philosophy in film

Cops? Let the deluge of conflicting reactions begin. Hard to imagine living in the modern world without them but each of us has had our own experiences dealing with them. Some good, some bad. Me, I have no illusions either way. The times that I have been the victim of one or another crime [and not just a few times given the neighborhoods I have lived in] they showed up and never once actually succeded in according me justice. And if you watch enough “reality crime” docs you know that over and over again they often seem to fuck up investigations. Still, for the “big crimes” there is more of a likelihood of someone actually getting arrested, tried, convicted and serving time. Though in reality without the “war on drugs” much of the prison industrial complex itself might have to be dismantled.

I suppose if you approach it in terms of the best of all possible worlds, you only need imagine the modern world without any cops at all. Right? And let’s face it, there are parts of Los Angeles that are a hell of a lot more dangerous to live in than the places most of us reside.

Here many different parts become intertwined. The part about race. The part about gender. The part about ethnicity. The part about dope. The part about cartels.

And most important: The part about men bonding.

And then the part about the sub-mental homies in the sub-mental gangs – the gangtas themselves. Literally thousands upon thousands of them out there. Most probably picking up their cues from films like this. And it becomes particularly appalling when the women go around aping the men. Not that I’d ever say this to their face.

This is bascially a “point of view” approach to construing “reality”: the cops, the detectives, the blacks, the Mexicans, the civilians, the cameras, etc…

IMDb

[b]The lead characters in the movie were loosely based on real life LAPD Officers Charles Wunder and Jamie McBride. They were partners in Newton Division in the mid to late 90’s.

When Zavala mentions “Badge Bunnies” to Taylor, he is talking about women who like cops for being a cop. The reasons can include the uniform, the badge, or whatever comes with the job. It’s a true phenomenon and every station has their local badge bunnies… and a warning to stay away from them.

The Spanish graffiti on the wall of the house with the dismembered corpses reads “Hey fags! Keep sending people, HA HA HA!”

Jake Gyllenhaal and Michael Peña were given taser electro-shocks as a part of their research, as it is required in police training. Contrary to rumors that the entire cast was tased, Anna Kendrick claims to have abstained, and said she didn’t think any of the other actors should have agreed to it either.

As part of their training, Jake Gyllenhaal and Michael Peña spent five months doing 12-hour ride-alongs with on-duty LAPD officers. During Gyllenhaal’s first ride-along, he witnessed a murder.

In law enforcement, “end of watch” has two meanings; it commonly refers to time to go off duty at the end of shift (some agencies call shifts “watches”). Also, if an officer is killed in the line of duty, the date of his death is referred to as his end of watch.

The word “fuck” is used 326 times, making it sixth in the all time profanity list.[/b]

Here, check out the top five: en.wikipedia.org/wiki/List_of_fi … %22fuck%22

at wiki: en.wikipedia.org/wiki/End_of_Watch
trailer: youtu.be/mf2K9GzgiF0

END OF WATCH [2012]
Written and directed by David Ayer

Brian [voiceover]: I am the police, and I’m here to arrest you. You’ve broken the law. I did not write the law. I may even disagree with the law but I will enforce it. No matter how you plead, cajole, beg or attempt to stir my sympathies, nothing you do will stop me from placing you in a steel cage with gray bars. If you run away I will chase you. If you fight me I will fight back. If you shoot at me I will shoot back. By law I am unable to walk away. I am a consequence. I am the unpaid bill. I am fate with a badge and a gun. Behind my badge is a heart like yours. I bleed, I think, I love, and yes I can be killed. And although I am but one man, I have thousands of brothers and sisters who are the same as me. They will lay down their lives for me, and I them. We stand watch together. The thin-blue-line, protecting the prey from the predators, the good from the bad. We are the police.

Got that? Again, better to have something rather than nothing at all in the world as we know it to be.

[b]Mike: Orozco, you been working out?
Orozco: Yeah, with your mom.

Orozco [warning Taylor and Zavala about the tape recording]: Listen, you know they can subpoena that shit if something goes sideways, right? Think twice.
Brian: Two words, ‘erase button!’

Mike: Sir, if you’ve been drinking you need to stay the fuck inside and not intimidate the mailman. That’s it.
Mr. Tre: Fuck you! You need to shut the fuck up 'cause without that badge and gun, you ain’t shit! You’re less than motherfucking nothing. You motherfucking border-hopping, donkey riding Mexican motherfucker.

CK: I mean that Mexican cop might be acting bull with you, Tre. But he’s still out there killing niggas. Straight out.
Mr. Tre. No, no, no. Listen to me, all y’all. This whole fucking thing is like changing of the guard. Back in the day, all these neighborhoods used to be black, and what are they now?
All the gang members in unison: Mexican.
Mr. Tre: Exactly. There used to be chicken stands on the corner, now there’s fucking taco stands on every corner. We’re in some real shit and if we don’t come together, pretty soon we’re gonna be some extinct niggas.

Brian: It’s been two hours. We’re still waiting for the detectives to release the crime scene so we can go back on patrol.
Mike: Comfortable footwear. Policing is all about comfortable footwear.

Sign on the road: $1,000,000,000,000 to pay for a FAILED 40 year “drug war”. How many millions are in a trillion. Prop 19. 54% voted to IMPRISON the other 46%.[/b]

Proposition 19 in California: en.wikipedia.org/wiki/California … n_19_(2010

[b]Brian: Fucking kids…

Brian: So Mr. Big Evil, why do they call you Big Evil?
Big Evil: Because. Because my evil is big.

Mike: What are we looking for, again?
Brian: All the food groups, man. Dope, money, and guns.

Brian [to the camera]: This is the lifeblood of our organization: Paperwork.

Mike: Liberace’s AK.

Mike [after the Captain walks out]: Why do you get nervous?
Brian: Women want him, men want to be him, man. He’s just…
Mike: Yeah, I know. But you want him.
Brian: Dude, I’m not gay, but I’d go down on him if he asked.
Mike [now genuinely concerned]: Sometimes I don’t know when you’re kidding. And I have to know when you’re kidding.
Brian: I’m not kidding.
Mik: I gotta know when you’re kidding.
Brian: I’m not kidding.

Ice Agent: Watch out for these guys. They operate by a different set of rules.
Brian: I know I’m just a ghetto street cop, but you gotta give me something here.
Ice Agent: We got indicators he’s a runner for the Sinaloa cartel.
Brian: Yeah, well, we ran him. He came up clean, dude.
Ice Agent: You guys don’t have the proper clearance for any of this information, but I’m gonna throw you a bone. Cartels are operating here. We’re on it. Be careful.
Mike: What does that mean, though?
Ice Agent: It means you and your homeboy need to power down. You just tugged on the tail of the snake and it’s gonna turn around and bite you back. I’m throwing you a bone here. Be grateful for what I’m giving you. I’m giving you a warning. Lay low.
Brian: Can I get your name for my log?
Ice Agent: Negative. Move on.

La La: We should get them when they do to lunch at that Chinese place.
Big Evil: That Chinese place is crawling with cops. We gotta get these fuckers when they’re alone.
La La: We can fucking follow their asses home and hit them there.
Big Evil: Mira, homegirl, white boy’s in fucking Simi Valley. The other fucking fool’s in San Gabriel. We gotta get these fuckers at the same time!
Demon: E, this is one time, homie. Not a bunch of fucking niggas.
Big Evil: Motherfucker! This fucker is straight from SHU, homeboy! You stop fucking around. You got in the car! You want to fucking hang with the fucking carnales, now you fucking pay the fucking price of fucking admission, homeboy. I’ll fucking kill this fucking bitch, alright? You shut the fuck up.
Demon: Come on, E!
Big Evil: You get that shit out of my face! I’ll fucking kill you, motherfucker! Don’t you fucking disrespect.[/b]

Folks like this really do exist. Lots of them apparently in some parts of Los Angeles.

[b]Brian [to the camera]: Never fall asleep in a room full of cops!

Brian: Janet’s pregnant.
Mike: What? Get out of here, bro. Are you serious? Already? She’s not even Mexican.

La La [to Mike]: Checkmate, puto. Rest in piss.[/b]

Remember Captain Chesley B. “Sully” Sullenberger? US Airways Flight 1549? If so then you recall how on January 15, 2009 his plane smacked into a flock of birds and he had to turn it around. And then he had to make an emergency landing in the Hudson River. And then he became a national hero.

Well, imagine if, a few days later, it was determined that Sullenberger had been both drinking and using cocaine before the flight. He still saved all those passengers and crew, right? But it’s not quite the same is it? For one thing, some will always wonder the extent to which he might have caused the collision in the first place.

Here there are no birds. Here the problem is with the plane itself. A mechanical malfunction.

But the real focus of the film is addiction. To drugs. To alcohol. The tricky part though is that when Whip needed to come through and be the hero he came through and was the hero. Everyone else was in panic mode. Full throttle. But he remains cool, calm and collected throughout. Drunk or not. High on cocaine or not. But we all know that this does not lessen the danger of flying on a plane with an intoxicated and/or high pilot. He was basically the exception. But these things all get mixed together. In the media. In the hearings. Behind the curtains in the corporate boardrooms. It becomes almost impossible to sort through it all in search of the “truth”.

Still, in a way the film is surreal. It wants to show how the ravages of alcoholism and drug addiction can destroy lives. But it doesn’t seem that being drunk or high had any effect whatsoever on Whip when he needed all his wits about him. We don’t want drunk or doped up pilots obviously. But the message would seem to be driven home more powerfully if it revolved around a context in which being drunk and high was actually the crucial factor in bringing about the tragedy that took the lives of six people.

Look for the banana boat.

IMDb

[b]The crash was inspired by a real life disaster, the crash of Alaska Airlines 261. The plane suffered a catastrophic failure with its horizontal stabilizer eventually causing it to dive “nose-down” at a rate exceeding 13,300 feet per minute. The pilots, like in the film, rolled the airplane to an inverted position to try and stabilize it. Unlike the film, however, this unfortunately didn’t assist them in recovering the aircraft.

During his research, author John Gatins came across a black box recording where the pilots said during an inverted flight: “At least upside down we’re flying!”[/b]

at wiki: en.wikipedia.org/wiki/Flight_(2012_film
trailer: youtu.be/xnVNNR6CEOE

FLIGHT [2012]
Directed by Robert Zemeckis

[b]Evans: How are you feeling today, sir?
Whip [not sure how to take that]: Tired. But, this is a quick turn for me. Ten turns in three days. Off tomorrow.

Harling: Whip? What the fuck my man? They’re sayin’, “Sweet Jesus, what a fuckin’ stud that pilot is.” You’re a hero, no shit. You will never pay for another drink in this life time. There are crazy news people all over. Classic hero worship, you’re a rock star man.

Harling: What the hell kind of meds they giving you? Alprazolam: that’s generic xanax. Hydrocodone: that’s generic Vicodin. Probably Canadian. Where’s the dihydromorphine? Is this amateur hour? Get that doctor in here; you just saved a hundred people!

Whip: They find the flight data recorders?
Charlie: Yes they found them, perfectly intact.
Whip: Great. That solves everything. The recorders will tell the story. Why do we need a lawyer from Chicago?
Charlie: Hugh’s an attorney who specializes in criminal negligence.
Whip: Criminal negligence?
Hugh: Death demands responsibility. Six dead on that plane, someone has to pay.
Whip: The plane fell apart at 30 thousand feet.
Charlie: The airline will try to prove equipment failure. Which would make the manufacturer responsible. The manufacturer of the plane will try to prove poor maintenance of the equipment by the airline.
Hugh: Or pilot error.

Hugh [to Whip]: Now, an initial report shows you had alcohol in your system at a level of point-two-four. Now in the good ol’ US of A, one of the most lenient drunk driving countries in the world, you go to jail for driving with anything above point oh-eight. And by driving, I mean a car.
Whip: What does that mean? I had a beer the night before I flew. And what…That made the tail of the plane explode?

Whip: I need a lawyer.
Charlie: Hugh is your lawyer.
Whip: Then I need a bigger lawyer. A lawyer who understands that I flew a broken plane and without me at that stick there’d be 102 funerals, not 6.
Hugh: We’re talking about prison not funerals.

Hugh [to Whip]: This tox report also states that you were drunk and high on cocaine, felonies punishable by 24 years in jail. And if your intoxication is proven to have caused the death of the 4 passengers you’ll get 4 counts of manslaughter. That could be life in prison.

Hugh: Listen clearly. There was a mechanical issue with the plane, but what you and I know is that this was an act of God. I’m gonna fight to get the NTSB to place “act of God” on the probable causes list.
Whip: Whose God would do this?

Mr. Carr: Yeah…so what’s the deal Lenny? Is your union gonna survive this one? More importantly? How big a check you think I’m gonna have to write?
Len Caldwell: There were 6 fatalities on the plane.
Hugh: Four. The 2 crew members don’t get settlements like the passengers. That’s a workman’s comp claim, part of the union contract – they do a dangerous job and they know it.

Hugh: I’m gonna kill the toxicology report.
(he sees the eyes of disbelief)
Hugh: It was done incompetently. The last time the toxicology equipment they used was calibrated was in June of 2009, which is 18 months past code. Their log that should clearly state who labeled the blood vials and when, is very incomplete. And they aren’t sure who stored them. They used a preservative in the vials that has in some cases caused blood to ferment and register higher in an alcohol test. That’s what I’ve done so far. I can handle this.
Mr. Carr: I like this guy, Lenny. He makes me wanna go out and sniff a few lines and fly a jet.

Mr. Carr: Does Whitaker know he’s going to jail?
Hugh: My clients don’t go to jail, Mr. Carr.
Mr. Carr: Oh, he’s going to jail. He belongs in jail. You bet your ass he’s going to jail. The only question is, is he going to die in jail?
Carr’s Attorney: Last time I checked, six counts of manslaughter is life in prison.
Mr. Carr: Life in prison. What we in Georgia call “all day long.”

Whip: You have to tell them it was an ordinary day. I mean it was an ordinary day. You know I was in shape to fly. You have a problem with saying that?
Margaret: It’s a lie. Whip, it’s a lie. Trina told me you two hadn’t been to sleep.
Whip: My lack of sleep made the plane fall apart?

A.A. Speaker: I like meetings that have us all identify. Because it makes me tell the truth about who I am. It reminds that I never ever told the truth. I lied about everything. My whole life had been a lie. And I was told that I would never get sober if I kept lying. I mean, lying’s what I’m good at. If I know anything in this life it’s how to lie, especially about my drinking.[/b]

Time for Whip to get up and go.

Ken: That plane was doomed the second you sat in the chair. You reeked like gin or somethin’. I called Vicki from the plane before we took off. That’s when the rain kicked up.
Whip: I don’t know how much you remember, but the plane started to fall apart.
Evans: I remember everything until we crashed. I know what went on.
Whip: What are we talking about?
Evans: I don’t know Captain Whitaker, what are we talking about?
Whip: I just wanted to get a sense from you what you thought caused the crash.
Evans: Was it the fact that you got on the plane drunk from the night before? The NTSB is coming back tomorrow to finish taking a deposition from me about the events on the flight.
Whip: You think you’d be alive without me on that plane?
Evans: No, we’d all be dead. But are you gonna argue that your physical state was tip top?

The he starts in on spewing the sort of religious garbage that makes folks like me just shake their heads in disbeleif.

[b]Whip: You go to a couple of AA meetings and all of a sudden you think you’re Jesus Christ? Worry about yourself.
Nicole: We’re the same Whip, you and me, we’re the same…
Whip: Were not. I didn’t suck dick to get high. And don’t give me a whole…
Nicole: Never Whip, I never in my life…
Whip: And give me that your momma died and papa drank and
Nicole: I never in my life…
Whip: Bullshit. Bullshit. There’s whole lot of people out there whose mothers die and they don’t fucking drink.
Nicole: You are sick, Whip.
Whip: Yeah, well, I embrace it, shit! I choose to drink.
Nicole: You do?
Whip: Yes, I do.
Nicole: You choose it? Well, I don’t see a whole lot of choice going on here!
Whip: I choose to drink! And I blame myself! I am happy to! And you know why? Because I choose to drink! I got an ex-wife and a son I never talk to! And you know why? Because I choose to drink!

Hugh: The only people who had access to those bottles and could have drank them were the flight crew. Margaret, Evans and Camelia Satou all had clean tox reports. That leaves you and Trina Marquez.
Whip: Okay. I see where this is going. That’s funny that they found two bottles.
Hugh: Why?
Whip: Because I drank three. One’s missing.
Hugh [exploding in frustration]: When I met you I couldn’t believe what a flip, drunk, arrogant scumbag you were.
Whip: Fuck you too, Hugh.
Hugh: But I did the research and heard the analysis from the experts. I’m in awe of what you did. The FAA and the NTSB took 10 pilots, placed them in simulators, recreated the events that led to this plane falling out of the sky. Do you know how many of them were able to safely land the planes? Not one. Every pilot crashed the aircraft, killed everybody on board. You were the only one who could do it!

Hugh: Son of a bitch! You worthless motherfucker, what a waste! I cleared the decks for you…you piece of shit. You just fucked it all up like the piss drunk you are!
Charlie: What time is it?
Hugh: 9:14, the hearing is in 46 minutes.
Charlie: We probably have an hour before we really need to get him to the hearing and it’s just downstairs.
Hugh: We need a wheel chair.
Whip: Call Harling Mays.
Charlie: Harling’s got a wheel chair?
Whip: Harling’s got cocaine.

Harling: All right gentlemen, I need that table cleared and placed in front of Whip with a chair behind it. Now, please! I need a glass of water, I need a credit card, I need a hundred dollar bill.
Charlie: I’ve, I’ve got a twenty.
Harling: She’ll do.

Charlie: Remember, if they ask you anything about your drinking, it’s totally acceptable to say “I don’t recall”.
Whip: Hey, don’t tell me how to lie about my drinking, okay? I know how to lie about my drinking. I’ve been lying about my drinking my whole life.

Ellen Block [at the NTSB hearing]: Since her toxicology report is the only toxicology report that is admissable in this hearing, and she in fact tested positive for alcohol, is it your opinion that Katerina Marquez drank those 2 bottles of vodka on the flight?
Whip [drops his head anguished]: God help me…
Ellen Block: I’m sorry Mr. Whitaker, I couldn’t hear you. What did you say?
Whip: I said…God help me…
Ellen Block: Yes, well. However, is it your opinion…
Whip: It’s my opinion…Trina did NOT…drink the vodka.
Ellen Block: Excuse me, Mr. Whitaker…
Whip (softly, to himself): She saved that boy’s life…
Ellen Block: Captain Whitaker can you speak louder.
Whip [loudly]: I know for a fact that she did not drink that vodka…because I did. I drank the vodka.

Whip: On October 11th, 12th and 13th and 14th I was intoxicated. I drank alcohol on all of those days. I drank to excess.
Ellen Block Mr. Whitaker, on the morning of October…
Whip: I was drunk. I’m drunk right now, Miss Block…I’m drunk right…I’m drunk right now, because…because I’m an alcoholic.

Whip [now in prison speaking to a group of convicts]: That was it…I was done. It’s as if I’d hit my life long limit for lies. I could not tell one more lie. And maybe I’m a sucker. Because if I had just told one more lie I could have walked away from that whole mess and kept my wings and my false sense of pride and most importantly I would have avoided being locked up here with all of you nice folks for the last 13 months.

Whip [to the prisoners]: This is going to sound real stupid coming from a man in prison. But for the first time in my life, I’m free.

Will [son]: This essay, the essay that I have to write, it’s called, “The Most Fascinating Person That I’ve Never Met.”
Whip: Okay.
Will: So…
[he turns on his tape recorder]
Will: Who are you?
Whip: That’s a good question…[/b]

“H. You can’t spell Hell without it.”

You can’t spell hypnosis either.

The “South Korean Seven”. In other words, a twisted and sadistic serial killer is out there. And it is now our job to probe the twisted and sadistic narrative that compels him to do these terrible things.

After all, it is invariably this that seems so much more important than the part about the cops tracking him down. In other words, our fascination stems from minds that become entangled in points of view that most of us would simply find unimaginable. We could never do these things. But what can we really know about the experiences of someone who can? In a two hour film there is only so much that can be examined and exposed about the things that link the past to the present. Instead, we have to fill in all the gaps [the blanks] with our very own existential prejudices.

And you can’t help but wonder: is it necessary to be afflicted with a mental disease to do these things? Is this something only a psychotic would do? Or is it something that anyone of us might find ourselves [for whatever personal reason] able to rationalize? Given, for example, the right [or the wrong] set of circumstances.

So this is all about motive. Intention. And this: Can it carry over all the way back to the…womb?

The hook here is that these gruesome crimes are recreations of earlier crimes. But the man who committed them [Shin Hyun] is already locked up in prison. So, what is the connection? Nietzsche perhaps? Or is it more to do with a woman’s menstrual cycle? Or abortion?

In the end, we come back around to hypnosis. But trust me: no way you will ever understand this particular narrative in just one viewing. And apparently it helps to think about these things as a South Korean would.

IMDb

[b]In Korea, “going to the beach” is synonymous with committing suicide.

Koreans believe that a baby becomes self-aware while still in the womb and that everything a parent does or says during pregnancy will be in the unconscious memory of their child throughout life. This superstition is evidenced in the plot of “H” by having the killer relive his feelings when his mom aborted him (which he survived) while under hypnosis.[/b]

at wiki: en.wikipedia.org/wiki/H_(2002_film
trailer: youtu.be/WCgK6ZZeU-w

H [2002]
Written and directed by Jong-hyuk Lee

[b]Detective Kang [to Shin Hyun]: It has been a long time. How does it feel to be receiving all the attention again?

Shin Hyun [after Kang show him photos of the six women he killed]: From the heart or the soul of the body…a sound echoing from the body to the soul. Have you experienced the echoing abyss?

Shin Kyun [to Kang]: The magificense in the spot of redemption at the borderline between life and death. Open your ears to what they are saying and feel the flow. And if you don’t feel the message echoing, it will be buried in the abyss. Have you ever thought about what this person was thinking as the blood spread? Detective Kang, when you face the abyss don’t forget that you are facing yourself. And when you fight a monster like me be careful not to turn into a monster too.

Detective Kim: Are there any files on Shin Hyun?
Doctor Chu: A doctor doesn’t reveal information on patients.
Detective Kim: Doctor Chu, information is needed to protect future victims. How about cooperating with us?
Doctor Chu: No. My patient is more important to me than a victim I don’t know.

Detective Kang: Why are stupid people so complicated?

Captain: How about Shin Hyun’s next murder?
Detective Kim: He wanted to show life’s nobility so he murdered an abortion doctor and excavated her uterus.
Captain: Cruelly killing for the sake of life’s nobility.

Detective Kim: That expression of yours…that’s the look of joy that children get when they thoughtlessly twist a chick’s neck.
Shin Hyun: You should know that all looks hide hidden meanings. People who try hard to hide themselves, people who treat life as a possession and go about trying to hide their crime…
Detective Kim: Are you referring to yourself?
Shin Hyun: Obviously you are not understanding the dimensions.
Detective Kim: Dimension?! You’re nothing more than a murderer waiting for death. You see things superficially.
Shin Hyun: Listen to the cry of the abyss. If you fail to take heed, you won’t be able to see beyond the six corpses…

Shin Hyun [to Kim]: Coward? Death is the lone salvation for those who abandon life and life that is abandoned. You too will soon understand.

Doctor Chu [on video]: The possibility of an embryo surviving an abortion is under 3%. Shin Hyun was born in these circumstances. And his memory of the attack he felt in the womb came to control his subconscious. His agressive behavior caused by his hatred of women originates from the horror he felt while still unborn.

Detective Park: What is post-hypnosis?
Doctor: It’s a state where a person falls back into hyponisis when given a signal at a specific time.
Detective Kim: Are you saying a person can fall back into hypnosis even after the hypnotist has died?

Detective Park: I heard there’s a way to break the hypnosis. Put down the gun. Look at my eyes. Hey, Kang! It’s not your fault! You had no choice!
[Kang puts down the gun. Then the final scene: detective Kim shoots him dead.][/b]

An incident in which there are two conflicting reactions: a seething moral outrage and “hey, what’s all the fuss?”

Consider this exchange from IMDb:

imdb.com/title/tt0382765/boa … f_=tt_bd_1

What would you do? And [of course] what is the one and only right thing to do?

While the screenplay here is based on a short story written by Raymond Carver, folks who have seen Robert Altman’s Short Cuts will point out that it’s not the first time this tale has been told cinematically. Although in Short Cuts it is but one of many intertwined narratives.

And here the question of race also becomes an important factor when the people in and around Jindabyne react to what happened. The dead women was an Aborigine.

But the question of gender is not too far behind either. After all, does anyone really imagine that, if the body had been stumbled on by women, they would have just left it floating in the water for two days – until they were ready to go? Sure, for some women. But by and large it is men who are more likely to go about the business of fishing with a corpse just around the bend. It just did not seem to be all that pressing to them. But it’s not like [initially] they reacted to the body with indifference. They were clearly distraught. They simply rationalized what they did.

Then there is the mystery surrounding the death of the woman itself. Who was this man who did it? The electrician. And what exactly did happen? He pops up from time to time but he seems to be more a metaphor for the brute facticity of human existence itself – the things we can’t predict, understand or control. Pure evil as some might say.

Finally, the bizarre behavior of the two children. And Claire’s reaction. In some ways she is clearly an outlier in this working class community. But I found myself wallowing in ambiguity in reacting to her.

IMDb

Gabriel Byrne accidentally stepped on a Brown Snake, one of the world’s deadliest, while walking through the bush one day on the set. If he’d stepped on the other end he’d have been bitten. Gabriel Byrne told the director Ray Lawrence that he was almost killed, to which Lawrence replied: “No worries mate. You would have had 24 hours.”

at wiki: en.wikipedia.org/wiki/Jindabyne_(film
trailer: youtu.be/JUyPfD1cHVU

JINDABYNE [2006]
Directed by Ray Lawrence.

[b]Title card: members of the aboriginal and torres strait islander communities are advised that this film may contain images and/or voices of desceased persons

Billy [after the hike to the river]: I’ll have to show this place to Elissa.
Stewart: No, no, no, no. No women allowed.

Stewart [finding the body]: Oh, Jesus. Oh, Jesus. Oh, Jesus. CARL!!
[he is genuinely shook up]
Stewart: Carl! Rocco! Billy! Where the fuck are you?!!

Stewart: I propose that we leave her here. If she gets carried downstream she’ll end up in the rapids and we’ll never find her.
Billy: I don’t think we should ever have touched her. I mean it’s a crime scene and we have disturbed it.
Carl: For Christ sakes, Billy, shut up.

Billy [on the phone to his girlfriend]: We found this body. I caught the most amazing fish though.

Stewart [after the police tell him they must wait until they arrive]: We’ve got to get out story straight.

Policeman: We don’t step over bodies to enjoy our leisure activities. A pack of bloody idiots. I’m ashamed of you. The whole town is ashamed of you.[/b]

Well, they could have just let the body float down into the rapids. Then it would never have been found at all. And you wonder why it didn’t dawn on them to just insist that they had found the body right before they left? But are the men really the monsters that some portray them as?

[b]Stewart: You think we did the wrong thing by that girl?
Carl: I don’t really have feelings one way or the other. She was dead.

Claire: What really happened out there?
Stewart: I told you. Nothing happened. We just got stuck is all. Jesus, I don’t know what the fuss is all about. I really don’t.
Claire: What if it had been Tommy in the water?
Stewart: But it wasn’t Tom! It was a stranger!

Claire: Last night…how could you have touched me like that after finding her?
Stewart: Claire, I am so exhausted…
Claire: She needed your help.
Stewart: She didn’t need my help…she was beyond help. There was nothing anybody could do for her.

Newspaper headline: MEN FISH OVER DEAD BODY: Jindabyne outraged by cruel neglect of four local residents

Claire [viewing the corpse in the morgue]: I wonder who she belongs to? Was she raped?
Detective [nodding]: There was some abrasion. But maybe she was up for it.
Clair: How could you even think that?
Detective: You see this cut around her ankle? Stewart did that when he tethered her to a tree. Too lazy to walk back up to the road. I think maybe they just got off on the whole thing.

Victim’s family on tv news broadcast: They’re animals! I don’t know how any civilized human being could do what they did. And I really wonder how differently they would have acted if she were white.
Stewart [watching it]: Here we go…

Claire: Just tell me…
Stewart: Tell you what?
Claire: How it felt…fishing with her tied up in the water. Just tell me how did it make you feel.
Stewart [wearily]: Please leave this alone.
Claire [pleading]: I just want you to tell me.
Stewart [exploding out of his chair]: It felt good! Is that what do you want me to say? It was a beautiful day, the river was beautiful, I felt so fucking alive!!
[he turns and walks away]
Stewart: Jesus, if that’s a crime I don’t know it.
Claire: I hate the way you did that. I hate the way you end a conversation when you’ve had enough.
Stewart: Well, you know something, I have had enough.
Claire: I hate the way you guzzle your beer, you watch TV, you fuck like a robot!
Steve: I work like a fucking dog! That’s my life! The beer and the fuck are supposed to be a bonus!![/b]

Family. Down through the ages. And arising organically in cultures that span the globe. And thus the extent to which you can use your own as some sort of measuring device is the very embodiment of both arrogance and ignorance.

But apparently the families portrayed here are said to be rather indicative of the 1970s. Or were if the beam is focused on the suburbs of America. And, in particular, if the families fit into the upper middle class demographic. The “Sixties” were fading into memory but it still wasn’t quite the “Reagan era” yet. There remained a lot of liberal sensibiliites around [especially in New England] but now they were aimed less towards politics [let alone radical politics] and more towards [among other things] self-gratification, seeking out a psychiatrist [or couples counselor] and participating in the crassest materialism. The sort of “liberation” that might be encompassed at, say, a “key party”. They were all dutifully liberal Democrats [one imagines] but no one was out marching in the streets anymore.

And, as is often the case in movies like this, the children are the creepiest ones of all. And not just Wendy and Sandy. But, then, considering the parents, garbage in garbage out? But that is just a hopelessly subjective reaction of my own.

And all the more reason to weep for the future. Which is basically the time we are living in know. So you can just imagine what the future of our own children will be like.

Are folks in “suburbia” today still this numbingly plastic? Or are they, uh, hipper? Do they, for example, learn their lessons from comic books. You know, from the super-heroes.

Too bad about Mikey. Did they all learn their lessons?

at wiki: en.wikipedia.org/wiki/The_Ice_Storm_(film
trailer: youtu.be/-3-jh3kbwAM

THE ICE STORM [1997]
Directed by Ang Lee

Paul [voiceover]: In issue 141 of the Fantastic Four, published in November, 1973, Reed Richards had to use his anti-matter weapon on his own son, who Aannihilus has turn into the Human Atom Bomb. It was a typical predicament for the Fantastic Four, because they weren’t like other superheroes. They were more like a family. And the more power they had, the more harm they could do to each other without even knowing it. That was the meaning of the Fantastic Four: that a family is like your own personal anti-matter. Your family is the void you emerge from, and the place you return to when you die. And that’s the paradox - the closer you’re drawn back in, the deeper into the void you go.

I know: what does this have to do with my family…or with your family?

[b]Ben [father, on phone with Paul]: Well, that’s the whole point of the holidays, Paul. So you and your sister can mope around the house, and your mother and I can wait on your hand and foot, while the two of you occasionally grunt for more food from behind the hair in your faces.

Ben [at a dinner party]: No, my job is just to analyze the entertainment stocks and advise our institutional investors on where to put their money. It’s…
Elena: Don’t be so modest, Ben. It’s a job that requires a certain prescience with regards to entertainment trends. You were the first to predict that Billy Jack would be a hit.

Ben: About the only big fight Elena and I have had in years is about whether to go back into couples therapy.

Dorothy: And to think they met at a key party of all things.
Elena: A key party?
Dorothy: You know, it’s a California thing. That scuzzy husband of hers dragged her kicking and screaming to one when they were out in L.A. You know, the men put their car keys in a bowl, and then at the end of the evening the women line up and fish them out and go home with whoever’s keys they’ve got. Anyhow that’s how she met this Rod person or whatever his name is and he’s left his wife and she’s packing for California. Irwin is devastated. It’s so ironic.

Philip: Perhaps you find in books what I try to find in people.
Elena: That sounds vaguely like an insult.

Ben: We were golfing. And golfing, to me, is something I’m supposed to enjoy-- and I was on the goddam golf team in college, so it’s something one would assume I do well-- I used to do well. But basically, these days, golfing for me is like hoeing or plowing. - It’s like farming. And George Clair has obviously-- in the mere two years he’s been with the firm – he’s obviously been taking secret lessons with a golf pro. I bet the entirety of his disposable income has been dedicated…to humiliating me on the golf course. And that guy talks nonstop throughout the entirety of the miserable holes…
Janey: Ben. …
Ben: …on topics that are the supposed domain of my department.
Janey: Ben.
Ben: Yeah?
Janey: You’re boring me. I have a husband. I don’t particularly feel the need for another.
Ben: You have a point there. That’s a very good point. We’re having an affair. Right. An explicitly sexual relationship. Your needs. My needs. You’re absolutely right.

Jim [dad]: Hey guys, I’m back!
Mikey: You were gone?

Jim: Have you noticed anything with Mikey lately? The kid seemed a little out of it tonight.
Janey: Tonight? Mikey’s been out of it since the day he was born.

Mikey [up in front of the class at school]: Molecules. Because of molecules we are connected to the outside world from our bodies. Like when you smell things, because when you smell a smell it’s not really a smell, it’s a part of the object that has come off of it, molecules. So when you smell something bad, it’s like in a way you’re eating it. This is why you should not really smell things, in the same way that you don’t eat everything in the world around you because as a smell, it gets inside of you. So the next time you go into the bathroom after someone else has been there, remember what kinds of molecules you are in fact eating.

Paul [voiceover]: To find yourself in the negative zone, as the Fantastic Four often do, means all every day assumptions are inverted. Even the invisible girl herself becomes visible and so she loses the last semblance of her power. It seems to me that everyone exists partially on a negative zone level, some people more than others. In your life, it’s kind of like you dip in and out of it, a place where things don’t quite work out the way they should. But for some people, the negative zone tempts them. And they end up going in, going in all the way.

Wendy [to Sandy]: I’ll show you mine if you’ll show me yours.

Janey [to Wendy after she catchers her showing her’s to Sandy]: A person’s body is his temple, Wendy. This body is your first and last possession. Now as your own parents have probably told you, in adolescence our bodies tend to betray us. That’s why, in Samoa and in other developing nations, adolescents are sent out into the woods, unarmed, and they don’t come back until they’ve learned a thing or two.

[Ben explaining the facts of life to his son]
Ben: You know Paul, I’ve been thinking, maybe this is as good a time as any to have a little talk, you know, about…well…about…
Paul: About?
Ben: Well, the whole gamut. Facts of life and all. Some fatherly advice, because, I tell you, there’s things happening that you’re probably old enough…and, well…on the self-abuse front - and this is important. I don’t think it’s advisable to do it in the shower. It wastes water and electricity and because we all expect you to be doing it there in any case. And, not on…under the linen…Well, anyway, if you’re worried about anything at all, just feel free to ask and we’ll look it up.
Paul: Uh, dad, you know I’m 16.
Ben: All the more reason for this little heart to heart…
[Paul says nothing…then…]
Ben: Um, Paul. On second thought, can you do me a favor and pretend I never said any of that.
Paul: Sure dad.

Wendy [saying grace at Thanksgiving]: Dear Lord, thank you for this Thanksgiving holiday. And for all the material possessions we have and enjoy. And for letting us white people kill all the Indians and steal their tribal lands. And stuff ourselves like pigs, even though children in Asia are being napalmed.
Ben:Okay, Okay. Jesus! Enough, alright?..Paul, roll? Can I have the gravy?

Ben: You know, I think Elena might suspect something. Or maybe it’s all for the better, you know? Yesterday, at dinner, well, she hasn’t said anything… has she acted funny to you, I mean, have you noticed anything?
Janey: Have I noticed anything? I’m not married to her Benjamin, you are. I think you’ve probably a better vantage point from which to observe her.
Ben: Yeah, but, I – I’ve been working a lot lately, and – No, that’s not it. I guess we’ve just been on the verge of saying something, whatever it is, just saying something to each other. On the verge. [/b]

That’s it. It’s over. Janey’s gone.

[b]Philip: Sometimes the shepherd needs the comfort of the sheep.
Elena: I’m going to try hard not to understand the implications of that.

Paul [voiceover]: When you think about it, it’s not easy to keep from just wandering out of life. It’s like someone’s always leaving the door open to the next world, and if you aren’t paying attention you could just walk through it, and then you’ve died. That’s why in your dreams it’s like you’re standing in that doorway…and the dying people and the newborn people pass by you and brush up against you as they come in and out of the world during the night. You get spun around, and in the morning…it takes a while to find your way back into the world.[/b]

I would imagine that many [okay, some] will react to characters like this with both contempt and envy: “What complete assholes…I wish I could be them.”

Is that how I reacted? I’ll never tell.

Basically, this is the sort of movie that draws you into the “spectacle” of it all. The plot is particularly unbelievable and it’s not like many will really care how it ends. Or even care much about the characters themselves. And to tell you the truth I didn’t even really know what the hell was going on at times. For one thing, it takes “coincidence” to a new height of absurdity. Or is this somehow integrated into the plot itself…into the point Da Palma is trying to make. But, again, you have to care about that in order to invest the time in thinking it through.

And it got [mostly] shitty reviews. On the other hand, Roger Ebert gave it a 4 out of 4 stars thumbs up. And it has been designated to be one of those “cult classic” films by folks who know about these things.

But I didn’t care one way or the other. It was just a tantalizing exercise in excess. And, if anything, a Brian Da Palma film might touch down anywhere. For every Dressed To Kill there’s a Bonfire of the Vanities. Whatever that means.

What goes on? The elaborate heist. The cunning double cross. The seething plot for revenge. And then the part where Nicolas and Watts and Lily come into play. Go ahead, see if you can follow it all the way through coherently.

at wiki: en.wikipedia.org/wiki/Femme_Fatale_(2002_film
trailer: youtu.be/4qrox5ZS2go

FEMME FATALE [2002]
Written and directed by Brian De Palma

[the film opens with that classic scene from Double Indemnity]
Walter: For once I believe you, because you’re just rotten enough.
Phyllis: We’re both rotten.
Walter: And maybe you are a little more rotten. You got me to take care of your husband for you. And you get Zahgetti to take care of Lola, maybe take care of me too. And somebody else would have come along to take care of Zahgetti for you. That’s the way you operated, isn’t it baby.
Phyllis: Suppose it is? It’s what you’ve got cooked up for tonight any better?
Walter: I don’t like that music anymore. You mind if I close the window?
[as he shuts the window she shoots him]
Walter: You can do better than that, can’t you baby? Better try it again. Maybe if I come a little closer? How’s this? Think you can do it now?
[she doesn’t shoot…he reaches out and takes the gun]
Walter: Why didn’t you shoot again, baby? Don’t tell me it’s because you’ve been in love with me all this time.
Phyllis: No. I never loved you Walter, not you or anybody else. I’m rotten to the heart. I used you just as you said. That’s all you ever meant to me…until a minute ago…when I couldn’t fire that second shot.

What does this have to do with Da Palma’s film? Well, I have my hunches.

[b]Laure: Hey! What the fuck are you doing?
Nicolas: Excuse me, madame but I believe this is a free country. And I’m entitled to take any picture of anything…and anyone…I want from my balcony.
Laure: Go fuck yourself!

Laure [looking at a photograph of Lily]: Holy shit!

Nicolas: Bruce Hewitt Watts. The new American ambassador.
Johnny: Bingo. He’s got a wife but no one seems to have a picture of her.
Nicolas: Maybe she’s camera shy.
Johnny: No, she’s not camera shy. She’s got a past and she’s not talking about it.

Black Tie: Wow. Nice wheels!
Racine: What did you expect? I only steal the best!

Black Tie [to Racine]: I thought about her every fucking second of every fucking minute for seven fucking years!

Nicolas: When a classy woman like yourself checks into an airport hotel, in the middle of the morning with a bunch of bullets and a gun, there’s only one word that follows.
Laure: What word?
Nicolas: “Bang”.

Laure: My husband. He has difficulty to control his temper.
Nicolas: Why does he lose it?
Laure: Because I can’t live with him here.
Nicolas: Why not?
Laure: I have a past here. I was safe in the States but here…it only takes one photo.
Nicolas: Like the one today? I took that picture.
Layre: So “Harry” is Nicolas Bardo?

French cop: The American ambassador beats his wife?
Nicolas: Yes, that’s right. Yes, and she has the face to prove it.[/b]

No, not quite.

[b]Laure: I’m a bad girl, Nicolas. Real bad. Rotten to the heart. Last scrape I was in I fucked up a lot of people. Bad people. People like me. People that don’t forget. But I was given a second chance. So I went back to States where I got everything a bad girl ever wanted. Fucking Watts! He was sweet, until being the richest man in the world wasn’t enough. He had to have public glory. So he gave away a ton of money and bought himself the French Ambassadorship. Which meant the Misses got dragged out into the Parisian limelight. Well, I couldn’t do that Nicolas…'cause bad people read newspapers too.

Laure [to Nicolas]: Hey how come you’re the only man in this room who doesn’t want to fuck me?

Laure: Come on, Nicolas! You don’t have to lick my ass. Just fuck me.
Nicolas: You know what?
Laure: What?
Nicolas: We can still go away. Both of us. Together.
Laure: That’s so sweet. That’s so romantic. But without the money? Are you nuts?!

Nicolas: That’s a choice. A bad choice. There are other ones.
Laure: What? Like doing the right thing?
Nicolas: That’s a start.
Laure: I tried that once, Nicolas. And you know what it got me? A lifetime of looking over my shoulder. You know why no good deed goes unpunished? Because this world is hell and you’re nothing but a fucking patsy.

Nicolas [after Laure kills her husband]: You killed him.
Laure: Just being careful.

Black Tie: That fucking bitch. She’s at it again![/b]

Unless, of course, this has all been a dream. Starting from…?
Your guess is as good as mine. Or, again, does that even matter?

Nicolas: I’m sorry. You look so familiar. Haven’t we met before? Somewhere?
Laure: Only in my dreams.

These sessions revolve around sex. Folks [for any number of reasons] are able to hire other folks to, well, fuck them. Among other things.

So, of course: how is this the same as or different from prostitution? For example, morally and legally. She explains that. Here, the man hiring the sex “surrogate” does so with the help of both his priest and his therapist. Mark has a “crippled body” and is utterly dependant on others to sustain his existence from day to day. But his mind is still “crisp and clear”. A harrowing combination to say the least. On top of that, his body is fully functional sexually. He is just not able to act on it as others are. He is not exactly paralyzed but he has a very, very limited capacity regarding the use of his muscles. Also, he has to spend most of the day in a lung machine.

As for being a surrogate, her husband seems to have no objections. At least at first. And other than being a sex surrogate, she is described as “a typical soccer Mom”.

Does this film explore all of this intelligently? You bet. And we know these things happened because the film is based on actual events. It is adapted from this article by Mark O’Brien: noteasybeingred.tumblr.com/post/ … ark-obrian

Mark died in 1999. He was 49 years old.

Of course they also have to deal with what often happens in any sort of therapy: the patient’s increasing emotional bond with the therapist. Transference I think they call it. And it works both ways.

I found myself thinking over and again: could I, would I live like this? I still don’t have an answer.

Look for Helen Hunt really, really naked. And for a really, really long time. Now, I have not particularly followed her career, but from what I have seen of her work, I was rather surprised seeing her in this role. This is a long, long, long way from Mad About You.

And look for Carla Tortelli.

at wiki: en.wikipedia.org/wiki/The_Sessions_(film
trailer: youtu.be/zymGiLJBpB8

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

THE SESSIONS [2012]
Written and directed by Ben Lewin

[b]Reporter [voiceover]: Mark O’Brien has been going to UC Berkley since 1978. That’s O’Brien in the motorized gurney heading for class last week. He had polio when he was six years old. The disease left his body crippled, but his mind remained sharp and alert. And since he wanted to be a writer, Mark O’Brien entered Cal to major in English and learn his trade. He wrote this poem for us about school here and about graduation:
Mark [voiceover] “Today I hear the crowd’s applause.
Receive the congratulations from my friends.
Today I ask if I’ve found a place among the rest, who studied, read, wrote, and passed the test in cap and gown.
Today I hope you see a man upon this stage.”

Mark [voiceover…lying in iron lung]: Breathing. Look you. This most excellent canopy, the air, presses down upon me at fifteen pounds per square inch. A dense, heavy, blue glowing ocean, teasing me with its nearness and immensity. And all I get is a thin stream of it. A finger’s width of the rope that ties me to life.

Mark: The most immediate thing on my mind Father, would be my attendant, Joan. I’m thinking of getting rid of her. It’s an evil thought, but I can’t help it.
Father Brendan: Is she dishonest, or incompetent?
Mark: No, neither of those. She looks at me the wrong way. It’s that you-need-me-more-than-I-need-you look. I’d like to show her she’s wrong, just for the evil satisfaction it will give me. Is that a sin, Father?[/b]

Apparently not.

[b]Sandy [on phone from Pacific News Service]: Mark, we’ve gotten sponsorships to do a series on sex and the disabled and we’d like you to do some interviews in the Berkeley area. Could you do that?
Mark: Why now?
Sandy: Because we’ve got the money now. But if you’re working on something else, then we can talk about it later.
Mark: No, now is fine.
Mark [voiceover]: There was no escaping it. A door had opened which I could not close, and in invisible writing it said: “Do not enter”.

Mark: My penis speaks to me, Father Brendan. Sometimes I ejaculate during a bed bath in front of my attendant. All I feel is shame and mortification, while other men, apparently, get pleasure. I’m sorry if I sound angry.

Father Brendan [to Mark]: This is what you want my my advice on…fornication?

Mark: So, is it possible for me to know a woman, in the biblical sense, and do I want to find out?
Father Brendan: And you want my opinion?
Mark: Please, as a friend.
Father Brendan [he looks up at the statue of Jesus, then makes a decision]: I know in my heart that He’ll give you a free pass on this one. Go for it.

Vera: Will you stop acting like you’re going to your own execution.
Mark: I’m not acting.

Cheryl: Hi Mark O’Brien!
Mark: Your money is on the desk over there.
Cheryl: Yes it is! Thank you!
Mark: That was the wrong way to start off.
Cheryl: It really was. Shall we start again?
Mark: Please. You start.
Cheryl: Although the aim is for us to have sex, I’m not a prostitute, so you don’t have to pay me up front. I have nothing against prostitutes but there is a difference. We can talk about that later.

Cheryl: I understand you’re able to have an erection.
Mark: Yes, but not by choice.

Cheryl: Do you know how many men there are on this planet who would give anything for a natural erection?

Cheryl: Shall we get undressed?
Mark: Sure!

Cheryl: So, the difference between me and a prostitute is that I don’t want your return business. I’m here to help you communicate about your sexual feelings, so you can share them with a future partner.

Cheryl [taking Mark’s hand from one breast to the other]: When you touch one you have to touch the other. It’s sort of a rule.

Mark: She complemented me on my shirt, my hair. She held my penis. I haven’t even seen my penis for over 30 years. Am I sharing too much, Father:
Father Brendan: No, no, I’m used to it.

Cheryl: Next week, Friday the twentieth, same time?
Mark: That’s good for me.
Cheryl: Next time we’ll start to work on intercourse.

Cheryl [dictating into a tape recorder]: First session. Mark is the oldest of four children and raised Catholic. He was extremely nervous. He yelled a lot when I took off his shirt, but I think more out of fear than pain. He cannot masturbate. Has only had the occasional kissing experience. He is capable of achieving an erection easily, but the unusual curvature of his body could be a serious obstacle to intercourse.

Mark [to Father Brendan]: I did it again. This time I ejaculated onto her thigh.

Mark: It won’t fit! It’s not going to fit!
Cheryl: No, Mark, it will fit just fine.
Mark: No, it’s dangerous. It’s too big!
Cheryl: It’s not too big. Relax.
Mark: It won’t fit. It’ll hurt. It’s too risky.
Cheryl: Please, stop this. I promise you, nothing bad will happen. Now, let’s try again while you’re still hard.

Cheryl [after – yet again – Mark’s very premature ejaculation]: We still have some time. We can talk, which you seem to like, or you can suck on my nipples, which you also seem to like.

Cheryl [dictating into tape recorder]: I believe the root of his anxiety is his parents and his religion. He believes he doesn’t deserve sex…We discussed his fantasies, which were mostly masochistic. Again, the idea of being punished. He’s never seen female genitalia before and seems quite frightened at the thought of it.

[Mark is gasping for air with Cheryl sitting on his face]
Cheryl: Are you okay down there?
Mark: I’m choking!
Cheryl [getting off of Mark]: Oh my God!
[she puts Mark’s mouthpiece between his lips]
Cheryl: Well, I guess that’s off the menu until further notice.

Cheryl: I grew up in Salem, brought up Catholic, like you, but the church didn’t appreciate my attitude towards sex.
Mark: You had an attitude towards sex?
Cheryl: Yes, I liked it. They like to think they threw me out, but I threw them out. So for years I didn’t believe in anything, and now I’m converting to Judaism.
Mark: Well, it’s good to have some kind of insurance.

Cheryl [to Mark]: You did great today. You’re a fully-fledged male homosapien endowed with a handsome and substantial penis, which now has a proven track record.

Mark: Was I really inside you?
Cheryl: You were really and truly inside me.
Mark: For how long?
Cheryl: Five or six seconds.
Mark: Is that all?
Cheryl: That’s a long time for some people.[/b]

She means for men of course.

[b]Cheryl [dictating into a tape recorder]: Mark appears to be indulging in typical transference behaviour. This is not unusual after first successful intercourse, but I think he is especially susceptible. He cannot help seeing me as the multi- functional, all-purpose woman, mother, sister, schoolmistress, whore, lover and best friend. At the same time, his anxiety about sexual performance has diminished.

Motel Clerk: Now, come on, what kind of therapist is she?
Vera: I told you the first time, she’s a sex therapist. Today they’re working on “simultaneous orgasm”.
Motel Clerk: What’s that?

Mark: What happens when…?
Cheryl: What happens when what?
Mark: When people become attached to each other.
Cheryl: What people?
Mark: Just people. What’s the chemistry in it all? When people are attracted to each other.
Cheryl: Are you attracted to me?
Mark: [feceatiously]: God, no.
[Cheryl laughs]
Mark: I’m just talking hypothetically.
Cheryl: Hypothetically… they write poems. They have sex.
Mark: And what happens next?
Cheryl: After poetry and sex? Nothing or everything. The rest is by negotiation, as it were.
Mark: What do you mean?
Cheryl: I mean, you can leave it at love and attraction… or you can make things complicated, like most people do.
Mark: Have you?
Cheryl: Yes.

[the power goes out and Mark is alone]
Mark [leaving a phone message]: Rod. I need your help. The power’s gone out…including the pump on the iron lung. I’d say I got about three hours before I start to turn blue.
[he tries dialing 911 but drops the mouthpiece]
Mark: So this is how it ends.[/b]

You wonder if this part is true. Alone in his condition? No contingency plan for a power outage?

[b]Susan [rather incredulously]: Are you religious?
Mark: Yes, I would find it absolutely intolerable not to be to able blame someone for all this. Are you?
Susan: No, I don’t go to any church, or…I don’t think about God very much. I do believe there’s a mysterious logic or poetry to life. I guess that makes me a spiritual type.
Mark: Yes. That would count.

Susan: Would you like me to visit you?
Mark: Are you married?
Susan: No.
Mark: Do you have a steady boyfriend?
Susan: No.
Mark: Then please visit as often as you can.

Mark: There’s just one more thing I want to tell you. I’m not a virgin.
Susan: So, are you in a relationship at the moment?
Mark: No, it was a passing thing.
Susan: Thanks for sharing that with me.
.

Mark [voiceover]: I met Susan five years before I died. She was the love of my life. We had the same priorities, baseball pretty much came first, and we wrote each other mushy poems. I never expected it, nor did she, but that’s often the way things turn out. They say there is a cup of life which is either half empty or half full depending on how you freel about things. Of course the two halves were never even. Not in my case, that’s for sure. I mean, look at all the years of unendurable crap I’ve had to put up with. That fills most of the cup. But in the little bit that’s left what do I have to show for myself? At the very least three beautiful women who all loved me…and who will all show up at my funeral.[/b]

Rectify. From the producers of Breaking Bad. So you know you are heading in the right direction.

And then some.

I liked Breaking Bad. A lot. But I was completely blown away by Rectify. It is by far the best thing I have seen on television in a long time. At least given the frame of mind I am in “here and now”.

But here’s the thing: When I tried to explain to others why this is the case I was never quite able to really put it into words. I still can’t.

Here’s a man who may or may not be guilty of the crime he was convicted of – a crime for which he spent 19 years in prison. The brutal rape and murder of a 16 year old girl. A crime he confessed to.

But then again, for him, being in prison or out of prison: what’s the difference? Outside he’s like a fish out of water. And it’s really painful at times to see him flopping about. He seems just catatonic at times.

And Daniel it seems was a strange boy even before the crime. And he’s all the stranger now. But I like strange.

Nineteen years on death row. And now he is back in the town where the whole thing started. And here are all of these folks [some in and some out of the family] with all of these turbulent reactions. And somehow he has to reboot his life and deal with his own turbulent reactions to theirs. And this is a small town. In the deep South. So here not only does everyone have an axe to grind but sooner or later you are bound to run into them.

The story unfolds by shifting back and forth between the time Daniel was in prison and the present. And that is important because there is no way you can understand him now if you don’t truly grasp what it was like for him then. What he had to endure and how he went about enduring it.

This post encompasses season 1. Season 2 is now being aired on the Sundance Channel. Or, rather, what’s left of the Sundance Channel. Along with IFC, those fucking corporate bastards have all but gutted it.

at wiki: en.wikipedia.org/wiki/Rectify
trailer: youtu.be/Cw-TTr3sK8o

RECTIFY [2013] Season One
Created by: Ray McKinnon

Season 1 episode 1: “Always There”

[b]Ted Jr.: Sheriff still believes he was in on it. A lot of people do.
Tawney: Well, you don’t think that, do you, that he could’ve done somethin’ that horrible to her?
Ted Jr.: Well, I sure did. I mean, he was convicted. What would a rational person think all these years? Now, hell, I don’t know. I never even met the guy.

Ted Jr.: Come on, Tawney. What was I supposed to do? Go down to death row and introduce myself? “Hi, I’m Ted-- I’m, uh, your new stepbrother, and I’m gonna be takin’ over the business you thought would be yours one day.” I mean, why torture the guy? I hate to say it, but we all thought he’d be dead by now anyway.

Roland Foulkes [at press conference]: I’m just here to remind ya’ll of a few things that seem to have gotten lost in this DNA hysteria. Daniel Holden confessed to raping Hanna. He confessed to killing Hanna. Now, where I come from, we put a lot of stock in that sort of thing. And please–please, don’t-don’t report that he was exonerated. The sentence was vacated on a technicality, which sure as hell does not make him an innocent man.

Daniel: Over the past two decades, I have developed a strict routine, which I followed religiously, you might say, a way of living and-and thinking, or not thinking, as was often the point of, well, the point. Now, this way of being didn’t encourage the contemplation that a day like today could ever occur, or a tomorrow like tomorrow w-will be for me now. I had convinced myself that kind of optimism served no useful purpose in the world where I existed. Obviously, this radical belief system was flawed, and was, ironically, a kind of fantasy itself. At the least, I feel that those specific coping skills were best suited to the life there behind me. I doubt they will serve me so well for the life in front of me. So, I will seriously need to reconsider my world view.

Amantha [on the first trip to town]: Is this, like, weird?
Daniel: It’s not unweird

Foulkes: Just forget about the confession for a minute. He was found sitting beside the girl’s corpse, just holding her hand, speaking gibberish half the time, and the other half saying how sorry he was. He didn’t go get help. He didn’t scream out. He spent the morning gathering wildflowers to put in her hair, CJ.

Kerwin: “Of Human Bondage”? You want me to read a book called “Of Human Bondage”
Daniel: It’s not that kind of bondage.
Kerwin: I would hope so. Hey, will I be glad when you get past your dead white man writin’ about white Europe stage.
Daniel: I am on kind of a jag.
Kerwin: I got somethin’ I think you’ll appreciate, too. It ain’t modern times, either. It’s about black folks owning slaves in the South before the Civil War. Free men buyin’ their brothers and sisters for–Hey, man, just read the book.
Daaniel: I’m hooked already.
Kerwin: Then, I’ll give your dead Somerset Maugham a shot when you’re done. But, if it don’t grab me early, I’m settin’ it down.

Daniel: Well, I can’t quite get a handle on the concept of time yet. There have been moments here today where I feel like I’ve only been gone a few weeks, and I’m still in high school. But mostly, it seems like I was always there. So, you may have to tell me, mother.
Janet [mother]: Tell you?
Daniel: When it’s time for me to leave.[/b]

Season 1 episode 2: “Sexual Peeling”

[b]Amantha: There are people around here, mom, who wanna see Daniel dead, people who would do it themselves, if they thought they could get away with it. We should at least get him a cheap phone.

Ted Jr.: Can we be frank?
Daniel: I would hope so.
Ted Jr.: Do you plan on workin’ at the store?
Daniel: I hadn’t really thought about it, Ted.
Ted Jr.: Look, my daddy’d kill me, if he knew we were having this conversation. He’d just as soon give you the keys to the store and walk away, if that’s what you wanted. And I would, too, for that matter. Point is, there are small town politics involved here with your, uh, your ongoing situation and all. You know, some people have made up their minds about things, and there’s just nothin’ that’s ever gonna change 'em. You know, they’re just dug in. People are funny that way.
Daniel: But, not “ha-ha” funny.

Daniel [telling Ted Jr. about the first time he was raped in prison]: A certain element of guards were less supervised. So, it, uh, created an environment for things to occur.
Ted Jr.: Things-- what-what, uh, what kinda things?
Daniel: Encounters, I guess. Well, not by chance, more like an initiation of sorts.
Ted Jr.: Initiation?
Daniel: Yeah. Maybe it was when they first saw somethin’ akin to optimism on your face, or a bit of peace, or just that moment when you began to believe that you could survive it in some paradoxical way. I don’t know why they did it. Justification’s a slippery slope, Ted. So, one mornin’, you go off for your weekly shower, and this group of inmates with particular compulsions suddenly appear. You understand at once why they’re there, but there’s nothin’ you can do about it. You can fight it, some symbolic gesture to your manhood, but you can’t stop it. So, it happens…repeatedly. You finish your shower and get dressed. Word gets back before you do. Decent guys on the row won’t look at you now. They’re too embarrassed for ya. Then, there are the ones who, when you pass by their cells, they look at you with the basest form of curiosity, Ted, like you were some freak show, and they wanna get all their money’s worth because, more than anything, they’re aroused by another shame. You know? Then, there’s a very special group on the row who look at you with this look, like-- how can I describe it for ya, Ted, so you can really understand it? It’s like they can pull you into their cell and not just do things to ya, but literally consume you, take your breath, eat your heart, and shit you out like you were nothin’.

Ted Jr.: He did it.
Tawney: What?
Ted Jr.: I believe he did it. Maybe he wasn’t alone, but he was damn sure in on it.

Daniel [to Tawney]: I’m just so aware that most of what I draw on from inside my head are things I’ve read about. My real life experiences are actually rather narrow.

Daniel: The place where I was had no windows. Just these thick walls surrounded by more thick walls. So, I never knew if it was rainin’ or even heard the loudest thunder.
Tawney: It’s so sad.
Daniel: Oh, it’s-it’s not as bad as it sounds, because I-I didn’t sense things in a normal way. I didn’t miss them. If-if I couldn’t sense them, I-I-- they weren’t real to me.
Tawney: What was real to you, Daniel?
Daniel: The time in between the seconds. And my books and my friend. Now that I’m here in this world, where everything’s marked by hours, or dates, or events, I find myself in a state of constant anticipation.[/b]

Season 1 episode 3: “Modern Times”

[b]Reporter: Daniel Holden was released from prison this week How do you feel about that?
Hanna’s mother: I feel upset. Sure do.
Reporter: So, you still believe Daniel Holden is guilty?
Hanna’s mother: What? Guilty? He’s as guilty as there’s a hell waitin’ on him! Daniel Holden murdered my baby girl, and he was convicted to die. Why ain’t he dead, huh? Why ain’t you dead, Daniel Holden? Why ain’t you dead?!!

Foulkes: I don’t think that boy’s ever been extremely happy in his whole damn life.
Jon: That’s hard to say. He’s never really had a life.

Foulkes: You mind if we get real?
Jon: I always try to keep it real, senator.
Foulkes: I don’t give a rusty rat’s ass where the jizz landed. This case was airtight from the moment we pried that poor dead girl from that boy’s clammy hands.
Jon: Not so much where it landed, as whose it was. That thorny little issue’s gonna stick to you forever.

Mr. Gaines [Daniel’s lawyer during the trial…to Jon]: Humans don’t change that much in 50 years. Or 100, or 1,000. It’s the laws that change. The rules of civilization. We just repeat ourselves. Everybody with a part to play.

Mr Gaines: I had to play my part, too, to the bitter end.
Jon: Mr. Gaines, please.
Mr. Gaines: I could tell you
Jon: Tell me what?
Mr Gaines: I’m not so sure we didn’t come from goddamn monkeys. Going to nowhere. Sorry-- wish I could help ya. Just don’t let all this technology lull ya, son.
Jon: How’s that?
Mr. Gaines: Into thinking we’re in modern times. Watch yourself.

Jon: What the hell was that about?
Amantha: We have to go.
Jon: Well?
Amantha: That was Hanna’s brother all grown up. Little Bobby Dean. I watched Daniel go to death row. He buried his sister, and then, we went to algebra class together.[/b]

Season 1 episode 4: “Plato’s Cave”

[b]Daniel: It’s like I’ve been lookin’ at shadows on a cave wall.
Janet: As in “Plato’s Cave”?
Daniel: Yes.
Janet: I haven’t thought about that since–
Daniel: Our book report.
Janet: Well, I was more of an advisor.
Daniel: I didn’t really understand the allegory back then. But, I will say this, mother. Plato was onto somethin’.
Daniel: He was considered fairly astute.

Tawney: Is there a church in prison?
Daniel: There was, but I was only ever allowed visits by the chaplain.
Tawney: Oh, you’d meet with him?
Daniel: I-I would’ve met with the executioner had he stopped by.

Tawney: What sort of things would you talk about? I mean, with the chaplain?
Daniel: Well, Flannery O’Connor, for one, he was a big fan.
Tawney: Did you ever talk about where you think you’ll go when you die?
Daniel: It was kind of expected in the setting.
Tawney: Did he come to any conclusions?
Daniel: That it wasn’t worth pondering.
Tawney: But, of course it is. It’s what makes us human.
Daniel: I-I think what makes us human is the ability to choose to ponder or not to ponder. I-I focused more on preparing for the act itself rather than the result of the act.
Tawney: The act?
Daniel: Of dyin’, of-of-of lettin’ go.
Tawney: Why can’t you do both?
Daniel: Some do. Finding peace in-in not knowin’ seems strangely more righteous than the peace that comes from knowin’.
Tawney: Even if that knowin’ might be true? What?
Daniel: You-you make a better case than the chaplain.
Tawney: I don’t pretend to know everything, Daniel, but I care about you, and I would just hate it, if you went to Hell.
Daniel: You’re my Beatrice. From “The Divine Comedy”.
Tawney: I-I don’t know what that is.
Daniel: She was Dante’s guide, his salvation.

Kent: The price of steel, China, regulations all eatin’ his ass up, just like all of us. But then, last year, boom, tornado-tornado-tornado, all within a half hour of his business. He gets in on this deal. You know how much he makes? A hundred and eleven thousand dollars. And he’s just a subcontractor.
Ted Jr.: Jesus, just tornados?
Kent: Mm-hmm-- exactly. Gives subcontractors a cut. Mexicans do all the work. God willing, the creek does rise, we could be clearin’ six figures by the end of next year.
Ted Jr.: Government money?
Kent: And that tit don’t quit.
Ted Jr.: That’s exactly the damn problem, though. It’s government.
Kent: Piss on the boot, Ted. You-you gonna get mad at me for tryin’ to help you put food on your table? It’s all gone to shit. Honest pay for an honest day’s work-- that’s dead, son. The game’s rigged. Somebody’s gonna get on this gravy train. Might as well be us.

Tawney: I never told anyone this, not-not even Teddy, but I can see and feel God in all things.
Daniel: Like Thomas Aquinas.
Tawney: I don’t know much about him.
Daniel: He felt that God revealed himself in nature.
Tawney: Yes, yes, I-- that’s what I feel or sense.
Daniel: He believed that supernatural revelation was faith and natural revelation was reason, and the two were not contradictory, but complimentary.

Tawney: Could you ever accept Christ into your heart?
Daniel: I don’t think Buddha would mind making room, or Confucius. Nietzsche might grumble.
Tawney: You’re so smart.
Daniel: Not really. I’ve just spent long hours in the prison reading room.

Daniel: I-I’m sorry. I’m not trying to do anything. I’m just…
Tawney: No, it’s okay. Everybody needs to be held.
Daniel: It does somethin’ to ya not to be touched in any positive way for so long. You begin to vacillate between bein’ repelled by touch and seeking it out in any form, even the most negative.[/b]

Season 1 episode 5: “Drip, Drip”

[b]Kerwin: It’s weird, isn’t it?
Daniel: What is?
Kerwin: That I know exactly when I’m gonna die.
Daniel: That’s very sad, Kerwin.
Kerwin: It has its pluses. You can grieve your own death.

The Stranger [to Daniel]: There she blows. Somebody made that up. It’s the beauty that hurts you most, son, not the ugly.

The Stranger [handing Daniel a wad of cash]: Hey! You did me a solid. It’s yours.
Daniel: I don’t want any.
The Stranger: You can’t get nowhere in this world without money.
Daniel: Hey. Are you real?
The Stranger: Am I real?
[The Stranger laughs maniacally]
The stranger: I want some of what you’re takin’.
[he drives off]

Tawney: I believe there’s been a miracle, a real miracle. It was the most beautiful thing, Teddy. It strengthened my faith.
Ted Jr.: What happened?
Tawney: Daniel’s gonna be saved.
Ted Jr.: What…?

Ted Jr.: S-so, you invited him to our church?
Tawney: Isn’t that what we’re supposed to do as Christians?
Ted Jr.: Well, of course, it is, Tawney. But, I mean, our church? Honey, they’re practically the last group that buys tires from us.
Tawney: Well, that’s not gonna stop.
Ted Jr.: What? It just doesn’t make any sense to me.
Tawney: What doesn’t?
Ted Jr.: I mean, look, the Holdens have never been religious people. I mean, none of 'em. And I’m pretty sure Amantha’s a full-blown atheist, and if she does believe in God, she probably hates his guts.

Ted Jr.: I think you see the good in everybody you meet, Tawney. But, I’m here to tell you not all people are good. I know good, decent people, people I’ve known my whole life, people I would trust my own children with, that believe in their hearts that he is a cold-blooded killer. And you can’t dismiss that just because you don’t want it to be true. Now, look, I’ll give him the benefit of the doubt. Okay? For you, for mom, for dad, Jared, hell, even Amantha. All I’m saying, is for him to be on death row all those years, knowing what was facing him, and he didn’t do nothin’ to get right with the Lord, and then he gets out, and in six days, he gets testified to by some pretty, young woman and all of a sudden, he’s filled with the spirit! I’m sorry, but that seems pretty damn suspicious to me.

Amantha: Daniel, we think that you should consider holding off - going through with the…
Daniel: Being saved?
Amantha: Maybe you should sleep on it. Have you been gettin’ much sleep?
Daniel: Can you guarantee I’ll be here?
Amantha: What do you mean?
Daniel: It could happen at any time.
Amantha: What could?
Daniel: Anything–anything could happen at any time. Oh and now, I don’t have time.
Amantha: Time? Daniel? Daniel, please?
Daniel: Please what? Please be the way you want me to be?
Amantha: No. I just want you to be happy.
Daniel: I will be happy. When I’m cleansed, I will be happy.
Amantha: But, Daniel…
Daniel [becoming ever more distraught]: I’m not even sure if I’m alive!

Tawney [after Ganiel is baptized]: God is releasing your pain.
Daniel: Where does it go?
Tawney: He takes it.
Daniel: You make me so happy, Tawney.
Tawney: It’s Jesus who makes you happy, not me.
Daniel: What? You know, the goat man told me it’s the beauty, not the ugly, that hurts the most.
Tawney: The goat man?
Daniel: I was with him today. We-we walked, and we gathered all the goats together. And there was this girl, and she had a head of another girl in her hands, and-- but, she had a goat’s body. And that was after I-I’d gone to her window.
Tawney: Whose window?
Daniel: And we wrestled. I knew I was wrestling with myself. And he could’ve won. He had me, but he helped me up, and we walked together. And the tall man at the store led me back-- back to my father.
Tawney [increasingly perplexed]: To your father?
Daniel: To Ted’s, back to Ted’s, and to the Father, the Son, and the Holy Ghost, and-and finally, back here to you.

Daniel [to Tawney]: Maybe there is a God…

Ted Jr.: Cut the shit, buddy. It’s me you’re talkin’ to. I don’t buy your lost soul lie for a minute. You didn’t wanna get right with God. You wanted to get right with my wife, right in bed with her.
Daniel: No-- no-- that’s not true.
Ted Jr.: Listen. You want a piece of ass? Then you go pick up some skank at the bar, but you stay the hell away from my Tawney. You hear me? She’s out of bounds, off limits. Is that clear enough?
Daniel: Yes. I-I shouldn’t be around her.
Ted Jr.: Hell, I’m not sure you should be around anybody. Stay the hell away from me while you’re at it.[/b]

Season 1 episode 6: “Jacob’s Ladder”

[b][Jon is listening to the tape of Daniel’s interrogation]
Cop: What’d you do after you strangled her?
Daniel: I, um, I went and got some flowers. Wildflowers. Jacob’s ladder.
Cop: Come again?
Daniel: It’s a wildflower.
Cop: And then, what did you do?
Daniel: I-I put the flowers in her hair.
Cop: Was she naked?
Daniel: Um, yeah, she was naked.
Cop: And how did she get unclothed?
Daniel: Uh, I had taken her clothes off. Before I raped her.
Cop: What’d you do then, Daniel?
Daniel: I sat with her. I sat with her and held her hand.
Cop: Why’d you hold her hand, son?
Daniel: Didn’t seem right to leave her alone.
Cop: Why not?
Daniel: She seemed so real.
Cop: Real? What do you mean, “real?”
Daniel: Alive.

Jon: I think either you move back to Atlanta, or let’s get you a gun, if you’re gonna stay here in this place.
Amantha: Jon…
Jon: No, and don’t tell me that you’ve dealt with this before, because you haven’t dealt with this before, Amantha. You were 12 years old. You were living with your parents. Daniel was already in jail and on his way to death row. That’s what kept the bad guys at bay back then, not you!

Daniel: You know, just not used to contemplating all the variables one might encounter. I mean, there were variables inside prison, but wasn’t like out here, where it’s…you know, and if you don’t have the-the years of experiences. The–there isn’t the-the repetition of everyday living to make things mundane. Because-because mundane is-is calming and soothing. Mundane isn’t out of the ordinary. And when everything is out of the ordinary… it can be too much sometimes, you know? Like finding you behind this door, when I-I didn’t even consider there could be somebody else behind this door, but my sister. You know, your-your mind puts it together, of course. But, I mean, even just the door opening is still very unreal. Does that make sense?
Jon: Of course. Daniel, it does.

Daniel: Do you think I could ever make it out here, really?
Amantha: Of course you can, and you will.
Daniel: I don’t believe in anything.
Amantha: Well, what about me, and mom, and your new brother?
Daniel: I’ve caused you all so much pain.
Amantha: No, Danny. They caused us all so much pain.

Amantha: I love you.
Daniel: I love you too.
[they both start to sob]
Daniel: We’re a leaky family.

Kerwin [on his way to be executed he stops at Daniel’s cell]: Look at me. Look at me, brother. Daniel? I know you didn’t do it.
Daniel: How do you know?
Kerwin: Because I know ya. Because I know ya. Because I know ya.
Guard: We have to go.
Kerwin: Bye, brother.

[Tawney listens to a message from Daniel on her phone]
Daniel: Hello, Tawney. I just wanted to let you know that I’m doin’ okay. Doing better, and-and I hope you’re doing okay, and Ted. I’m going away for a while, to get better or different. That’s all. Good-bye.[/b]"

Once a corrupt cop, he is now a pimp. But then, one by one, his “girls” seem to be “disappearing”. Worse, they have not first “cleared their debts”. To him in other words. And they are apparently meeting up by the same customer. So, being “street smart”, he aims to track him [them?] down.

Thus he comes to reflect the best parts [meaning the very worst parts] of both sides of the law.

And let’s face facts: Some folks have more options available to them than others. And some psycho-sexual predators are more monstrous than others. And some cops are more incompetent than others. Or more brutal. It’s the same all over. The globe, for example.

The banality of evil is truly embodied here. A more dim-witted monster it would be hard to find. It’s less that you can’t reason with him and more that he can’t reason with you. It’s just futile trying to dig out “the reason” at all. It’s too deeply buried “in there” somewhere.

A thriller that is actually, well, thrilling. Assuming of course you can stomach this sort of thing. But isn’t it just one more rendition of “the belly of the beast”. Having grown up in one myself.

Then there’s the shit thrower. At the mayor of Seoul no less.

at wiki: en.wikipedia.org/wiki/The_Chaser_(film
trailer: youtu.be/tKWpmWogo3s

THE CHASER [Chugyeogja] 2008
Directed by Hong-jin Na

[b]Joong-ho: You crazy bitch, who says I’m ripping people off? I’m the one being ripped off. Bitches get a big advance from me and then disappear. Ask any asshole on the street what it means. Whether they’ve been sold or ran away.
Seong-hee: You rotten bastard.

Meathead: 4885?
Joong-ho: Know this number?
Meathead: Yes. He’s a complete wacko. Min-jin went to serve that bastard?
Joong-ho [checking his appointments book]: Oh shit…

Joong-ho [to Young-min]: Hey, 4885. It’s you, isn’t it? Go ahead, answer it, asshole.

Cop: Did you sell the girls?
Young-min: No, I didn’t sell them. I killed them.

Young-min [to detective]: I saw how pigs were killed. That’s where I got the idea.

Joong-ho: Was there anything strange about him?
Seong-hee: A lot. He is a complete lunatic.
Joong-ho: Tell me.
Seong-hee: His dick wouldn’t get hard.
Joong-ho: Watch what you say around the kid!
Seong-hee: I mean his penis wouldn’t get erect. No matter how hard I tried, it wouldn’t work.

Seong-hee [to Joong-hee]: He killed someone, didn’t he?

Young-min: I asked before, why do you want to know?
Police chief: I thought you might be impotent.
Young-min: How would you know?
Police chief: Because assholes like you mostly are.
[Young-min just stares at him]
Police chief: You’re impotent, aren’t you? When you see a woman you want to have sex but you can’t. So you kill them with a chisel, right? You think the chisel is you penis. The pleasure you get from hammering the chisel into her head.
Young-min: That’s not the reason. Do you want me to tell you? Do you want me to tell you the reason?
Police chief: I’m right, aren’t I? You want to have sex but your body can’t.
[Young-min leaps across the table and tries to strangle him]
Young-min: What do you know?!![/b]

This really is just pure conjecture. We’ll never know what motivated him.

[b]Young-min: Ma’am, do you have a club or a hammer?
Shopkeeper: Well, I don’t have a club. Here’s a hammer.
[she hands him the hammer]
Shopkeeper: I feel much safer now since you are here.
[her last words of course]

[Joong-ho listens to phone message from Mi-jin just before she was attacked]
Mi-jin: Joong-ho. Joong-ho, it’s me. You’re not answering your phone. Don’t get mad and listen to me. I want to quit. I really can’t take it anymore. I’m too scared to do this job. I can’t do this.
[the sound of Mi-jin crying][/b]

No, not that 69. Instead, the 69 here revolves around a plot device that manages to pop up from time to time in the movies: The fact a that a screw in a 6 on the outside of a door will come loose and the number will tumble upside down and appear instead to be a 9. The rest you can probably guess: the bad guys go to the wrong room and as a consequence somebody’s life gets turned upside down in turn.

It is then a matter of whether it is for the better or for the worse. Here, for Tum. And since this is basically a comedy how bad can it be? In fact, at very beginning of the film, Tum has just lost her job. So she needs all the fortuity she can get.

Sure enough the next morning she gets up and hears a sound outside her door. She opens it and there sitting in the hallway is a cardboard box. She brings the box inside and puts it on her bed. She gets a knife from the kitchen drawer and slices through the tape on top. She opens it. It’s filled to the brim with money. And since we have already witnessed her shoplifting the day before we are reasonably sure she plans on keeping it. Of course there will be the thugs who want it back.

A comedy of errors ensues. Think Blood Simple with a laugh track. In other words, as the dead bodies and the coincidences pile up, I doubt that this is based on a true story.

IMDb

The original Thai title means “Funny Story Six Nine”. When the movie was released, Thais mistook the title as “Funny Story Sixty-Nine” because the two numbers are written together. However, the director confirmed that it"s “Six Nine”.

at wiki: en.wikipedia.org/wiki/Ruang_Talok_69
trailer: youtu.be/a-WLwEyg2tA

6IXTY NIN9 [Ruang Talok 69] 1999
Written and directed by Pen-Ek Ratanaruang

Employee: Won’t you pick a number too?
Boss: No, I don’t. I’m the boss.

He leaves it up to “fate” to decide who goes. Tum gets 9. She’s gone. But she lives in room 6. So we’ll see what fate really has in store for her. Not to mention the boss.

[b]Tum [on the phone with her friend]: What would you do if you found a box with $25,000 in front your room?
Jim: I’d just leave it alone.
Tum: Wouldn’t you want it? Over $25,000 inside!
Jim: Has someone left a box with $25,000 in front of your room?
Tum: No, I mean, suppose it was so?
Jim: A box with $25,000? That’s a bit strange don’t you think?

Thug: I wouldn’t be the least surprised if Berm’s body suddenly appears from nowhere.

Tum: How can I be sure that…
Kanjit: That you won’t be cheated? You can never be certain. If you want absolute certainty, you go to the Ministry of foreign affairs for your passport. Then you get your real visa at the embassy. That way it’s legal. And it cost much less than mine. But you won’t be traveling tonight, that’s for sure.

Kanjit [to Tum]: Thai passport holders are targeted in many countries. Particularly a pretty young lady such as you. In those countries they still believe there are only two occupations in Thailand. Women are prostitutes and men are drug dealers.

Thug [on phone to Mafia Tong in Tum’s apartment]]: I think this Kanjit is up to some dirty tricks. He got the police involved in this! The cop shot Sumpun dead!

Neighbor [to Tum]: Wow! You read a lot!

Jim [on phone with Tum]: You want to borrow my truck? For what? Donating books? Oh, lots of books.

Kanjit [to Mafia Tong]: What are you smiling at? You’re two cigarette puffs away from death.

Pervert [after Tum answers the phone in her apartment with dead bodies everywhere]: You Slut! You fucking whore! I want to make love to you. I really do…

Tum: Boss…?[/b]

Gee, what will the nasty corporations think up next? And maybe we should take this one all the way to the Supreme Court. See if it is compatable with the Constitution of the United States.

I bring that up because, lets face it, a lot of science fiction writers like to speculate about just how far capitalism will take things down the road. Is there anything beyond the pale when it comes to toting up the bottom line?

Cloning is just one more bank account here. On the other hand, if the workforce consist increasingly more of clones how many folks are still going to be around to actually purchase the products they manufacture? Manufacture the workers manufacturing the commodities. Then manufacture the consumers to buy them? Like nature manufacturing a colony of ants, termites, or bees?

As for an “identity”, it’s entirely fabricated. But that is in turn just a more sophisticated [controlled] reflection on how actual human communities fabricate an identity for their children historically or culturally. What is our childhood but that part of our lives where others “implant” our own memories?

The film begins with a super slick television commercial. No different from the shit we get today from Exxon or BP on the PBS News Hour or on CNBC:

There was a time when “energy” was a dirty word. When turning on your lights was a hard choice. Cities in brownout… food shortages, cars burning fuel to run. But that was the past. Where are we now? How do we make the world so much better? Make deserts bloom! Right now, we are the largest producer of fusion energy in the world. The energy of the sun, trapped in rock, harvested by machine from the far side of the moon. Today, we deliver enough clean-burning helium-3… to supply the energy needs of nearly 70% of the planet. Who would have thought that all energy we ever needed is right above our heads? The power of the moon… the power of our future.

What’s the catch? Well, we can count on them not telling us.

Let alone Sam Bell. Besides, all most of us give a shit about is having the power. As cheaply as possible. We don’t really give a shit how it is gotten or delivered to us. Sam Bell’s a clone? So? Who the fuck is Sam Bell?

Look for HAL. Only this time on our side. Sort of.

Also, look for Mathew, Mark, Luke and John. Something from the Bible, perhaps.

The director is the son of David Bowie.

What with all the clones [all the different Sams] and figuring out who is communicating what to whom, following all of this can be…taxing. Here is one perspcective on What Is Really Going On: hubpages.com/hub/Moon-the-Movie-Explained

at wiki: en.wikipedia.org/wiki/Moon_(film
trailer: youtu.be/twuScTcDP_Q

MOON [2009]
Written in part and directed by Duncan Jones

[b]GERTY: Sam, you said it was the TV that distracted you… but when I came in, the TV wasn’t on. Perhaps you were imagining things?
Sam: Yeah, you think too much, pal.

GERTY: I’m sorry, Sam. Sam…I’m under strict orders not to let you outside.
Sam: I don’t appreciate that—being treated like a child. I don’t appreciate it.

Sam: I found him outside! I found him outside! Near one of the stalled harvesters…Who is he? Who is he?!
GERTY: We need to get him to the infirmary.
Sam: Not until you tell me who that is. You tell me who that is!
GERTY: Sam Bell.

Sam 1: Gerty?
GERTY: Yes, Sam?
Sam 1: Is there someone in the room with us?

Sam 1: Gerty, Gerty, what the fu—what the hell’s going on? Who is the guy—Who is the guy in the rec room? Where did he come from? Why does he look like me?

Sam 1: Who is the guy in the rec room?
GERTY: Sam Bell.
Sam: Come on, come on, come on!
GERTY: You are Sam Bell. Sam, what is it? It might help to talk about it.
Sam 1: I don’t understand what is happening… I think I’m starting to lose my mind.
GERTY: We can run some tests. I haven’t let Sam contact Lunar. They do not know that you were recovered alive from the accident.
Sam: “Recovered alive”? What do you mean? Why did not you report it to Central? What are you talking about?
GERTY: I’m here to keep you safe, Sam.

Sam 1: Gerty says you’re Sam Bell. I’m Sam Bell, too!
Sam 2: What?
Sam 1: Well, we’ve got that going for us.

Sam 1: Who’s looking after the harvesters?
Sam 2: Harvesters are fine. It’s the fact that I’m here talking to a clone that’s slightly troubling.
Sam 1: I’m not a clone. I’m not a clone! You’re the clone.

Sam 1: You know Tess?
Sam 2: Yeah, I know Tess.

Sam 1: They’re sending a rescue unit? Why? Why are they sending a rescue unit?
Sam 2: To fix the stalled harvester. They didn’t think I was up to it.
Sam 1: Well, then I’m going back. That’s it for me.
[Sam 2 scoffs]
Sam 1: What?
Sam 2: Is that what you really think?
Sam 1: Yeah. I’ve got a contract! I’m going home.
Sam 2: You’re a fucking clone. You don’t have shit.
Sam 1: Hey, I’m going home!
Sam 2: Home! You’re not going anywhere. You know, you’ve been up here too long, man. You have lost your marbles. What do you think, Tess is back home, waiting on the sofa in lingerie? What about the original Sam? Huh?
Sam 1: I am the original Sam! I am Sam-fucking-Bell!! Hey! Me! Me! Gerty, am I a clone?
GERTY: Are you hungry?

Sam 2: What about the other clones?
Sam 1: What?
Sam 2: We might not be the first two to have been woken up. You said that that model had already been started when you got here. Well, who started it? There might be others up here right now. Think about it. How did I get up here so quickly after your crash?
Sam 1: I don’t know…
Sam 2: They didn’t ship me in from Central. There wasn’t time. I must have come from the base. I bet there’s some kind of secret room.

Sam 1: Why would they do that? What’s the motive?
Sam 2: Look, it’s a company, right? They have investors, they have shareholders. Shit like that. What’s cheaper? Spending time and money training new personnel…Or you just have a couple of spares here to do the job? It’s the far side of the moon! Those cheap fucks haven’t even fixed the communication satellite yet!
Sam 1: Tess would know, she would have told me…
Sam 2: Hey, Gepetto, wake up! You really think they give a shit about us? They’re laughing all the way to the bank!

Sam 1: Gerty…Gerty? Am I really a clone?
GERTY: When you first arrived at Sarang, there was a small crash. You woke up in the infirmary. You suffered minor brain damage and memory loss. I kept you under observation and ran some tests.
Sam 1: I remember, yeah, I remember that…
GERTY: Sam, there was no crash. You were being awakened. It is standard procedure for all new clones to be given tests…to establish mental stability…and general physical health. Genetic abnormalities and minor duplication errors in the DNA can have considerable impact on…
Sam 1: What about Tess? What about Eve?
GERTY: They are memory implants, Sam. Uploaded, edited memories of the original Sam Bell. Sam, it’s been several hours since your last meal. Can I prepare you something?

LI Technician [on screen with prerecorded message]: Lay down, relax and breathe deeply. The cryogenic protection pod is designed to put you into a deep sleep for the duration of your three-day return journey back to Earth. As you begin to feel sleepy, think about the magnificent job that you’ve done. And how proud your family are of what you’ve accomplished. Lunar Industries remains the #1 provider of clean energy worldwide due to the hard work of people like you.

Sam 1 [to Sam2]: I found your secret room.

Sam 1: Gerty, why did you help me before? With the password? Doesn’t that go against your programming or something?
GERTY: Helping you is what I do.

[Sam is making a video phone call from the Moon to his home on Earth, while covering the camera with his hand]
Eve: Hello?
Sam 1: Is this the Bell residence?
Eve: This is the Bell residence. Could you call back? There’s something wrong with the picture.
Sam 1: I’m trying to reach Tess Bell.
Eve: I’m sorry, she passed away some years ago.
[long pause]
Sam 1: Are you sure?
Eve: Yeah, I think so. I’m her daughter. Can I help you?
Sam 1: …Eve?
Eve: Yeah.
Sam 1: Hi! Hi, Eve. How old… How old are you now?
Eve: I’m 15. Do I know you?
Sam 1: Sweetheart… How did mommy die, sweetheart? How did mommy die?
Eve [turns around and calls to someone off-screen]: Dad!
Dad [the original Sam Bell]: Yeah?
Eve: There’s someone asking about mom.
Dad: Who’s asking about mom?
[Sam immediately breaks off the call]

Sam 2: You’ll be okay?
GERTY: Of course. The new Sam and I will be back to our programming as soon as I finished rebooting.
Sam 2: Gerty, we’re not programmed. We’re people, do you understand?

News announcer: Clone six, the clone of Sam Bell has been giving evidence that CEA’s board of directors meeting in Seattle…

Talk Show Host: You know what, he’s one of two things. He’s either a wacko or an illegal immigrant. Either way, they need to lock him up. Line two! [/b]

Micmacs? Loosely translated as “non-stop shenanigans”. And what are they directed at? What else: the French equivalent of the military industrial complex. And if anything can stop them it is surely shenanigans.

So, let’s start them up here too. Bring those fuckers to their knees!

Tongue in cheek? You bet. But not really. In reality, for example. These folks are portrayed to be the scumbag assholes that many of them actually are. If only as caricatures. They make buckets of money by mass producing commodities that blow people to bits. Then some pretend it’s all about doing their bit for freedom and democracy.

Bazil, meet Slammer. And together with others they come to inhabit this very strange world. One that is [if nothing else] a wonder simply to behold. For one thing it is in a cave dug under a trash dump. Anyway, together these very strange people decide to help Bazil avenge the death of his father and his own near-death at the hands of some particularly scurrilous arms manufactures.

Think of this as the equivalent of a micmac team here in America provoking Lochheed Martin into going to war against Boeing.

Of course you can go too far in trying to portray these folks as cartoon characters. Then they become the equivalent of the Acme Corporation in the Roadrunner capers.

Bottom line? Well, if you want to put an end to the mass production of weapons of war simply shame the folks who own the companies that make them. In fact, you wonder why no one had ever thought of this before.

Oh, well: silly movie, silly ending. Though done with the very best of intentions of course.

IMDb

[b]Jean-Pierre Jeunet first came up with the idea for the film by visiting a local restaurant where some of the regulars were known arms dealers. Jeunet was intrigued by their “nice-looking faces”.

The director describes his film as a cross between Delicatessen and Amélie.[/b]

And that it is.

at wiki: en.wikipedia.org/wiki/Micmacs_(film
trailer: youtu.be/TjKW0tG7I8s

MICMACS [Micmacs à Tire-Larigot] 2009
Written in part and directed by Jean-Pierre Jeunet

[b]Doctor: If I operate, he could become a vegetable. If I don’t, he could die any second.
Nurse: Better to live and risk sudden death, than live with no idea you’re alive.
Doctor: You shoulde have studied philosophy. Anyone got a coin?
[a coin is flipped]
Nurse: Heads.
Doctor: Okay, leave the bullet in. He’ll drive airport security wild.

Nicolas Thibault De Fenouillet [on the phone]: Throw the clown out. A bullet in the head? Something to rmember us by!

Speaker: We are now world leaders in the field of fragmentation bombs. Our position in the gulf nations is four times greater, and we’ve lowered collateral damage between 7 and 9 percent. As you know, we’re not monsters. We don’t want anyone dead. We know a wounded soldier costs the enemy more than a dead one. Our CBS scatter 202 projectiles and clears the equivalent of four futball fields. We were present in the Gulf, Kosovo, Afghanistan…

François Marconi: …our tracer bullets, explosives and armor piercing bullets are the sharpest, most destructive and most effective! Rimbaud was a poet who became an arms dealer. I’ll do the exact opposite.
[everyone laughs and snickers]
François Marconi: I’ll continue to associate ambition and ammunition, so our sales go out with a bang!
[more laughter]

Georges [driver]: Rimbaud, an arms dealers…is that a historical fact?
François Marconi: Absolutely. He died of gangrene, with an amputated leg.
Georges: Baudelaire had syphillis?
François Marconi: Verliane had the DTs, Lorca was shot, Nerval hung himself from a lampost.
Georges: I’d never encourage my kid to become a poet.

François Marconi [to his son]: Not Rambo…Rimbaud.

Repeated line: It’s salvaged gear!

Nicolas Thibault De Fenouillet: Who do you work for?!
Bazil: Let’s just say I’m freelance.

Bazil [aloud to himself]: Aeschylus died when a tortise hit him on the head. Lully got gangrene, beating time to music. Barbarossa drowned in a river after he forgot to remove his armor. And I’m going to die tonight of fright…like the fool that I am.

Man in office: Everyone, go to youtube and type “arms dealers fooled”.[/b]

Stanley Kubrick’s birthday is coming up.

The first and only (as far as we know) Top 10 list Kubrick submitted to anyone was in 1963 to a fledgling American magazine named Cinema (which had been founded the previous year and ceased publication in 1976). Here’s that list:

  1. I Vitelloni (Fellini, 1953)
  2. Wild Strawberries (Bergman, 1957)
  3. Citizen Kane (Welles, 1941)
  4. The Treasure of the Sierra Madre (Huston, 1948)
  5. City Lights (Chaplin, 1931)
  6. Henry V (Olivier, 1944)
  7. La notte (Antonioni, 1961)
  8. The Bank Dick (Fields, 1940)
  9. Roxie Hart (Wellman, 1942)
  10. Hell’s Angels (Hughes, 1930)

What would you say was his most philosophical film?

I’ve always found it interesting to learn about how different cultures view each other and so forth; especially in regards to stereotypes about each other. It’s always surprised me how often storylines involving Europe and Europeans are used in Japanese animation. It’s always interesting to see how Europe and Europeans are portrayed in anime.

See, for example, the portrayal of French “table manners” in Ranma.

Last Exile is another good one to add; Napoleonic battles fought on airships!!! Yeah!

Anime certainly reflects back a very different non-European understanding than we ourselves project onto others. They portray our modernity as not the inevitable outcome of human history, but as a particular style of existence that is as specific and hard to pass final judgment on as any other. Modernity as contingent, as a certain set of practices–and as something both liberating and terrifying. And yet they are most keenly aware of the supreme danger of technology. Akira is the movie to watch on that note–and a most timely film, too.

The true story of a contract killer. This guy: en.wikipedia.org/wiki/Richard_Kuklinski

But how true?

For instance, consider this from a review of the film at IMDb:

The Iceman, Richard Kuklinski, comes off as a sympathetic character in the end, whereas in real life he truly was a cold emotionless and sociopathic killer. His family weren’t so much cherished and loved as they were possessions that were his and his alone.

Sympathetic, maybe. But only with respect to his family.

And that’s the tricky part here. After all, what will fascinate most folks is how he did manage to conceal what he did for a living – beng “contracted” to snuff out the lives of others – from his own family. He really only had to rationalize his behavior to himself. But how long could he realistically hope to keep all of this a secret?

Think about it: How would you react if you found out your own father or husband or brother or son was a professional hitman? Or, in this day and age, I suppose, mother, wife, sister or daughter?

And it is always particularly surreal to me how some of these gangsters manage to reconcile what they do with God. They make sure their wives and kids are brought up in the Church and then still do what they do. The way they can keep these things separate in their head. The human capacity to rationalize!

Yet in a long list of true crime docs this is often revealed to be the case: folks living secret lives. They may not be murderers but they sure as shit are not who you think they are. Or not always. The fragmented personality in a fragmented – “postmodern” – world. You sometimes wonder: How long before it’s the norm?

The bottom line here though seems to be this: read the books: amazon.com/The-Iceman-Story- … 0345540115

and:

amazon.com/The-Ice-Man-Confe … DN2GZ5N4VG

Or watch the HBO doc: youtu.be/_vn7Hz2PK7s

The film just does not [cannot] really make you understand how the past and the present came together to create this man.

IMDb

While in prison, Richard Kuklinski claimed to be responsible along with four other men for the kidnap and murder of former Teamsters union boss Jimmy Hoffa on July 30 1975 in a restaurant parking lot in Detroit. The five-man team were allegedly given the contract on Hoffa by Tony Provenzano, a captain in the Genovese crime family. Kuklinski claimed to have been paid $40,000 for the hit…The claims only surfaced after Kuklinski’s death in March 2006 in a book by author Philip Carlo and will probably never be substantiated.

at wiki: en.wikipedia.org/wiki/The_Iceman_(film
trailer: youtu.be/aciNNjzyS20

THE ICEMAN [2012]
Written in part and directed by Ariel Vromen

[b]Deborah: So, what do you do for a living?
Richard: I dub cartoons for Disney.

Roy: What’s your name?
Ritchie: Ritchie Kuklinski.
Roy: You know who I am?
Ritchie: Mm-hm.
Roy: So if I came down here, I must have had a good reason.
Ritchie: I didn’t say you didn’t have a good reason, I said the date was…
[Roy slaps him]
Roy: If you want to complain about life, you’re talking to the wrong fucking guy.

Roy [whipping out a gun and aiming it at Ritchie]: Look at that. The fucking guy is cold as ice. Come on, you got to feel something for somebody. Got a girlfriend?
Ritchie: I’m married.
Roy: Then why do you act like you don’t give a shit?
Ritchie: What do you want?

Roy: I’m closing the porn lab. Sorry, but you’re out of a job. But if you can follow orders, you got everything to gain.
[he hands the gun to Richie]
Roy: Go put the bum out of his misery. If you don’t have it in you, now’s the time to say it.

Roy [to Ritchie]: What you’re going to be doing is you’ll be watching my back. You’ll be collecting debts, sending messages, whatever the messages are. But if I need you, Scicoli or Josh here is going to get in contact with you. And payphones only. Now, you’re going to deal with whatever we can, for whatever reason.

Man at dinner: And now look at him. He goes from dubbing cartoons to international banking.
Ritchie: It’s currency exchange.
Woman: Cartoons? Is that what you call porn these days?
Deborah: Porn?

Anabel: They’re coming back from Vietnam?
Ritchie: Yeah.
Anabel: Dad? Sister Marjorie says it’s God’s will.
Ritchie: What’s God’s will?
Anabel: The people who died in Vietnam. That doesn’t really make sense to me.
Deborah: Well, you know, honey, there’s just too many people in the world for God to care about everyone. So that’s why we look after each other.
Ritchie: Yeah, your mom’s right. God’s got nothing to do with it.[/b]

How organized crime becomes disorganized:

Leo [from the Gambinos]: Rosenthal steals half a mil in cocaine, then shoots the couriers. You’re being held responsible by the Cubans for his actions.
Roy: How do you figure that? How the fuck am I responsible?
Leo: He goes around throwing your name. Demeo this, Demeo that. Starts a war, so now everyone thinks you’re involved.
Roy: He was just trying to help me out, Leo!
Leo: Help you out? Ha! Then it’s your fault you made him feel sorry for you. You want to be friends with the Gambinos, then be real with me. I understand you got this relationship with Rosenthal. But the couriers he killed and stole from, they were linked to the Callies, Roy. Nothing gets forgotten.
Roy: Leo, you’re asking me to kill Rosenthal?
Leo: Why don’t you stop asking questions you know the answers to?
Roy: I took the kid from the streets! I raised him like he was one of my own.
Leo: Then that’s your problem. Kid goes around telling everybody he’s your son and they hold the father accountable.
Roy: They were fucking coked out delivery boys! Who gives a fuck?!
Leo: Who gives a shit about them. But that’s not the point. You understand? They’ll come after you and him no matter what. Do you fucking understand that in your fucking thick head?
Roy: Fuck me.
Leo: You get what I’m telling you?
Roy: Yeah, I get it.
Leo: Even people you consider friends will come after him. You got that friend, Marty.
Roy: What about Marty?
Leo: He already started spreading the word where to find him. This is one big fucking mess we don’t need, Roy. Clean it up.

Of course it is Ritchie who is assigned that task.

[b]Marty [as Ritchie aims the gun at him]: Hey, what the fuck’s going on?
Ritchie: He changed his mind.
Marty: No, no, no, no. Look, Rosenthal’s my best friend. I would never say anything.
Ritchie: Not my problem.
Marty: Well, do… no! No! Not…Please don’t! God, please! God, please!
Ritchie: What, are you praying?
Marty: God, please! Please!
Ritchie: You really believe that? You think God will come down and save you? All right. I’ll give you some time. Pray to God. Tell him to come down and stop me. Go ahead. Our Father…
Marty [praying]: Our Father…
Ritchie: I’m not feeling nothing. Nothing at all. Try harder.
Marty: What? I’m…
Ritchie: This your last chance.
Marty: No. No. Don’t.
Ritchie: I think God’s busy.

Roy [to Ritchie]: The Gambinos want to hurt me. The Callies want my whole fucking family dead. The other day, there’s a car that I don’t recognize, it’s parked outside of my house. Looked Cuban enough, piece of shit car, dark skin, I think one thing. So I panic. I shoot him dead. Turns out it’s a fucking Puerto Rican kid selling vacuum cleaners to help pay his way through college.

Ritchie [to his brother]: Joey, look, it don’t matter. You killed a little girl. Nobody’s going to forgive you, okay?
Joey: Yeah, I know I did. I know.
[Ritchie just stares at him through the glass]
Joey: A wife? Fucking kids? Who are you kidding? You’re going to end up just like me, right here. So go fuck you and your fucking family.
Ritchie [slams the glass]: Take care.
[he turns and walks away]

Ritchie [shouting]: I buy you all this shit, I buy you this fucking house, I buy you your fucking jewelry! I send the girls to private school!
Deborah: Do not raise your voice to me, Richard.
Ritchie: “Richard?” What happened to “Ritchie?”
Deborah: I don’t know.

Mr. Freezy [to Ritchie]: So, is it my lucky day, or my last?

Ritchie: So who do you work for?
Mr. Freezy: I work for everyone. Gambinos, Luchezis, Pananos, you name it. What about you? Red with the arrow through the eye? That was you, wasn’t it? That’s fucking legendary. Was that target practice?
Ritchie: Somebody wants somebody dead, who am I to question it?

Mr Freezy: Let me show you something. Coroners are lazier than cops. If it looks like a heart attack, it is.
Ritchie: Arsenic?
Mr Freezy: Pure cyanide. Careful. It’s rare. Pricey. Comes as a powder. You can liquefy it, spray it, bake it in a fucking cake. Pour it in a guy’s shirt, he’s dead before you can say I’m sorry. No more stake outs. I can do that anywhere. I don’t have any friends, so it makes it easy. I only feel alone around other people. Couldn’t be truer.

Ritchie: My daughter’s birthday’s going on in there. Roy, I have guests. My whole family is there.
Roy: Maybe I should go in and say happy birthday to her. You’re doing hits with Freezy for Leo Marks behind my back? After what I’ve been through with Rosenthal?! Now you’re going to send me to another fucking funeral?
Ritchie: I don’t know what you’re talking about.
Roy: Don’t fucking lie to me. Who do you think you’re talking to? You fucking lie to me. Maybe we’ll talk to your friend Terry, seems to think that you and I are friends. I can’t imagine what you’ve been telling your family. Poor sons of bitches, thinking their dad’s a decent guy. What are you going to tell your wife when I fucking blow your kids’ heads off? You think you got something good? Man becomes so full of it, he forgets what’s true.
[Ritchie’s daughter comes up to the car]
Ritchie: Don’t let him touch her. Don’t let him touch her.
Anabel: Daddy? Daddy? What’s going on?
Roy: All right, Jimmy, wait a minute. You best be looking over your shoulder, Ritchie, 'cause if we cross paths again, I’m going to bury your whole fucking family.

[b]Leo: Go. Go home to your family. Life can be very random sometimes.
Ritchie: Yeah. You’re right.
[he shoots him dead]

Ritchie [on phone]: Betsy? You paged me?
Betsy: Yes, Daddy. There was an accident. It’s Anabel. She’s in the hospital.
Ritchie: What happened, honey?
Betsy: It was a hit and run.

Ritchie [looking down at Deborah in the hospital]: This is the end of it. There ain’t going to be nothing else to be afraid of. I promise.
Deborah: I didn’t know I was supposed to be afraid.

Ritchie [voicover]: I never felt sorry for anything I done…other than hurting my family. The only thing I feel sorry for. I’m not looking for forgiveness. I’m not repenting. I know I’m wrong. I’m wrong. I do want my family to forgive me. Oh, boy. Ain’t going to make this one. Holy shit. This would never be me. This would not be me. You see the Iceman crying? Not very macho. But I hurt people that mean everything to me. But the only people that mean anything to me.

Postscript: Richard Kuklinski was sentenced to two life sentences in the same cell block as his brother Joey. He never saw his family again. In 2006, he died in Trenton State Prison. He was scheduled to testify at the trial of the Gambino family underboss. Foul play was suspected. Kuklinski is believed to have killed over 100 people.[/b]

From time to time some folks think about AIDS and they ask themselves: Suppose this very dangerous, virulent virus was not transmitted through bodily fluids. Suppose instead it was transmitted as the flu is transmitted: airborne and [thus] was everywhere.

Can you then imagine they would point out the widespread reaction to gays if it was thought that this affliction was derived from homosexuality?

Things can always be worse, I suppose. Life is, after all, existential.

Of course, AIDS is not everywhere because it is not an airborne pathogen. But that doesn’t stop any number of folks from using it as an excuse to express their own virulent fear of or hatred toward gays.

And this film unfolds at a time when there was considerably more uncertainty about the nature of the disease. The Reagan era. Reactions were more deeply rooted in the fear that just being around gays was a kind of, well, death sentence. And not just in working class communities where there was ignorance regarding a lot of things relating to homosexuality.

This all transpires in a prestigeous law office. Educated, sophisticated folks surely. But no less scared shitless about AIDS. And no less wallowing in prejudice.

Is this based on a true story?

No, but it bears similarities to events in the lives of attorneys Geoffrey Bowers and Clarence B. Cain. IMDb
en.wikipedia.org/wiki/Geoffrey_Bowers

Anyway, AIDS is truly what one might construe to be an “existential crisis”. Especially back then. There is your life before and your life after you contract it. It changes how you think about a lot of things. Or it certainly can.

IMDb

[b]Tom Hanks had to lose almost thirty pounds to appear appropriately gaunt for his courtroom scenes. Denzel Washington, on the other hand, was asked to gain a few pounds for his role. Washington, to the chagrin of Hanks, who practically starved himself for the role, would often eat chocolate bars in front of him.

The protestors outside the courthouse holding signs are based on the members of the Westboro Baptist Church in Topeka, Kansas, led by “Reverend” Fred Phelps. Phelps calls this movie “one of my favorite comedies”.

Director Jonathan Demme wanted people not familiar with AIDS issues to see his film. He felt Bruce Springsteen would bring an audience that would not ordinarily see a movie about a gay man dying of AIDS. The movie and the song, “The Streets of Philadelphia”, did a great deal to increase AIDS awareness and take some of the stigma off the disease.[/b]

The song: youtu.be/4z2DtNW79sQ

at wiki: en.wikipedia.org/wiki/Philadelphia_(film
trailer: youtu.be/cl4B9AU45P4

PHILADELPHIA [1993]
Directed by Jonathan Demme

[b]Walter: What’s that on your forehead, pal?
Andrew: What? Where?
Walter: That… right there on your forehead.
Andrew: Oh, I got whacked in the head with a racket ball.

Joe: What happened to your face?
Andrew: I have AIDS.
[Joe lets go of his hand and backs away]

Andrew [after explaining that he got fired]: That’s their story. Wanna hear mine?
Joe: How many lawyers did you go to before me?
Andrew: Nine.
Joe: Continue.

Joe: All right. Explain this to me like I’m a two-year-old, okay? Because there’s an element to this thing that I cannot get through my thick head. Didn’t you have an obligation to tell your employer you had this dreaded, deadly, infectious disease?
Andrew: That’s not the point. From the day they hired me to the day I was fired I served my clients consistently, thoroughly, with absolute excellence. If they hadn’t fired me, that’s what I’d be doing today.
Joe: And they don’t want to fire you for having AIDS…so, in spite of your brilliance, they make you look incompetent. Thus, the mysterious lost files. Is that what you’re trying to tell me?
Andrew: That’s correct. I was sabotaged.
Joe: I don’t buy it, Counselor.
Andrew: That’s very disappointing.
Joe: I don’t see a case.
Andrew: I have a case. If you don’t want it for personal reasons…
Joe: Thank you. That’s correct. I don’t.
Andrew: Well, thank you for your time, Counselor.
Joe: I’m sorry about what happened to you. It’s a bitch, you know?[/b]

Of course the first thing Joe does is go to his doctor to make sure he doesn’t have AIDS – just from being in the same room with Andy and shaking his hand.

[b]Doctor: The HIV virus can only be transmitted through the exchange of bodily fluids… namely, blood, semen and vaginal secretions.
Joe: Right. Yeah. But isn’t it true they’re finding out new things about this disease every day? Now, you tell me today there’s no danger. Go home. I go home. I pick up my little baby girl. Then I find out six months from now on the news or something: Whoops! Made a mistake. Yeah, you can carry it on your shirt or your clothes or…

Wife: You have a problem with gays, Joe?
Joe: Not especially.
Wife: Yes, you do. How many gays do you know?
Joe: How many do you know?
Wife: Lots. Karen Berman, my aunt Theresa…Cousin Tommy who lives in Rochester… Eddie Meyers from the office… Stanley, the guy who’s putting in our kitchen cabinets.
Joe: Aunt Theresa is gay? That beautiful, sensuous, voluptuous woman is a lesbian? Since when?
Wife: Probably since she was born.
Joe: Oh, man. All right. Well, hey, I admit it, okay? I’m prejudiced. I don’t like homosexuals. There. You got me. I mean, the way these guys do that…thing, don’t they get confused? You know, I don’t want to be in bed with anybody who’s stronger than me…or who has more hair on their chest. Now, you can call me old-fashioned, conservative. Just call me a man. Besides, I think you have to be a man to understand how really disgusting that whole idea is anyway. Think about those guys pumping up together… trying to be macho and faggot at the same time. I mean, I can’t stand that shit. Hey, I’m bein’ totally honest with you, okay?

Joe [to his wife]: I got a question for you. Would you accept a client if you were constantly thinking, “I don’t want this person to touch me. I don’t want him to even breathe on me”?
Wife: Not if I was you, honey.

Joe: The Federal Vocational Rehabilitation Act of 1973 prohibits discrimination against otherwise qualified handicapped persons who are able to perform the duties required by their employment. Although the ruling did not address the specific issue of HIV and AIDS discrimination…
Andrew: …subsequent decisions have held that AIDS is protected as a handicap under law, not only because of the physical limitations it imposes, but because the prejudice surrounding AIDS exacts a social death which precedes…which precedes the physical one.
Joe: This is the essence of discrimination: formulating opinions about others not based on their individual merits, but rather on their membership in a group with assumed characteristics.

Charles [after learning of Andrew’s discrimination lawsuit]: Now, regarding Andy, I want to know everything regarding his personal life. Does he frequent those pathetic bars on Chestnut Street? What other homosexual facilities does he go to? What deviant groups or organizations does he secretly belong to?

Bob: Let’s make a fair settlement offer and put this tragic business behind us.
Charles: Andy brought AIDS into our offices into our men’s room. He brought AIDS to our annual goddamn family picnic.
Walter: We ought to be suing him, Bob.

Joe [to the jury]: Forget everything you’ve seen on television and in the movies. There’s not gonna be any last-minute surprise witnesses. Nobody’s gonna break down on the stand with a tearful confession. You’re gonna be presented with a simple fact: Andrew Beckett was fired. You’ll hear two explanations for why he was fired: Ours and theirs. It is up to you to sift through layer upon layer of truth…until you determine for yourselves which version sounds the most true.

Joe [to the jury]: There are certain points that I must prove to you. Point number one: Andrew Beckett was…is…a brilliant lawyer. Point number two: Andrew Beckett, afflicted with a debilitating disease made the understandable, the personal, the legal choice to keep the fact of his illness to himself. Point number three: His employers discovered his illness. And, ladies and gentlemen, the illness I’m referring to is AIDS. Point number four: They panicked. And in their panic, they did what most of us would like to do with AIDS…which is just get it and everybody who has it as far away from the rest of us as possible. Now, the behavior of Andrew Beckett’s employers may seem reasonable to you. It does to me. After all, AIDS is a deadly, incurable disease. But no matter how you come to judge Charles Wheeler and his partners in ethical, moral and human terms, the fact of the matter is when they fired Andrew Beckett because he had AIDS they broke the law.

Belinda: Fact: Andrew Beckett’s performance on the job varied from competent, good, to oftentimes mediocre…to sometimes flagrantly incompetent. Fact: He claims he’s the victim of lies and deceit. Fact: It was Andrew Beckett who lied…going to great lengths to conceal his disease from his employers. Fact: He was successful in his duplicity. The partners at Wyant, Wheeler did not know that Andrew Beckett had AIDS when they fired him. Fact: Andrew Beckett is dying. Fact: Andrew Beckett is angry because his lifestyle, his reckless behavior has cut short his life. And in his anger, his rage, he is lashing out. And he wants someone to pay.

Joe: Let me tell you something. These people make me sick. But a law’s been broken. You remember the law?
Bartender: At least we agree on one thing, Joe.
Joe: What’s that, Charlie?
Bartender: Tutti-fruttis make me sick too.

Lawyer: Ms. Benedict, how did you contract the AIDS virus?
Ms. Benedict: Through a transfusion. I lost a lot of blood giving birth to my second child.
Lawyer: So, in your case there was no behavior on your part which caused you to be infected with the virus. It was something you were unable to avoid. Isn’t that correct?
Ms. Benedict: I guess. But I don’t consider myself any different from anyone else with this disease. I’m not guilty. I’m not innocent. I’m just trying to survive.

Joe: Did you have something to do with this file being lost accidentally on purpose? Did you have anything to do with this file being misplaced?
Jamey: Absolutely not.
Joe: Are you a homosexual?
Jamey [startled]: What?
Joe: Answer the question! Are you a homo? A faggot? A punk? A queen, pillow biter, fairy? Bootie snatcher, rump roaster? Are you gay?
Lawyer: Objection!
Judge: Order!
Belinda: Where did this come from? Suddenly counsel’s attacking his own witness? Mr. Collins’ sexual orientation has nothing to do with this case.
Judge: Please have a seat, Miss Conine. Would you approach the bench, Mr. Miller?
[Joe approaches the bench]
Judge: Could you kindly share with me exactly what’s going on inside your head…because at this moment, I don’t have a clue.
Joe: Your Honor…everybody in this courtroom is thinking about sexual orientation, sexual preference…whatever you want to call it. Who does what to whom and how they do it. They’re looking at Andrew Beckett. They’re wondering about it. They’re looking at Mr. Wheeler, Miss Conine, even you, Your Honor. Trust me, I know they’re looking at me and thinking about it. So let’s get it out in the open. Let’s get it out of the closet. Because this case is not just about AIDS, is it? So let’s talk about what this case is really all about: The general public’s hatred, our loathing, our fear of homosexuals…and how that climate of hatred and fear translated into the firing of this particular homosexual…my client, Andrew Beckett.

Judge: In this courtroom, Mr.Miller, justice is blind to matters of race, creed, color, religion, and sexual orientation.
Joe: With all due respect, your honor, we don’t live in this courtroom, do we?

Andrew: Congratulations, Counselor.
Joe: Congratulations?
Andrew: You’ve survived what I assume to be your first gay party intact.
Joe: Let me tell you something. When you’re brought up the way most people are in this country…there’s not a whole lot of discussion about homosexuality…or what do you call it, alternate lifestyles. As a kid you’re taught that queers are funny, queers are weird. Queers dress up like their mother, that they’re afraid to fight…that they’re a danger to little kids. That all they want to do is get into your pants. That pretty much sums up the general thinking, if you want to know the truth about it.[/b]

From the director of 6ixty Nin9 above.

No box stuffed with cash here though. Instead, it’s about suicide and love. About two people who could not possibly be less alike coming together and changing everything. Or everything that needs to be changed in order to motivate one not to commit suicide and the other to, well, she changes too. Kind of.

Kenji is a librarian. Which may or may not explain why Kenji is also anal-compulsive to a fault. Even his suicide note will come to encompass precision itself: straight to the point: “This is bliss”.

Until his asshole brother shows up. Yukio. A yakuza. Okay, so maybe later. But then he goes on to meet the beautiful and mysterious Noi. And that becomes bliss instead. Cicuitously as it were.

How circuitous? Well, it is only because Noi’s sister Nid spots Kenji about to commit suicide [again] by jumping off a bridge [and is struck dead by a passing car] that they meet at all. Him a full blown neat freak and her a full blown slob.

With one of the strangest endings I have ever seen. I mean really strange.

Also, with a really gorgeous soundtrack: youtu.be/xkJk1GyYhf8

IMDb

[b]Yukio Mishima, the author of “The Last Lizard”, the book featured in the film, committed Harakiri (suicide by stabbing yourself in the stomach with a short knife). This is perhaps one of the reasons why Kenji likes the author.

The Thai title means, literally, “Love Story, a Little, a Lot” with a play of words on “Noi” and “Nid” which means “few” and “small” respectively. The two words are also the names of the sisters in the movie so the title can also means “Love Story of Noi and Nid, a Lot”. Another interpretation can be “A small/little Love Story that is a lot”. The actresses who play Nid and Noi are real sisters.[/b]

at wiki: en.wikipedia.org/wiki/Last_Life_in_the_Universe
trailer: youtu.be/tU2QhICrdgY

LAST LIFE IN THE UNIVERSE [Ruang Rak Noi Nid Mahasan] 2003
Written in part and directed by Pen-Ek Ratanaruang

[b]Kenji [voiceover]: My name is Kenji. This could be me three hours from now. Why do I want to kill myself? I don’t know…I wouldn’t kill myself for the same reasons as other suicidal people. Money problems…Broken heart…Hopelessness…No, not me. Many books say “Death is relaxing.” Did you know that? No need to follow the latest trends…No need to keep pace with the rest of the world…No more e-mail…No more telephone…It’ll be like taking a nap… Before waking up refreshed and ready to begin your next life. That’s what they say.

Yukio [to Kenji]: You can’t just read, you’ll go crazy.

Yukio: Suicide again?
[he looks up at the noose]
Yukio: Going to hang yourself this time?

Takashi: You can’t go back to Japan. The boss will kill you.
Yukio: But I’ve been with him a long time. He’s just in a bad mood.
Takashi: A bad mood? You fucked his daughter! If you fucked my daughter, I’d cut your dick off and stuff it in your mouth!
Yukio: Really? You’ve seen too many yakuza movies.

Noi: Did you fuck Jon?
Nid: Who told you that?
Noi: Did you fuck him? Jon told me everything today.
Nid: What? What did that dickhead tell you? Yeah, he’s a dickhead. He’s shit!
Noi: So why did you have to go fuck a shit like that? You couldn’t leave him alone because he’s my shit, right?

Noi: What are you doing? How dare you come in here? Get out! Get the fuck out! GET THE FUCK OUT OF MY HOUSE!
Kenji: I’m sorry.

Noi: Why you not go home?
Kenji: It smells too bad.
Noi: What?
Kenji: My house smells bad.
Noi: Smell bad? Why?
Kenji: Two dead people inside.

Noi [to Kenji]: Hey! You need a woman.

Kenji: You’re beautiful.
Noi: Enough. You’re smelly.
Kenji: Really?
Noi: Yes.
Kenji: OK.
Noi: You should take a bath.
Kenji: Okay, I will.
Noi: Now.
Kenji: Now?
Noi: Now…I say now.

Noi: You want to see me again?
Kenji: Yes.
Noi: When?
Kenji: One day.[/b]

Based on the account of an actual serial rapist/murderer who had run amok in South Korea in the 1980s. He was never caught. The crimes remain unsolved to this day. At wiki: en.wikipedia.org/wiki/Hwaseong_serial_murders

And in South Korea [back then especially] the cops tended to be considerably more agressive in their pursuit of…justice. For example, take the plight of Kwang-ho.

And even bringing in a top notch detective from Seoul didn’t help. In fact the first thing the local detective does is mistake him for the killer and beat him up.

On the other hand, most of these cops and CSI detectives did not strike you as all that particularly…bright. If there was any possible way to fuck up a crime investigation, they had it covered. Think the Keystone Cops on steroids.

Still, it will always be perplexing how the minds of killers like this work. They do these very sick and brutal things for reasons that are all twisted up inside their heads…and in ways that are almost impossible to nail down. We can only hope that we do not become their next victim. Especially if you are a young and pretty woman. And inclined to wear red. Then the element of sex comes into play and these labyrinths are often the most convoluted of all. Here’s a man who always requested one particular song to be played on the radio. But only on rainy nights. And then, after hearing the song, he goes out to rape and murder someone. Or so it seemed.

One interpretation of the ending:

Park visits the scene of the first murder simply for nostalgia’s sake, since not solving that case was one of his deepest regrets. Then, from the girl he finds out that someone else has been visiting the scene, and deduces that most likely that one is the murderer. He asks the girl what did he look like (perhaps a final and faint attempt to solve the case) but she can’t provide any more detail other than he was just an ordinary looking guy, reminding him again of his failure. Then he looks at the camera hoping that the real murderer (the movie is based on a true story) will be watching the movie and perhaps feel a little bit of guilt.

IMDb

[b]Beginning in June 2000, it took Joon-ho Bong a year to write the script for Memories of Murder (2003), yet he has stated that: “For the first six months, I didn’t write a line of the script. I just did research.”

Despite the film being based on a series of real murders in the Korean provincial town of Hwaeseong during the 1980s, Joon-ho Bong also drew a lot inspiration from a play called ‘Come See Me’ which dramatized the incidents, to the extent that he stated in an interview: “If it weren’t for KIM Gwang-rim’s play [Come See Me], I would have had a lot of problems establishing the structure.” While he also gained the idea for the depiction of the era from the graphic novel ‘From Hell’ by the writer Alan Moore, which was given to Bong by the journalist Tony Rayns as a gift. [/b]

at wiki: en.wikipedia.org/wiki/Memories_of_Murder
trailer: youtu.be/NtOutxGJK5o

MEMORIES OF MURDER [Salinui Chueok] 2003
Written in part and directed by Joon-ho Bong

Detective Park: Who received the call on this? The crime site is getting ruined! Damn forensics team isn’t here yet! This is a mess! Why does this shit happen to me?! How can I investigate like this?

And that’s right before the tractor runs over the most crucial piece of evidence.

[b]Detective Park [looking over at the forensics team]: Jesus, look at those sliding fools!

Detective Park: Kwang-ho. Let’s talk man to man. You see a pretty girl, you want to do her.

Detective Park [to detective Seo]: You should have told me. My mistake. But how can a detective be such a poor fighter?!

Detective Park [to Kwang-ho who is mentally retarded]: Women hate this face, don’t they?
[Kwang-ho nods]
Detective Park: They grimace and all fucking run away.
Kwang-ho: It’s true. I’ll kill them all. Everyone who grimaces at my face. I’ll kill them all. Those women who grimace, they’re all in my head.[/b]

Then they get his “confession”: cased solved!

[b]Chief: Detective Seo, you’re dumping shit on cooked rice here!
Dectective Seo: I told you before Kwang-ho isn’t guilty! Chief…the cords around their necks we’re tied with three tight knots. Look at Kwang-ho’s webbed hands. Could he do that? Even a child can see it!

Detective Cho [to Kwang-ho]: I only beat you up because I care about you.

Detective Park: Always in rape cases, at the crime scene, there’s one or two of these hairs left behind.
Chief: So?
Detective Park: I’m saying the criminal must not have any hair down there.
Chief: You mean hairless?
Detective Park: That’s right, hairless. A total baldie. For example, a Buddhist monk who shaved the hair down there. The perfect crime!

Detective Park [to the chief after hearing Kwon’s radio theory]: Baldies…
Chief: But how do you investigate? Pull down the pants of passing men?[/b]

Uh, nope. Park puts on his Keystone Cop thinking cap instead. Cut to the bathhouse. Then to the fortune teller.

[b]Rape suspect: But…is jerking off a crime?

Detective Seo: Name: Ahn Mi-seon, age 28. Estimated time of death, last night between 7:30 and 8:00.
Chief: That’s the time you and dectective Park were fighting like madmen. Right?

Technician in morgue: There’s something in the vagina… Looks like a peach… Nine pieces.
Detective Park [to dectective Seo]: Do you see this kind of thing in Seoul often?

Park Hyun-gyu [suspected of being the killer to the detectives]: Even kids in this town know you torture innocent people!

Detective Seo: No eyewinesses, not one piece of evidence. We need something, shit. Just a confession will do. Just need to beat that bastard to an inch of his life.
Detective Park: You’ve changed…

Detective Seo [to detective Park]: Kwang-ho. I always wanted to ask you. When you dragged him up the mountain, he talked about Hayng-sook’s death in so much detail…[/b]

Bingo: He saw the nurderer. But they manage to fuck this up too. For one thing, Kwang-ho gets hit by a train and dies.

[b]Detective Park: What’s wrong?
Detective Seo [reading a DNA report from America that cannot pin the murders on Park Hyun-gyu]: There’s a mistake. This document is a lie. I don’t need it.

Park [no longer a detective]: Did you see his face?
[the schoolgirl nods]
Park: What did he look like?
Schoolgirl: Well… kind of plain.
Park: In what way?
Schoolgirl: Just… ordinary.[/b]

Ordinary people. Of course that will always be understood differently in different historical, cultural and experiential contexts. No getting around that conundrum right?

Here the ordinary people are composed largely of upper middle class American citizens in the late 20th century. All white. All comfortably enscounsed in exurbia. At least on the surface. Is that important to note? Well, it can be, sure. All I know is it is hard to imagine a family farther removed from the one I grew up in.

But these “ordinary people” now find themselves in an extraordinary set of circumstances. How ordinary will they remain? Do they rise to the occasion? Or will it sink them? Why one and not the other? And is it really true that we can only account for these things one set of circumstances at a time? Or are there lessons to be learned that transcend the uniqueness of each particular challenge?

And for each one of us [sooner or later] a time will come when we are challenged. And others will judge us. And almost always by their own frame of reference. It does get complicated, doesn’t it?

And what do demographics really matter when you lose someone you dearly love. Or if you feel responsible in some manner for the loss? Here it is all about figuring out what you either can or cannot control. And knowing in particular that you will never, ever be able to control everything. Or even really understand it. And always that gap between the tragedy then and the life you have to live now from day to day. We all experience it differently.

Then there’s the part where the rest of the world just goes on living.

IMDb

[b]The film and source novel’s “Ordinary People” title comes from Judith Guest’s book: “They are ordinary people, after all. For a time they had entered the world of the newspaper statistic; a world where any measure you took to feel better was temporary, at best, but that is over. This is permanent. It must be.” The novel is a school text on the English curricula at many American high schools.

Robert Redford decided to do the film because the story’s family reminded him of his own in the way it talked around issues.[/b]

at wiki: en.wikipedia.org/wiki/Ordinary_People
trailer: youtu.be/UZYHe8IAlto

ORDINARY PEOPLE [1980]
Directed by Robert Redford

Teacher: Conrad, what’s your theory on Jude Fawley? Was he powerless in the grip of circumstances…or could he have helped himself?
Conrad: I don’t… Powerless? He thought he was.
Joel: He was a jerk. He was hung up on morals. It was senseless.
Teacher: That’s too easy, Joel. Paul?
Paul: I found the book really hard to follow. I couldn’t figure it out.

American Youth discuss Jude the Obscure by Thoamas Hardy.

[b]Dr. Berger: How long were you in the hospital? Four months. What did you do?
Conrad: I tried to off myself. Doesn’t it say that there?
Dr. Berger: It doesn’t say what your method was.
Conrad: Double-edged Super Blue.

Dr.Berger: What needed changing?
Conrad: I’d like to be more in control.
Dr. Berger: Why?
Conrad: So people can quit worrying about me.
Dr. Berger: Well, I’ll tell you something. I’ll be straight with you. Okay? I’m not big on control. But it’s your money.
Conrad: So to speak.
Dr. Berger: So to speak.

Coach: Are you on medication? Tranquilizers? Anything?
Conrad: No. No. Sir.
Coach: Did I ask you if they gave you shock?
Conrad: Yeah. You asked me. Yeah. They did.
Coach: I’m no doctor, Jarrett. But I wouldn’t let them put electricity in my head.

Dr. Berger: Is any place easy?
Conrad: The hospital was.
Dr. Berger: It was? Why?
Conrad: Because nobody hid anything there.

Karen: Are you seeing a doctor?
Conrad: Yeah. I’m seeing one. Are you?
Karen: Uh, Dr. Crawford gave me a name. I went for a while. It didn’t work. He told me the things I already knew. Finally, I decided the only one who can help me is myself. At least that’s what my dad says. But if it’s something you want to do that’s what you should be doing.
Conrad: I don’t know how long I’ll keep it up. I sort of got shoved into it.

Conrad: I miss it sometimes. The hospital. I really do.
Karen: But things have to change. You know?
Conrad: But that’s where we laughed.
Karen: But that was a hospital. This is the real world.
Conrad: Yeah, I guess you’re right.

Conrad: When I let myself feel, all I feel is lousy.
Dr. Berger: Oh well excuse me, I never promised you a rose garden.
Conrad: Oh fuck you Berger.
Dr. Berger: What?
Conrad: FUCK YOU!
Dr. Berger: Hey, that’s it! [/b]

What’s it? Man I have been there so many times myself with shrinks. What works? What doesn’t? What should work? What shouldn’t? Or maybe all he really needs is to fall in love.

[b]Dr. Berger: What shit have you pulled? What shit? You can find one example. Don’t say you tried suicide. What have you done lately?
Conrad: I’ll never be forgiven for that. Never. You can’t get out the blood in her towels…and in her rug. Everything had to be pitched. The bathroom tile had to be regrouted. She fired the maid because she couldn’t dust the goddamn living room right. If you think I’ll forgive…she’s gonna forgive me…
Dr. Berger: What?
Conrad: I think I just figured something out.
Dr. Berger: What?
Conrad: Who it is who can’t forgive who.

Jeannine [in restaurant booth Conrad sits with Jeannine, the suicide attempt scars on Conrad’s wrist are displayed]: Did it hurt?
Conrad: I don’t remember, really.
Jeannine: You don’t want to talk about it?
Conrad: I’ve never really talked about it. To doctors. But, not to anyone else. You’re the first who’s asked.
Jeannine: Why did you do it?
Conrad: Uh… I don’t know. It was like… falling into a hole. It keeps getting bigger and bigger and you can’t escape. All of a sudden, it’s inside…and you’re the hole. You’re trapped. And it’s all over. Something like that. It’s not really scary…except when you think back on it. 'Cause you know what you were feeling… [/b]

Then “the guys” come in. So much for suicide…

[b]Conrad [on phone]: Hello. Hello. Is Karen there?
Karen’s mother on phone: She… Bill.
Bill [Karen’s father]: Hello.
Conrad: Is Karen there? This is Conrad Jarrett. I’m a friend of hers.
Bill: Karen’s dead.
Conrad [shocked]: What? What?
Bill: She killed herself.

Conrad [to Dr. Berger]: It must be somebody’s fault…or there’s no point!

Conrad: We shouldn’t have gone out there. We should have come back when it started to look bad.
Dr. Berger: Okay, so you made a mistake.
Conrad: Why did he let go? Why?
Dr. Berger: Maybe you were stronger. Did it ever occur to you that you might be stronger?

Ward: Beth, we don’t want anything from you; Audrey, Cal, Connie and Me, we just want you to be happy.
Beth: Happy?! Ward, you tell me the definition of happy. But first you better make sure your kids are good and safe, that they haven’t fallen of a horse, been hit by a car, or drown in that swimming pool you’re so proud of!
Audrey: Oh Beth!
Beth: Then, you come and tell me how to be happy!

Calvin [to Beth]: We would’ve been all right…would have made it all the way…if there hadn’t been any mess. But you can’t handle mess. You need everything neat and easy. I don’t know. Maybe you can’t love anybody. It was so much Buck. When Buck died it’s as though you buried all your love with him. I don’t understand that. Maybe it wasn’t even Buck. Maybe it was just you. Maybe, finally, it was the best of you that you buried. But whatever it was…I don’t know who you are. I don’t know what we’ve been playing at. So I was crying. Because I don’t know if I love you anymore. And I don’t know what I’ll do without that.[/b]}

Amnesia is always a plot device that a filmmaker can use to explore themes that revolve around identity and reality and mind. How do they come together and intertwine from the cradle to the grave?

And why do we choose to remember some things and not others? And how can we know for sure that what we do choose to remember is what in fact actually occured? And what happens when others remember the same events differently?

And then the part where memory and identity and reality and mind are merely functions of the brain – and perhaps not even within the autonomous reach of “I”.

Memoryrealitypastpresent. Lifedeath.

Here the memories and the loss of memories revolve around a tragic automobile accident – the consequences of which are nothing short of surreal. The survivor, Hiroshi Takagi, is a medical student and the class he is in are now dissecting cadavers. It is then that he realizes that the cadaver assigned to him is the woman he once loved – Ryoko Ooyama, the woman who died in the automobile accident he was in. The accident was ruled to be the fault of the other driver but that is not how Ryoko’s parents choose to remember it. And we can only remember what the director chooses to impart to us up on the screen.

What really unfolded between Hiroshi and Ryoko before the crash? What is the “true” reality here? And what role does the beautiful and mysterious Ikumi play in the reconstruction of that reality? And in the construction of a new one? And the role played by autoerotic asphyxia – is that vital to the plot here or entirely extraneous?

Sex and death.

Look for the world’s thinnest woman. Or one of them.

at wiki: en.wikipedia.org/wiki/Vital_(film
trailer: youtu.be/nih18elH03U

VITAL [2004]
Written and directed by Shinya Tsukamoto

[b]Instructor: The ovum, a product of almost pure chance, by means of cellular growth, divergence and migration, creates an organism.

Instructor: This person experienced trauma to the frontal lobe section. The area is responible for personality and memory. From this we can conclude the following: Human character is not constant.

Instructor: The brain and the spinal cord form the central nervous system. Nerve cells are concentrated in this area. I wonder, then, where the soul lies?

Instructor: Beneath this, however, there is the vast realm of the unconscious. It is here that our suppressed desires can cause deep mental conflict as they strive to realize themsleves.

Student [looking at the cadaver]: Is it common for the subject to be so young?
Technician: No, it is very rare.
Student: I wonder how she died?
Technician: You’ll find out as you dissect.

Doctor [holding a dissected heart in hid hand]: How many times did this heart beat? 70 times a minute is 4200 times an hour. In a day? Well, 24 times that. Then times 365 for a year. How many times if you live to be 80? And yet my TV set broke after just 6 years.

Ryoko’s father: Why have you come here? Just go away? Your parents were very sincere about their grief. What I really want to see is your sincerity. You were driving when it happened. I still feel you murdered my daughter. If you want to mourn her, do it when you truly remember her.
Hiroshi: I’m already starting to rmemeber. Right now, at college, I’m doing my dissection practice. There something I need to know, if you can tell me. I think Ryoko…is on the dissection table. I don’t quite understand it.
Ryoko’s father [aghast]: Are you serious? Well? Tell me it’s not true! You heartless fuck! You want to know if it’s her, right? How the hell should I know?! Just before she died, she told us she was leaving her body to science. We didn’t even know you could do such a thing. And now you think you’re poking around inside her?!

Ryoko [sitting next to Hiroshi in a car on the highway]: Hiroshi, what would it be like to crash into something?

Ikumi: What’s gotten into you? Why are you chasing a dead woman? What about those of us still living? All your happy false memories. What chance do I have against all those?

Instructor: Our four-month dissection program is now over. Make sure you return the bodies to their original form. Check that bones and organs have been replaced and the kidneys are on the correct side. Put the sash next to the hands. The tabi and sandals go by the feet. The triangular cloth and the headdress go by the head. Drape the kimono over the body. Place the cane next to the right hand. Drape the shroud over the face. Lay the flowers inside. Now place the lid on the coffin. We will now close our eyes and pay our last respects. The coffins will be taken now.[/b]

Later the coffins and all that is in them will be burned to ashes. The rituals to blunt what is in the end just the brutal facts of existence. Of life and death. Of being and nothingness.

Ryoko: You know I often wonder…if you could see some paert of your life again, years after you die, which part would you choose?
Hiroshi: The last images of the last Martian robot. Mankind’s final memory.
Ryoko: You still have a long time to live, so you can’t answer properly. As for me…