has to be taken with grains of salt—if only because these folks almost certainly nudged the truth [whether consciously or not] in a particular direction. One, for example, that might put their own story in a more favorable light. Or because they wish to perpetuate a particular political narrative. Or because they remember it in a way that only more or less reflects what actually happened.

There was plenty of controversy surrounding the film, especially in Germany. Not the least regarding the folks who expressed outrage at the manner in which Hitler was fleshed out existentially and portrayed as an actual multi-dimension human being… rather than as the caricature of an evil, knee-jerk moral monster. Some even went so far as to claim it was a “sympathetic” portrayal of him. Personally, I didn’t see it that way at all. He seemed to go back and forth between being maniacally mad and maniacally malevolent.

“Orders from the Fuhrer!”

Here there were different reactions. From those who followed them no matter how irrational and idiotic…from those were ever calculating: what is best for me though?..from those who felt compelled to do the right thing, no matter the consequences. In a word: dasein.

Then there is Joseph Goebbels and his wife Magda. They utterly embody the truly scary mentality of the uber-fanatic. The authoritarian mind. Blindly willful and willfully blind right down to the bitter end. And then there is that horrific scene where they choose to take their six children with them to the grave. Better dead than to live in a world without National Socialism.

From Magda’s letter to her son: Our magnificent idea has died, along with every beautiful, admirable, noble, good thing I’ve ever known. The world after the Fuhrer’s death and after National Socialism is no longer worth living in. That’s why the children are here. They are too good for what will come. A merciful God will understand me for giving them redemption.

IMDb

[b]Based on the books “Der Untergang” by historian Joachim Fest and “Bis zur letzten Stunde” by Traudl Junge, Adolf Hitler’s last private secretary from 1942 to 1945.

Of the thirty-seven named real life people featured as characters in the film, Rochus Misch was the only one who was still alive when the film was released. He eventually died in 2013.

Many of Adolf Hitler’s lines are historically accurate, based on accounts from Albert Speer and Traudl Junge, most of them however are from earlier dates.

Corinna Harfouch stated that she nearly broke down when filming the scene in which Magda Goebbels gives her children their “medicine” to put them to sleep before poisoning them. Bruno Ganz felt similarly when he held the girl playing one of the Goebbels’ children in his lap as they sang, because he knew that these children were soon to be murdered by their parents.

During the war, the majority of the cyanide capsules produced were made in the concentration camps, which made sabotage a real problem. This is one of the reasons why many Germans who committed suicide by cyanide also shot themselves to make sure they would die. This is also the reason why Adolf Hitler’s beloved dog Blondi was poisoned; he wanted to make sure his batch of cyanide was not fake.[/b]

at wiki: en.wikipedia.org/wiki/Downfall_(2004_film
trailer: youtu.be/Bp1RXmM1-60

DOWNFALL [Der Untergang] 2004
Directed by Oliver Hirschbiegel

[b]Traudl Junge: I’ve got the feeling that I should be angry with this child, this young and oblivious girl. Or that I’m not allowed to forgive her for not seeing the nature of that monster. That she didn’t realise what she was doing. And mostly because I’ve gone so obliviously. Because I wasn’t a fanatic Nazi. I could have said in Berlin, “No, I’m not doing that. I don’t want to go the Führer’s headquarters.” But I didn’t do that. I was too curious. I didn’t realise that fate would lead me somewhere I didn’t want to be. But still, I find it hard to forgive myself.

Bormann [at Hitler’s birthday reception]: Himmler is such a pompous clown.
General Burgdorf: Big shots. Big shots everywhere. It makes me sick just looking at them.

Himmler: Between us, I’d say he’s had it.
SS-Gruppenführer Fegelein: Yeah? What do you expect from a teetotal, non-smoking vegetarian?

Himmler: When I meet Eisenhower, should I give the Nazi salute, or shake his hand?

Mohnke: There are over 3 million civilians in Berlin. They have to be evacuated.
Hitler: I appreciate your concern, Mohnke. But we have to cold-blooded. We can’t worry about these so-called cilvilians now!
Mohnke: My Fuhrer, with all due respect, what will become of the women and children, the thousands of wounded and the elderly.
Hitler: In a war as such there are no civilians.

Generalfeldmarschall Keitel: The Führer has lost all sense of reality.
Generaloberst Jodl: He moves divisions that only exist on his map. Steiner’s scattered unit can hardly defend itself and yet, Steiner is ordered to attack! It’s pure madness!
SS-Gruppenführer Fegelein: Then why don’t you tell him yourself?
Generalfeldmarschall Keitel: He won’t listen to reason. You should know that.
SS-Gruppenführer Fegelein: Something must be done.
Generalfeldmarschall Keitel: Are you insane? We’ll be thrown out like Rundstedt and Guderian!
SS-Gruppenführer Fegelein: Yes, and?
Generaloberst Jodl [glares at Fegelein]: We are soldiers! We pledged our allegiance to the Führer!
SS-Gruppenführer Fegelein: So that means we are no longer allowed to think?

Hitler: If the war is lost it is immaterial if the people perish…They have proved themselves weak and it is a law of nature that they will be exterminated.

Hitler: That was an order! Steiner’s assault was an order! Who do you think you are to dare disobey an order I give? So this is what it has come to! The military has been lying to me. Everybody has been lying to me, even the SS! Our generals are just a bunch of contemptible, disloyal cowards… Our generals are the scum of the German people! Not a shred of honour! They call themselves generals. Years at military academy just to learn how to hold a knife and fork! For years, the military has hindered my plans! They’ve put every kind of obstacle in my way! What I should have done… was liquidate all the high-ranking officers, as Stalin did!

Hitler: The war is lost…But gentlemen if you think that I’ll leave Berlin for that, you are sadly mistaken. I’d prefer to put a bullet in my head and blow my brains out.

Bridagefuhrer: The Russians are mowing down your Volkssturm recruits. They lack experience and suitable weapons.
Goebbels: That is compensated for by their fervent belief in final victory!
Brigadefuhrer: If you can’t arm these men, they can’t fight. They are dying in vain.
Goebbels: I feel no sympathy. I repeat, I feel no sympathy! The German people chose their fate. That may surprise some people. Don’t fool yourself. We didn’t force the German people. They gave us a mandate, and now their little throats are being cut!

Bormann: [reading from Goering’s teletype] “My Führer, following your decision to stay in Berlin, do I have your approval as Vice Chancellor to immediately take charge of the entire Reich with the necessary power and authority? If I receive no answer by 10 p.m., I will assume that you have been incapacitated. I will serve the well-being of our people and fatherland.”
[closes folder and puts it down]
Bormann: He’s betraying Germany… and you!
Hewel: Göering’s concern isn’t unjustified. If our communication system breaks down, which could happen at any time, we’d be cut off from the world; we could no longer pass on orders.
Goebbels: I see it differently. Göering wants to seize power. I never trusted that mob he gathered at Obersalzberg; it stinks of a coup.
Hitler: That failure. That sponger…A parvenu! A lazybones!

Hitler: General von Greim, I appoint you to Commander in Chief of the Air Force and General Field Marshal. A large responsibility rests on your shoulders. You must shake up the entire air force. Many mistakes have been made, so be ruthless. Life never forgives weakness. This so called humanity… is just priests’ drivel. Compassion is a primal sin. Compassion for the weak is a betrayal of nature.
Goebbels: The strongest can only be victorious by eradicating the weak.
Hitler: I have always obeyed this law of nature by never permitting myself to feel compassion. I have ruthlessly suppressed domestic opposition and brutally crushed the resistance of alien races. It’s the only way to deal with it.
Hitler: Apes, for example, trample every outsider to death. What goes for apes goes even more for human beings.

General Weidling: My Führer, as a soldier I suggest we try to break through the encirclement. During the fight for Berlin we’ve already lost 15-20,000 of the younger officers.
Hitler: But that’s what young men are for.

Magda Goebbels: Sleep tight, children.

Traudl Junge: All these horrors I’ve heard of during the Nurnberg process, these six million Jews, other thinking people or people of another race, who perished. That shocked me deeply. But I hadn’t made the connection with my past. I assured myself with the thought of not being personally guilty. And that I didn’t know anything about the enormous scale of it. But one day I walked by a memorial plate of Sophie Scholl in the Franz-Joseph-Strasse. I saw that she was about my age and she was executed in the same year I came to Hitler. And at that moment I actually realised that a young age isn’t an excuse. And that it might have been possible to get to know things. [/b]

One can readily imagine a film like this with respect to 9/11 in America. Two people come to New York concerned that someone they love might be a victim of the attack. One is a Christian and one is a Muslim. How ought they to feel toward each other? Of course, we know how some Christians and Muslims would react. And from this reaction we would just wait for what would inevitably come: the next attack.

Here though the mother [Elizabeth] arrives in London [after the attack] looking for her daughter. And what she learns is that her daughter was going to convert to Islam…that she now lives in an Islamic community. Her initial reaction is one of shock: why in the world would my daughter be photographed in a mosque taking Arabic lessons in an Arabic community?

Oursmane’s story is all the more complex. He left his home in Africa in order to find work in France. He left when is son was six years old. For fifteen years he has not seen him. The mother is worried and asked him to go to London [after the bombings] because [as with Elizabeth and Jane] no one has heard from the son, Ali. But unlike with Elizabeth he is really searching for a stranger…someone he does not really know at all. Fortunately, they both turn out to be decent compassionate human beings.

It turned out that Jane and Ali met in London [in the class that teaches Arabic] and are now living together. But where are they? No one has heard a word from them since the bombing.

And so here we are: They are learning to spreak Arabic in order to prepare Jane for her conversion to Islam. And then in the name of Allah they are blown to bits by extremists who insists they are acting out the will of God. So we are back again to why some are drawn to while others are repelled by religion.

The story goes in a particular direction. But there are dozens and dozens of alternative trajectories. Each perhaps with a different lesson to be learned. If lesson is the right word in a world like ours.

at wiki: en.wikipedia.org/wiki/London_River
trailer: youtu.be/sRsZ23K2rUA

LONDON RIVER [2009]
Written in part and directed by Rachid Bouchareb

Ousmane [showing Elizabeth a photograph]: Is this your daughter?
Elizabeth: Yes, that’s my daughter. Where did you get this photo?
Ousmane: Your daughter goes to Arabic classes with my son. This is Ali. I am looking for him too.
Elizabeth: Arabic classes? Why would she need to learn Arabic? Where was the photo taken?
Ousmane: At a mosque.

First thing she does is call the police.

[b]Detective: Are you a Muslim?
Ousmane: Yes, we are Muslims.
Detective: Me too.

Elizabeth [on the phone with Edward]: I don’t know what’s going on. She’s been learning Arabic. I’ve got a terrible feeling. She’s been converted. I’ve met this African who’s got a photograph of her in a mosque. I have been to the police who searched her apartment. I’m in the apartment now. This place is absolutely crawling with Muslims!

Elizabeth [looking at the chalkboard]: That’s just a language right?
Teacher: Yes, that’s a language. We start with the alphabet and…
Elizabeth: I don’t understand why she needed to learn Arabic?
Teacher: She probably just picked up an interest from Ali who is a friend of hers.
Elizabeth [bewildered]: But who speaks Arabic?
Teacher: We all do.
Elizabeth: But I don’t.[/b]

Described as a “French horror/romantic comedy”.

I know: What the hell is that?!

Well, not many cared anyway. Few saw it. And those that did generally panned it. Both the critics and the general audience gave it a 50% rating.

Me, I’m a bit more generous. Still, it is one of those films I cannot really explain exactly why I liked. I just did. Maybe because I’m a big Vincent Cassel fan. Maybe because the ambience was spot on creepy. Maybe because it eviscerates those proverbial young people “upon whom youth is wasted”. After all, not all Kids are serious philosophers.

Or maybe it’s just because I know there are folks like this out in the world – folks I have brushed up against myself a few times [in the wilds of Pennsylvania] and feel lucky to have crept away from in one piece. If you call this being in one piece.

You hear references to Deliverance with regard to this film. Indeed, it’s the whole fucking village! But better them perhaps than the obnoxious bastards who invade their domain.

Somehow this is all supposed to be related to God and the Devil…what with Joseph, Mary and Eve chomping on apples; and a truly once in a lifetime bizarre birth on Christmas Day.

at wiki: en.wikipedia.org/wiki/Sheitan
trailer: youtu.be/XJ75UJ_v7fM

SHEITAN [2006]
Written in part and directed by Kim Chapiron

Eve: You folks don’t celebrate Christmas?
Radj: I’m Muslim.
Yasmine: So am I.
Eve: You’re Muslim too?
Thai: No.
Eve: You don’t believe in God?
Thai: My grandma was tortured in 'Nam. Fucking priests snitched on her.
Bart: Religion is bullshit. Bullshit!
Eve: You don’t believe in God either?
Bart: No.
Eve: Then why are you here?
Bart: Why? My dad banged my mom. That’s why.
Eve: That’s not what I asked. Why? Why are you here next to me?
Thai: Stop brainwashing him! Religion’s bullshit!
Radj: Sinner. Respect other’s beliefs.
Thai: With a joint in your mouth, ready to gangbang?
Yasmine: Only God can judge him.
Thai: You serve booze, shaking your ass!
Yasmine: Working isn’t in your religion? Who the fuck are you?
Bart: I’ve been busting my balls for 20 years. God don’t give a fuck!
Radj: Don’t talk like that! Shitface, the Sheitan’s eating you alive! He pushes us to sin! He’s everywhere so don’t talk like that!
Eve: Who’s the Sheitan?
Radj: The Devil.
Joeseph: The nigger’s right! You gotta be scared of the Devil alright.

And he should know.

We’ve all thought about it: The folks who decide what films will be rated—who the hell are they?!

And that is what this film sets out to tell us. Well, here in America anyway. And they are exactly the sort of people you imagined them to be. Or they are if you are me.

In a land still brimming over with religion [and reactionaries], censorship will revolve mainly around sex: nudity, the acts themselves, the words used to describe them. Even the DVD I purchased reflects that. The original picture on the front of the box shows a fully nude woman with her ass smack dab in the middle of it. On my copy though [bought used through Amazon] there is a big black box plastered over it.

And then there is the part about capitalism. Films are first and foremost commodities. And increasingly sex does sells. So things here can then get real complicated. But one thing is rather simple: the big Hollywood film studios are in cahoots with the MPAA [and pay their bills] because it means that many independent films are forced to either accept an NC-17 rating [the kiss of death in theatres and with video/dvd sales] or recut the film and resubmit it. The MPAA literally goes after the independent film makers according to the filmmaker. Jack Valenti was the “producers man”, the “studios man” in Hollywood. And coming from Washington, he embodied crony capitalism.

Of course this is all about protecting the children they tell us, The rating allows the “average parent” and “normal human beings” to decide if this is a film they want their children to watch. “Ordinary people” is what Jack Valenti says he is looking for. Right.

It’s the sheer arbitrary nature of the decisions that is most maddening.

So what the filmaker did was hire a couple of private detectives to identify the folks who work [as raters] for the MPAA. It’s all rather intrguing just watching how they managed to accomplish this. You’d think it was a CIA operation. That’s how secret the MPAA is

Obviously, these standards do change over the years. Compare sexuality, nudity, language etc depicted in films 60 to 70 years ago with the stuff in films today. But what has not changed though?

at wiki: en.wikipedia.org/wiki/This_Film_Is_Not_Yet_Rated
trailer: youtu.be/UTL3XMDwY0c

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

THIS FILM IS NOT YET RATED [2006]
Written in part and directed by Kirby Dick

[b]Kimberly Pierce [director, Boys Don’t Cry being interviewed]: After Brandon goes down on Lana, he comes up and wipes the cum off his face. The MPAA didn’t like that. I asked what was the problem and the lawyer said we don’t really know but it was really offensive. So I shot Brandon in the head [with blood gushing out] and do all these other violent things to him and that’s fundamentally okay, but there’s a problem when he wipes his mouth. Can somebody explain that I asked. No, he said. Is there someone I can call. No. Okay, what the next problem? The anal rape. They want it cut out. Well, I’m not cutting it out. It is fundamental to the movie. And the third problem was Lana’s orgasm. It was too long. I said who has ever been hurt by an orgasm that was too long? Well, they said, it’s offensive. And I was like that’s outrageous. So when I looked at her orgasm I thought, oh, this is totally about Lana’s pleasure. It’s the thing that is scaring them.
Interviewer: So what do you think they had a problem with?
Kimberly Pierce: With female pleasure. In a construct where most movies are written by men, directed by men, they’re mostly the male experience.

Man [faceteously explaining the rating system]: In a PG-13 film the word fuck is also allowed but usually just once. So filmmakers are urged to choose their “fuck” carefully. Fuck you is okay but referring to the sexual act such as “may I please fuck you” or “I really enjoyed getting fucked” are unacceptable.

John Waters: The worst censorship of all is Walmart, Blockbuster…all the big chains that are probably responsible for 40% of all DVD sales will not carry NC-17 rated films.

Wayne Kramer [director, The Cooler]: I got a phone call from the producer of the film saying that we got an NC-17 rating. I said “was it for that first scene” and they said “no it was because there was a glimpse of Maria’s pubic hair in the second scene”.
Maria Bello: Just a couple of months beore I had gone to see a horror film rated R – a funny one – and in the first ten minutes a women gets her fake breast cut out and there’s blood everywhere. And that’s what made me so furious…to want to go in and fight for my public hair. I’m a mother. Why should that movie get rated R and why, just for seeing my pubic hair, do we get an NC-17? It was a beautiful moment between two people that had a lot to do with love.

Title card: Joan Graves…ratings board chairperson…only board member known to public…appointed by Jack Valenti…registered Republican…age of children: 29 and 32…personally hires all other raters…lives in a multi-million dollar home.

John Waters: I also heard on A Dirty Shame - and I have no proof of this - that there were doctors involved… and that some of the kinkier terms, like felching and stuff, that they explained to the MPAA what felching meant. Now, I would like to have heard that because felching, no one has ever done felching. Felching is when you fuck someone and suck your own cum out of their asshole. Well, I know a lot of perverts and I don’t know anyone who’s done that.

Joel Federman [auther, Media Ratings]: We’ve looked at rating systems across 30 different countries and the MPAA is the only one that refuses to disclose who its rating board members are.

Title card: For more than 30 years, Jack Valenti has overseen the ratings system and kept the names of the raters secret. During that time only two have broken their silence.[/b]

And listening to these two explain the “process” is nothing short of mind-boggling.

[b]Bingham Ray [co-founder, October Films]: I’m going to say the F-word. I believe it’s a fascist system. They have just established themselves and injected themselves as a vital necessary entity and it isn’t.

David L. Robb: The military and the film studios have colluded for more than 50 years. Anytime filmmakers want military assets - ships or tanks or planes - they have to give the Pentagon five copies of their script. And, if there’s anything in the script that’s negative, the Pentagon wants them to take it out. And so they negotiate, and take out any war crimes or foul language, or drinking. Anything that would make the military look bad. And than, after the agreement is made, the military sends a minder onto the set, when the film is being shot, to make sure it’s shot just the way they agreed. And then, once the film is completed, it has to be shown to the Pentagon, admirals and generals, before it’s shown to the public. Dozens of films have not been made because they couldn’t get military assistance. So, people have no idea what they’re not seeing. Jack Valenti knew what wasgoing on. He was complicit, he was a part of it. It’s a subtle form of brainwashing. Fifty years of the constant drumbeat that themilitary is good, American soldiers are heroic etc. I think it has made the American people more war-like.

Atom Egoyan [director, Where The Truth Lies]: The lady who was from the MPAA [Joan Graves] said you are so close…if you just made some scenes a bit fuzzier…but then she stopped herself and said “but I’m not an artist, I don’t know how you compose that…”[/b]

Said with not even a trace of irony.

Atom Egoyan [on phone with press discussing the appeals board]: …it seems there are members of the clergy in screenings by the raters…two denominations, Episcopalian and Catholic. And there is always going to be an Epicolpalian and Catholic which are part of the discussion that we are not privy to.

And then the lies. One appeals board member [Michael McCellan] tells them the clergy are just there as observers while another [speaking anonymously] insisted that not only do the two clergymen participate in the discussion, they cast votes too. And then the detectives tracked down the identities of the appeals board members. Every single one of them are owners of a large chain of theatres or in some other capacity a big shot in the film industry.

And of course the two priests.

Jack Valenti [in interview]: I don’t know what is going to be on my tombstone…but I’d like to write it and say that the modest legacy Jack Valenti left the movie industry is that he freed the screen from all artificial barriers.

He really did say that. Right up there on the screen. Another minion of the ruling class.

Many people no doubt yearn to live like this. How? In a beautiful setting that is smack dab in the middle of a bountiful nature. Isolated from the world. Your days are filled with rituals and they allow you to embody a sense of necessity about everything you do. The serentity of self-assurance that, ironically, is predicated largely on a selfless, even self-effacing sense of existence. It could not possibly be further removed from the rat race that most of us scurry about in from day to day.

It is a really gorgeous film to watch. You can take or leave the Buddhist philosophy embodied in the “old monk”. But you can’t deny that from the moment he gets up in the morning to the moment he settles in for the night he is surrounded by all that the four seasons provide in the way of resplendent backdrops.

As for the spiritual philosophy itself, the “old monk” likes to impart wisdom of this sort:

Woman: Will my daughter recover, Wise One?
Old monk: I believe her soul is suffering. When she finds peace in her soul, her body will return to health.

But that is largely true for all of us. To the extent we can minimize stress in our lives our physical health will in turn be less impaired. Only he links it to things like ritual bowing, hitting a bowl with a stick and long hours spent praying before the Buddha. In fact though she recovered just about time she started having sex with the old monk’s young disciple.

Eventually the old monk dies. And how he leaves this world is one truly remarkable spectacle. The boy returns a man, the man becomes the monk, and on and on and on.

But then this strange woman arrives with a baby. She always keeps her head completely wrapped up in a shawl. Who is she? One night she leaves [leaving her baby behind with the monk] but accidently falls into a hole in the ice and drowns. The monk pulls her body out and takes the shawl from around her head. But we are not permitted to see her face. The assumption I made is that her function was to leave the baby boy behind in order that he becomes the new monk’s new disciple.

Look for Sisyphus. And look for things that will seem senseless to some and have profound meaning for others. The usual in other words.

IMDb

None of the main characters in the film have names. At least one of the characters never even reveals her face. In Buddhism, one of the goals of enlightenment is the extinction of the self. Basically, Buddhists abandon the idea of themselves as individuals, and see themselves as part of a whole. Only the non-Buddhist police officers who arrest Adult Monk have names.

at wiki: en.wikipedia.org/wiki/Spring,_Su … and_Spring
trailer: youtu.be/gXyxi-jnKxw

SPRING, SUMMER, FALL, WINTER…AND SPRING [2003]
Written and directed by Ki-duk Kim

Old Monk: Are you still sick?
Girl: No.
Old Monk: Then it was the right medicine. Now that you have recovered, you can leave this place.
Boy: No, Master! She can’t!
Old Monk: Lust awakens the desire to possess. And that awakens the intent to murder.

Indeed. He leaves the master to follow the girl. They get married. She starts seeing another man. He murders her. Now he’s returned to the master.

Old Monk: Didn’t you know beforehand how the world of men is? Sometimes we have to let go of the things we like. What you like, others will also like.

Then the old monk procedes to, uh, punish him for his sin. Among other things it involves beating him with a stick, tying him up six feet off the floor and using a cat for a paintbrush.

Old Monk [to cops who have come to arrest the boy…now an adult]: Prajnaparamita Sutra. It helps to restore inner peace. Please let him finish.
Cop: How long will it take?
Old Monk: Until tomorrow morning.

And what a bizarre night. Well, it is if you don’t get this stuff.

Hey, it’s just a comic book, right? No, it’s a graphic novel. What’s the difference? You got me. The characters just seem more like caricatures to me. More silly fucking superheroes. But they do say a lot of clever stuff and, from time to time, you even find yourself thinking, uh, philosophically about it.

One drawback [for some] though is that it’s still set in the world [historically] that doesn’t really exist anymore. They further wondered: Suppose instead the filmakers updated the narrative and made it more relevant to, say, the “war on terror”? Would Alan Moore have minded? Maybe. But to the best of my knowledge he has never seen the movie anyway. And never will.

Here the superheroes actually worked for the government. Hell, between them they helped Nixon win the Vietnam war!! I guess that’s one way to do it. So why not bring them back to the future so that Bush and Obama could win the wars in Iraq and Afghanistan?

And then there’s Rorschach. How exactly do you pin him down. But then he does remind me of a few of the Kids here. If you know what I mean. Talk about will to power! And boy does this guy ever hate bleeding heart liberals.

The ending is kind of…absurd. The world revolves around a doomsday clock because of “human nature”. And so the only way to set it back is by “tricking” it. But if it is in the nature of human beings to destroy themselves a trick only buys a little time.

Look for a miracle. And a whole new way of thinking about them.

at wki: en.wikipedia.org/wiki/Watchmen_(film
trailer: youtu.be/R3orQKBxiEg

WATCHMEN [2009]
Directed by Zack Snyder

[b]Rorschach [voiceover]: Rorschach’s Journal. October 12th, 1985: Dog carcass in alley this morning, tire tread on burst stomach. This city is afraid of me. I have seen its true face. The streets are extended gutters and the gutters are full of blood and when the drains finally scab over, all the vermin will drown. The accumulated filth of all their sex and murder will foam up about their waists and all the whores and politicians will look up and shout “Save us!”… and I’ll whisper “no.”

Dan [examining blood stained Comedian badge]: Is this bean juice?
Rorschach: Human bean juice.

Silk Spectre: Oh, Laurie, you’re still young. You don’t know. Things change. What happened happened 40 years ago. I’m 67 years old. Every day, the future looks a little bit darker. But the past… even the grimy parts of it…keep on getting brighter.

Jon: She was pregnant. And you gunned her down.
Blake: That’s right. And you know what, you watched me. You could’ve turned the gun into steam, the bullets into mercury, the bottle into goddamned snowflakes but you didn’t, did you? You really don’t give a damn about human beings.

Adrian: It doesn’t take a genius to see that the world has problems.
Blake: No, but it takes a room full of morons to think they’re small enough for you to handle.

Blake: Congress is pushing through some new bill that’s gonna outlaw masks. Our days are numbered. Till then it’s like you always say, we’re society’s only protection.
Dan: From what?
Blake: You kidding me? From themselves.

Dan: What happened to us? What happened to the American Dream?
Blake: “What happened to the American Dream?” It came true! You’re lookin’ at it…

Jacobi: I have cancer.
Rorschach: What kind of cancer?
Jacobi: Well, you know the kind you eventually get better from?
Rorschach: Yes.
Jacobi: Well, that ain’t the kind I got.

Rorschach [voiceover]: I heard a joke once: Man goes to doctor. Says he’s depressed. Says life is harsh and cruel. Says he feels all alone in a threatening world. Doctor says, “Treatment is simple. The great clown Pagliacci is in town tonight. Go see him. That should pick you up.” Man bursts into tears. Says, “But doctor… I am Pagliacci.” Good joke. Everybody laugh. Roll on snare drum. Curtains.

Janet Black: Doctor Manhattan as you know the Doomsday Clock is a symbolic clock face analogizing humankind’s proximity to extinction, midnight representing the threat of nuclear war. As of now it stands at four minutes to midnight. Would you agree that we are that close to annihilation?
Jon: My father was a watch maker. He abandoned it when Einstein discovered time is relative. I would only agree that a symbolic clock is as nourishing to the intellect as photograph of oxygen to a drowning man.

Prison shrink [holding up an inkblot]: Tell me what you see.
Rorschach: A pretty butterfly.

Rorschach: You see, Doctor, God didn’t kill that little girl. Fate didn’t butcher her and destiny didn’t feed her to those dogs. If God saw what any of us did that night he didn’t seem to mind. From then on I knew… God doesn’t make the world this way. We do.

Rorschach: Men get arrested. Dogs get put down.

Rorschach [to the GP prisoners]: None of you seem to understand. I’m not locked in here with you. You’re locked in here with me!

Rorschach: Two to nothing. You’re move.

Laurie: Everyone will die!
Jon: And the universe will not even notice.[/b]

There’s always that.

[b]Jon: Miracles. Events with astronomical odds of occurring, like oxygen turning into gold. I’ve longed to witness such an event, and yet I neglect that in human coupling, millions upon millions of cells compete to create life, for generation after generation until, finally, your mother loves a man, Edward Blake, the Comedian, a man she has every reason to hate, and out of that contradiction, against unfathomable odds, it’s you - only you - that emerged. To distill so specific a form, from all that chaos. It’s like turning air into gold. A miracle. And so… I was wrong.

Jon [to Adrian]: The world’s smartest man poses no more threat to me than does its smartest termite

Adrian: I don’t mind being the smartest man in the world, I just wish it wasn’t this one.[/b]

A man stalking another man? Sure, it happens. What, do you think that kind of stuff only happens with “normal” people? Besides, for lots and lots and lots of reasons Buck isn’t exactly what you would call normal anyway. For example, he’s a bit, uh, immature. Slow even.

Crazy?

Chuck on the other hand couldn’t possibly be more normal. Drearily so. So Buck’s your man if normal isn’t. And talk about a fish out of water. He’s still in the sixth grade. Or is inside his head. But he’s a sweet guy with the best of intentions and you just can’t help but wish things would work out for him. On the other hand, someone like Buck would drive me up the wall too. But then almost everyone does.

Unfortunately [and this is true for lots of us] the gap between what he wants things to be and what he can make them be is sometimes…enormous.

So Buck has to improvise here. He has to create something like, say, a parallel universe…a world where all the characters are more in tune with his wants and needs. So he writes a play and hires Beverly.

You see, some of us just can’t grow up. But [in the end] Buck sort of does.

at wiki: en.wikipedia.org/wiki/Chuck_&_Buck
trailer: youtu.be/R3JBqL_8gcE

CHUCK AND BUCK [2000]
Directed by Miguel Arteta

[b]Buck: Hi.
Beverly: How can I help you?
Buck: Um, do you put on plays here, and people come and see 'em?
Beverly: Well, this is a theater.
Buck: Well, see, I thought of a play. Would you put that on?
Beverly: You’ve written a play?
Buck [shaking his head]: Uh, no…never.
Beverly: Oh, just creating a hypothetical scenario.
Buck: What if I didn’t want you to read it?
Beverly: Write at the top of the page, “don’t let Beverly read it”…I’ll beg and plead but they won’t let me.

Jolie: What do you do in L.A., Buck?
Buck: Um, nothing.
Jolie: I know a lot of people who have that job. It’s one of the better jobs you can have. I bet you’re very good at it.

Buck: I think we should play a game.
Chuck: What, like Trivial Pursuit or something?
Buck: Yeah…or…like…we…We could play that game, where I stick my dick in your mouth, and you stick your dick in mine…Chuck & Buck, Suck & Fuck!
Chuck: I think you should get out of here, Buck. I mean it, get out now.

Sam: Now, uh, would we be playing it like little kids like, uh like, like “La-la-la. I’m a little kid.”
Beverly: Well, you wouldn’t be playing it like a little retarded kid, but yes, you would be acting youthful.

Sam: I wonder what Beverly’s twat looks like. You ever wonder that? ‘Cause like sometimes she’ll be talkin’ to me and all I can think is “What’s your twat look like? Why don’t you show it to me you fuckin’ bitch?”… Yeah I’m twisted. I got problems. I know I do.

Chuck: You gotta grow up.
Buck: Like you?[/b]

We know people do these things but we have never done it ourselves. Or most of us haven’t. Going from one medical emergency to the next. Sometimes things work out and sometimes [most times] they don’t. And all the different reactions from all the different people that you stumble upon along the way. Better than working on an assembly line maybe but there are things about the job you never really get used to.

Like bringing all the old ghosts along with you. And knowing that as the present stretches on into the future there are only going to be more added on. It can begin to fuck around with your sense of reality. And Frank does this shit in the same sort of sinkhole that Travis Bickle once haunted. So the chaos and the calamity are always going to be amped up a few million notches. But Frank can’t decide whether to flush the toilet once and for all or to do what he can to keep as few as possible from going down it.

In fact, I can readily imagine any number of folks here thinking, “fuck it, just let 'em die”. These are after all the dregs of the earth. Or most of them are. Poor, mentally unbalanced, doped up, shit-faced, haven’t had a bath in a year. Smelling to high heaven. Ugly as sin. And lots of time it’s the same ones week in and week out. Is Noel really worth saving? But then what’s behind his story?

IMDb

In the scene where Frank attempts to save Rose, the actors acted out their movements in reverse. The sequence itself was then played in reverse. This adds to the dreamlike effect of the scene in which the snow appears to be rising up.

at wiki: en.wikipedia.org/wiki/Bringing_Out_the_Dead
trailer: youtu.be/sfUwvmRmMtw

BRINGING OUT THE DEAD [1999]
Directed by Martin Scorsese

[b]Dr. Hazmat: I thought you said this guy was dead.
Frank: He got better.

Griss: Now look, don’t make me take off my sunglasses!

Dr. Hazmat: I’m gonna hafta intubate because the kid’s mother won’t sign the Do Not Resuscitate. Mercy killing doesn’t translate well in Spanish.

Frank [voiceover]: I’d always had nightmares, but now the ghosts didn’t wait for me to sleep.

Frank [to Noel]: Here, hold this. If you let go, I swear I won’t kill you.

Mary: You know, you shouldn’t smoke.
Frank: It’s okay, they’re prescription.

Frank [voiceover]: Saving someone’s life is like falling in love. The best drug in the world. For days, sometimes weeks afterwards, you walk the streets, making infinite whatever you see. Once, for a few weeks, I couldn’t feel the earth - everything I touched became lighter. Horns played in my shoes. Flowers fell from my pockets. You wonder if you’ve become immortal, as if you’ve saved your own life as well.

Frank [voiceover]: Taking credit when things go right doesn’t work the other way. When things go wrong, spreading the blame is an essential medics suvival tool. The elevator broke down, the boyfriend was crazy, the tube wouldn’t go in.

Marcus [to Frank]: Ever notice people who see shit are always crazy?

Marcus: Rule Number One: Don’t get involved with patients. Rule Number Two: don’t get involved with patients’ daughters, now do you understand that?
Frank: What about Rule Number Three: Don’t get involved with dispatchers named Love?
Marcus: Boy, you don’t know nothin’ bout Rule Number Three! Can’t even begin to understand the complexities of that rule!

Frank [voiceover]: The street’s not like the ER. There’s no walls, no controls. To make up for that they try to teach me how to act without thinking…like a soldier who can take apart and reassemble a gun blindfolded. I realised that my training was useful in less than ten percent of the calls, and saving lives was rarer than that. After a while, I grew to understand that my role was less about saving lives than about bearing witness. I was a grief mop. It was enough that I simply showed up.

Marcus: Hey, mine’s a boy, Frank. How’s yours?

Frank: Tom, where are the Band-Aids? This IS an ambulance, isn’t it?!!

Frank: Oh, I see. With all the poor people of this city who wanted only to live and were viciously murdered, you have the nerve to sit here, wanting to die, and not go through with it? You make me sick!

Rose [a ghost from the past]: You have to keep the body going until the brain and the heart recover enough to go on their own.
Frank: Forgive me Rose.
Rose: It’s not your fault. No one asked you to suffer. That was your idea.[/b]

From the director of The Killer above so you know there is going to be lots and lots of “action” in it. And guns and dead bodies. But that doesn’t make it any less intriguing to think about the two main characters sent tumbling down the rabbit hole into what can be the surreal world of personal identity. You look at him and you see yourself. Yet you know you are anything but that person “on the inside”. Each finds himself having to play a character completely at odds with who they really are. And of course everyone else [to one degree or another] has to be fooled too.

And it’s only a matter of time now before this bio-technology becomes reality. Maybe even routine. You may not actually become another person but if you look exactly like him that will go a long way towards fooling others. Then it’s only a matter of using this technology for “good” or for “evil”.

Here one man has to take the face of another man—the man who killed his son. A man he utterly loathes. And that guy takes his face. They then take each other’s place “out in the world”. Imagine then the possibilities for fucking with reality.

At first it’s all rather disorienting. You’ve got to keep reminding yourself that when you see Sean it’s really Castor and when you see Castor it’s really Sean.

Why are they doing all this? Here it becomes your standard action flick. The evil guys have planted a bomb that will blow up in Los Angeles. Sean [as Castor] has six days to get Castor’s brother to reveal the location. Real original right? And with a plot about as preposterous [and dumb] as most other films in the genre.

And what is this thing with Woo and churches? As in The Killer there’s a big climactic shoot-out in one. Including more guns with a thousand bullets. And more machine guns blasting one fusilage of rounds after another but never seeming to hit anyone.

IMDb

Originally, Nicolas Cage turned down the role of Castor Troy, citing a lack of interest in playing a villain. However, once he was told that he would actually be playing the hero for a majority of the film, he quickly signed on.

at wiki: en.wikipedia.org/wiki/Face/Off
trailer: youtu.be/YiwA3C2qeRo

FACE/OFF [1997]
Directed by John Woo

[b]Sean: Any word from the LAPD intelligence? If there is such a thing?
Loomis: Not yet, sir.
Sean: Of course not, because we’re a covert anti-terrorist team that is so secret, that when we snap our fingers NOTHING HAPPENS!

Sean: Victor, when we put this thing to bed, you can brand the fourth amendment on my butt.

Castor: Y’know, I can eat a peach for hours.

Sean [touching the scar from the bullet wound]: l keep wanting to move this over here, you know? lf it had only been an–an inch to the left, Mikey’d be alive.
Eve: And you wouldn’t be.

Sean: When this is over, l want you to take this face and burn it.

[a faceless Castor confronts Dr. Walsh after waking from a coma]
Dr. Walsh: What do you want?
Castor: Take one goddamn guess.

Wanda: Even if he is alive, Castor isn’t stupid enough to come back to the city.
Castor [as Sean]: You must…you must trust me on this one. He’s already here.

Castor: Hello? This is Sean Archer.
Sean: Well, if you are Sean Archer, then I must be Castor Troy.

Aldo: How is it that you know so much about Sean Archer?
Sean [as Castor]: Uh…I…uh…I sleep with his wife.

Pollux [to Castor watching Sean as Castor with Sasha]: And if my eyes don’t deceive, l think this fellow’s beginning to enjoy being you.

Castor [aloud to himself]: Lies, deceit, mixed messages…this is turning into a real marriage.

Sean: This is between us. Leave them out of it.
Castor: No, you should’ve left them out of it. Your son was an accident. l wanted to kill you. But you took it so personally.

Jamie: Will someone please tell me which planet I’m on.

Sean: DIE!!![/b]