philosophy in film

I still like Ringo Starr’s rendition best. Asked if he was a mod or a rocker he said, “I’m a mocker.” To the best of my recollection.

More myths behind the music. Either reinforced or exposed. It’s all the same to me since I couldn’t care less what’s behind it. Only that it exists at all. And who would really want to live in a world without the music of folks like, say, David Bowie.

Or Iggy Pop. Or Kurt Cobain.

Glam rock? Okay, let’s make a buck on that! Kids have to go out and buy whole new sets of clothes, records, posters, gear. But it really did create an entirely new platform for folks to explore themselves sexually. To rethink gender norms. Gay, straight, bi?

Yeah, I like boys, I like girls. They’re all great. There’s no difference is there, Mr BBC.

You listen to the music [at the time] and you think: This is going to change the world! And it doesn’t even change you. Not really. You just go on to the next “new wave”. It’s only a matter of either figuring or not figuring this out.

Look for money. It’s everywhere. And certainly explains the advent of punk and hardcore. That still doesn’t make the music here shit though.

Or maybe this is all just a remake of Citizen Kane.

IMDb

[b]Much of the dialog comes from Oscar Wilde’s writings.

The Curt Wild character is mainly inspired by David Bowie’s relationship with two American 1960’s underground rockers whose careers Bowie resurrected, Iggy Pop and Lou Reed. Iggy Pop hailed from Michigan and shared Wild’s long blond locks, while Reed underwent shock therapy for bisexuality as a teen and was rumored to have had an affair with Bowie before their falling out after Bowie produced Reed’s album Transformer.

Courtney Love considered supplying music to the film’s soundtrack, however after viewing a rough cut she withdrew, claiming that the character of Curt Wild too closely resembled her late husband Kurt Cobain both in character and physicality. The Wild/Cobain parallel later became a much-discussed point among critics, and while director Todd Haynes and actor Ewan McGregor have noted similarities between Cobain and Wild, both claim the resemblance was unintended. Haynes, for his part, notes that Cobain borrowed many style traits from Iggy Pop, who served as partial basis for the Wild character.[/b]

at wiki: en.wikipedia.org/wiki/Velvet_Goldmine
trailer: youtu.be/FRY9K78uDRs

VELVET GOLDMINE [1998]
Written in part and directed by Todd Haynes

[b]Title Card: Although what you are about to see is a work of fiction, it should nevertheless be played at maximum volume.

…

Child’s voice: Yesterday upon the stair
I saw a man that wasn’t there
He wasn’t there again today
How I wish he’d go away.

…

Teacher reading to class: “There were times when it appeared to Dorian Gray that the whole of history was merely a record of his own life, not as he had lived it in act and circumstance, but as his imagination had created it for him, as it has been in his brain and in his passions. He felt that he had know them all, those strange, terrible figures that had passed along the stage of life, and made sin so marvellous and evil so full of subtlety. It seemed that in some mysterious way, their lives had been his own…”

…

Cecil [voiceover]: Brian despised the hypocrisy of the peace and love generation and felt his music spoke far more to its orphans and its outcasts. His revolution, he used to say, will be a sexual one. But in 1970, rock audiences bred on Credence Clearwater and the Beatles were not entirely sure what to make of this particular brand of revolt.

…

Brian [after Curt Wild has exposed himself to an audience]: They despised him.
Mandy: Yeah…
Brian: I wish I’d thought of it.

…

Mandy: No, right after everything crashed we…we split…And Brian, he just became someone else. But then he always was.

…

Mandy [voiceover]: It was New Year’s Eve 1969: the start of a new decade, and everywhere you went there was this sense of the future, the feeling in the air that anything was possible.

…

Brian [to reporter]: I should think that if people were to get the wrong impression of me, the one to which you so eloquently refer, it wouldn’t be the wrong impression in the slightest.

…

Mandy [voiceover]: For the first time in Brian’s life, he was simply telling it like it was. Did he realize what he’d actually done? How could he have? I mean today, there’d be fighting in the streets. But in 1972…it was more like dancing.

…

Jerry Divine: That man sitting over there in the white suit is the biggest thing to come out of this country since sliced Beatles.

…

Freddie: The first duty in life is to assume a pose. What the second duty is no one has yet found out.

…

Mandy: What is true about music is true about life: that beauty reveals everything because it expresses nothing.

…

Brian: Man is least himself when he talks in his own person…Give him a mask and he’ll tell you the truth.

…

Mandy: It’s funny how beautiful people are when they’re walking out the door.

…

Mandy: Now, just because someone sees, you know, two naked people asleep in bed together, it doesn’t necessarily prove sex was involved. It does, however, make for a very strong case.

…

Mandy: It was the idea of Curt more than anything, this – image. Which, of course, no one could ever possibly live up to. I mean Maxwell Demon, Curt Wild – they were fictions! Somewhere along the way, though, Brian seemed to get lost in the lie.

…

Malcolm: I don’t believe that there is much of a future to speak of.
Pearl: We’re in a bit of a decadent spiral, aren’t we?
Billy: Sinking fast.
Ray: Big Brother, baby, all the way.
Malcolm: Which is why we prefer impressions to ideas.
Billy: Situations to subjects.
Pearl: Brief flights to sustained ones.
Ray: Exceptions to types.
Pearl: And yourself?
Arthur: Well, I’m just looking for a room at the moment.

…

Mandy [to Arthur]: I mean…I knew it was over. I just didn’t know it was up to me to make it stop.

…

Mandy: You live in terror of not being misunderstood.

…

Brian: Women defend themselves by attacking, just as they attack by sudden and strange surrenders.

…

Curt: We set out to change the world…ended up just changing ourselves.
Arthur: What’s wrong with that?
Curt: Nothing, if you don’t look at the world.[/b]

Based on a true story.

Say that to some folks though and they will come at you with baseball bats. It seems this film sparked a “forur” among some regarding just how accurately Jackie Du Pre was portrayed. In particular within the community of folks who worked with her. And even within the family itself.

One chooses fame and fortune, the other domestic bliss. Or as much as one can choose these things. In order to truly excel at something like this [prodigy or not] you must be willing to sacrifice practically everything else. Your life revolves almost entirely around the practice it takes to become this good. Is it worth it? Jackie the star, Hilary the homemaker. And both in love with the same man. Though he is only married to one of them.

There is no way a two-hour movie can even begin to explore the complexities of the relationship between Jackie and Hilary. And then Jackie and Hilary and Kiffer. And you’ll just end up filling in the holes with your own prejudices anyway. Suffice it to say that the crux of the matter is not lust but love.

And then Jackie is diagnosed with multiple sclerosis. Of course, it must be all the worse when you have so much more to lose. What a terrible fucking disease.

As for the final scene – “I just wanted to tell you that everything is going to be all right” – what could possibly be more absurd?

An aside:

Life is most unfair to children. How so? Well, some have childhoods like these while others have childhoods like mine. And then some have childhoods like mine while others are slowly dying from starvation. In the end, what else is there: FUCK YOU, GOD!
Sorry, that just came out of the blue. But, really, is there anything else you can fall back on?

at wiki: en.wikipedia.org/wiki/Hilary_and_Jackie
trailer: youtu.be/Xtvk1TDk-Ao

HILARY AND JACKIE [1998]
Directed by Anand Tucker

[b]Jackie [mid-recital]: Excuse me ladies and gentlemen, I have broken my A string.
[she leaves stage]
Jackie: At least it wasn’t my G string.

…

Jackie: You don’t have to marry him. Look, do you know what that is? That, my dear, is a Dutch cap. It’s a contraceptive.
Hilary: Is it really? Hmm. Where did you get it?
Jackie: Doc fitted me up. Oh, come on, Hils. Let’s get a flat together and go bonkers. We could have all the men we wanted to.
Hilary: I’m going to marry Kiffer. I love him. He loves me.
Jackie: He does not love you. He just wants to get into your knickers. You don’t have to get married every time you fancy a screw. That’s what these are for.
Hilary: I want to get married.
Jackie: Well, you can’t marry him. You can’t just leave me.
Hilary: I’m not leaving you. You’re not here anymore. You never will be again.
Jackie: Haven’t you heard? I’m giving up the cello.
Hilary: Oh, don’t be silly.
Jackie: I can do what I want.
Hilary: But you don’t know anything apart from the cello. I don’t know anything apart from the flute. We’re babies, Jacks.[/b]

And there it is: the turning point.

[b]Hilary: Kiffer makes me feel special.
Jackie: That’s a big swizz, because the truth is…you’re not special.

…

Jackie: You know what I’m thinking now, don’t you, sis?
Hialry: Not really.
Jackie: Yes, you do.
Hilary: No, I don’t.
Jackie: I’ll tell you.
[Jackie gets up and walks over to Hilary, who is next to Kiffer…she bends over and whispers in Hilary’s ear]
Jackie: I want to sleep with Kiffer. You don’t mind, do you, sis? We always did say that we’d share everything, remember?
Kiffer: What? What is it?
Hilary: Nothing. I think we should all go to bed.

…

Hilary: We have to.
Kiffer: No, we don’t have to. Why would anyone have to?
Hilary: Because she’s my sister.
Kiffer: Yes, well, I think you’ll find that this is not the sort of thing that sisters normally ask one another.
Hilary: I’m sure it would just be the once.
Kiffer: Just the once, huh? Any particular position?
Hilary: She just needs proof.
Kiffer: Proof of what, for god’s sake?
Hilary: Proof that somebody loves her.

…

Jackie [after sleeping with Kiffer]: I feel a million dollars this morning. That was exactly what the doctor ordered![/b]

But then:

Hilary: Get off me Kiffer! She’ll hear us! She’ll never talk to me again now.
Kiffer: You’ve got to start saying no to her. The more you give her, the more she wants. You’ve got to start saying no to her.

So she does…

[b]Hilary: I’ve given you everything. Ever since we were little, everything you’ve asked for I’ve said yes. Jackie, listen. Jackie…Jackie…Jackie…I’m sorry.

…

Jackie [a younger Jackie]: It’s just, um…it’s just the cello. Well, it’s silly, really. I just don’t want to be a cellist after all. Well, I never asked to be a cellist, you see? It’s all just a big cock-up. One day, I was just playing, and then the next day, I was booked up for the next 2 years. I hate the cello, if you want to know.

…

Hilary [to Jackie]: If you think being an ordinary person is any easier than being an extraordinary one, you’re wrong.

…

Hilary [to Jackie]: If you didn’t have that cello to prop you up, you’d be nothing.[/b]

Back in time…

[b]Jackie: Would you still love me if I couldn’t play?
Daniel: What?
Jackie: Would you still love me if I couldn’t play?
Daniel: You wouldn’t be you if you couldn’t play.
Jackie: No, I want to know.
Daniel: Our bodies sway to music/Oh, brightening glance/how can we know/the dancer from the dance?

…

Jackie: Don’t you wish sometimes that you couldn’t play, that you could just be ordinary?
Daniel: Like what? Live in the country? Making bread? Feeding chickens? Playing once a year with a bunch of amateurs?
Jackie: How dare you insult my sister like that.
Daniel: I wasn’t insulting her.
Jackie: Well, at least she chose her life. Not like you and me. We’re just trained freaks.[/b]

That’s when she just takes off. That’s when she returns to Hilary. To kiffer. Both are musicians in turn. Both are trained and exceptional musicians. Just not stars.

[b]Jackie [to Dame Margot]: Hilary keeps chickens. She used to be a musician, but now it’s all chickens and children, isn’t it?
Dame Margot: I would so like to have had children.
Jackie: Hilary’s got heaps of them. In fact, if you want to get yourself impregnated, you should ask her hubby. He’s extremely fertile, and if you ask her nicely, she’ll lend him to you.

…

Jackie: Danny, I just want to play again. I’ll play the fucking triangle. I just want to make music again.

…

Jackie [to her mother]: When…you play…everyone… loves you. When you stop…you’re alone.

…

Daniel: I don’t understand what she wants. I think she’s in some sort of pain.
Rabbi: There are things you want to say. I can see that. But you cannot say them. We cannot understand them. But there is someone who hears your thoughts. Do not worry. God hears them all. He hears your every thought.
[Jackie then screams out in agony and rage][/b]

Nothing is as it seems. So expect to be confused at times. For some, all the way to the end. The closest you come is in speculating on what might be true. And where could this possibly be more appropriate than in a prison for the criminally insane. On the other hand, how far is it really from the perspectives of all the rest of us? Of course in order to understand that you have to think like I do. So you don’t.

Well, do you?

One look at the place and you know this: some really, really creepy shit goes on. After all, if you are going to conduct experiments involving aberrant human behavior, who are these folks to protest? If you are.

But it has often been noted there is a correlation between insanity and high intelligence. And that certainly seems to make sense from my perspective. Besides, here you can never really be entirely certain if the patients are more or less dangerous than the staff. Or even which is which. Then the past gets all tangled up in the present and the island all tangled up in the war. But occasionally it is also intertwined in the actual historical paradigm shifts that have occured in the field of psychiatric care. All the competeing “schools” as it were.

Anyway, this takes place back in the 1950’s. The powers that be were ever intent on undermining the Commies. So, do I have to draw you a picture?

In other words: How paranoid do we really have to be about the government? Very. Last night PBS aired a documentary on the history of comic books in America. Comic books? Believe it or not, the government is written all over them.

To wit: Just because this guy is crazy doesn’t mean the stuff he believes is true is not true. It’s only a matter of degree.

So, anyway: At the end, who is fooling who?
One take on it: screenrant.com/shutter-island-sp … vic-46052/

IMDb

[b]The quote “remember us for we too have lived, loved and laughed” seen on a plaque on the way to the mental institution is taken from Medfield’s Vine Lake Cemetery. A contest was held to come up with an quote to be used on a stone marker as a remembrance of those who died in the 1918 influenza epidemic known as the Spanish flu.

The title “Shutter Island” is an anagram of both “Truths and Lies” and “Truths / Denials”.[/b]

FAQs at IMDb: imdb.com/title/tt1130884/faq?ref_=tt_faq_sm
at wiki: en.wikipedia.org/wiki/Shutter_Island_(film
trailer: youtu.be/rf8XLSYN42g

SHUTTER ISLAND [2010]
Directed by Martin Scorsese

[b]Teddy [to the deputy warden]: You act like insanity is catching.

…

Dr. Cawley: Those paintings are quite accurate. Used to be the kind of patients we deal with here were shackled and left in their own filth. They were beaten, as if whipping them bloody would drive the psychosis out. We drove screws into their brains, we submerged them in ice water until they lost consciousness or…or even drowned.
Chuck: And now?
Dr. Cawley: We treat them. Try to heal, try to cure.

…

Dr. Cawley [regarding Rachel]: We don’t know how she got out of her room. It was locked from the outside. And the only window’s barred. It’s as if she evaporated, straight through the walls.

…

Teddy: Seriously, Doctor, how is it possible that the truth never gets through to her? I mean, she’s in a mental institution, right? Seems like something you’d notice from time to time.
Dr. Cawley: Sanity’s not a choice, Marshall. You can’t just choose to get over it.

…

Dr. Cawley [examines Rachel’s note]: Ah, this is definitely Rachel’s handwriting. I have no idea… what the “Law of Four” is, though.
Teddy: It’s not a psychiatric term?
Dr. Cawley: No, I’m afraid not.
Chuck [reads the note]: “Who is 67?” Fucked if I know.
Dr. Cawley: I have to say that’s quite close to my clinical conclusion.

…

Teddy: Anything unusual occur?
Nurse Marino: Define ‘unusual’.
Teddy: Excuse me?
Nurse Marino: This is a mental institution, Marshal. For the criminally insane. Usual isn’t a big part of our day.

…

Dr. Naehring: Men like you are my specialty, you know. Men of violence.
Chuck: Now, that’s a hell of an assumption to make.
Dr. Naehring: No assumption, no, not at all. You misunderstand me. I said, you are ‘men of violence’. I’m not accusing you of being violent men. That’s quite different.

…

Chuck: You’re bluffing?
Teddy: I didn’t say that.

…

Dr. Cawley: Do you know the state of the mental health field these days, gentlemen?
Teddy: No, not a clue, Doctor.
Dr. Cawley: War. The old school believes in surgical intervention. Psychosurgurery. Procedures like transorbital lobotomies. Some say the patients become reasonable, docile. Others say they become zombies.
Teddy: And the new school?
Dr. Cawley: Psychopharmacology. A new drug has just been approved called Thorazine which relaxes psychotic patients, you could say tames them.

…

Chuck: Everything about this place stinks of governments ops. What if they wanted you here?
Teddy: Bullshit!
Chuck: You were asking questions about it.
Teddy: Bullshit! Bullshit! Bullshit!
Chuck: We came here for Rachel Solandes. Where’s one shred of evidence she even existed?
Teddy: There’s no way they could have known I’d be assigned to this case.
Chuck: What if while you were looking into them, they were looking into you?

…

Noyce [to Teddy]: This is a game. All of this is for you. You’re not investigating anything. You’re a fucking rat in a maze.

…

Rachel: You think I’m crazy. And if I say I’m not crazy? Well, that hardly helps, does it? That’s the Kafkaesque genius of it. People tell the world you’re crazy, and all your protests to the contrary just confirm what they’re saying.
Teddy: I’m not following you, sorry.
Rachel: Once you’re declared insane, then anything you do is called part of the insanity. Reasonal protests are denials. Valid protest, paranoia.

…

Rachel [to Teddy]: Fifty years from now, people will look back and say, “Here, at this place, is where it all began. The Nazis used the Jews, Soviets used prisoners in their own Gulags. And we - we tested patients on Shutter Island.”

…

Warden: Did you enjoy God’s latest gift?
Teddy: What?
Warden: God’s gift. Your violence.
[Teddy looks at him blankly]
Warden: When I came downstairs in my home, and I saw that tree in my living room, it reached out for me…a divine hand. God loves violence.
Teddy: I… I hadn’t noticed.
Warden: Sure you have. Why else would there be so much of it? It’s in us. It’s what we are. We wage war, we burn sacrifices, and pillage and plunder and tear at the flesh of our brothers. And why? Because God gave us violence to wage in his honor.
Teddy: I thought God gave us moral order.
Warden: There’s no moral order as pure as this storm. There’s no moral order at all. There’s just this: can my violence conquer yours?
Teddy: I’m not violent.
Warden: You’re as violent as they come. I know this, because I’m as violent as they come. If the constraints of society were lifted, and I was all that stood between you and a meal, you would crack my skull with a rock and eat my meaty parts. Wouldn’t you?

…

Warden: If I was to sink my teeth into your eye right now, would you be able to stop me before I blinded you?
Teddy: Give it a try.
Warden: That’s the spirit.

…

Dr. Naehring: Did you know that the word ‘trauma’ comes from the Greek for ‘wound’? Hm? And what is the German word for ‘dream’? Traum. Ein Traum. Wounds can create monsters, and you, you are wounded, Marshal. And wouldn’t you agree, when you see a monster, you… you must stop it?
Teddy: Yeah… I agree.
[he injects him with a sedative]

…

Teddy: If you ever loved me Dolores, please stop talking.

…

Teddy: You know, this place makes me wonder.
Chuck: Yeah, what’s that, boss?
Teddy: Which would be worse - to live as a monster? Or to die as a good man?[/b]

Documentaries like this are being made all the time. And, really, nothing much changes at all. So, what does that tell you about “the system”?

Ken Lay, Jeff Skilling, Andrew Fastow, Arthur Anderson, George H.W. Bush, George W. Bush, Dick Cheney. You tell me: In this tale, where does one end and the others begin? Crony Capitalism.

And just on the horizon: Lehman Brothers, the subprime mortgage crisis and the near collapse of the global economy. And still nothing changes.

Enron was a house of cards. It took them 16 years to become the 7th largest corporation in America…and 24 days to go bankrupt. It embodied a gigantic scandal that [like Bernie Madoff et al] could only have a unfolded in a privileged world where those on the inside pull the strings. Or the most important ones. And without government knowledge – acts of omission, acts of comission – this sort of thing is almost impossible to pull off. Smoke and mirrors? Come on. Enron is hardly just an aberration here.

To regulate or not to regulate is never the question. It is always a question of striking a balance. But when the game is rigged and the deck is stacked, the “balance” will only be calculated to serve the interest of a few. And most of us aren’t them. Government, as Reagan was fond of pointing out, was not the solution to our problems…governemnt was the problem. Well it certainly could be in collusion with folks like Ken Lay. And put him in the same room with Bush 41 Bush 43 and Dick Cheney and…well the rest is history.

Mark to market accounting anyone? And why not? The bottom line can be whatever you say it is. Then when it came time for the “real money” to make an appearance project “pump and dump” was already in full swing.

Then there’s Enron in California: “There would be ample supple available at the right fucking price.” Listen to the tapes of the Enron traders here. The abject misery that so many people endured is just one big fucking joke to these assholes. Then as a result of this phoney “energy crisis” Gray Davis is kicked out and Arnold Schwarzenegger is elected.

Crooks and idiots. More often than not both.

at wiki: en.wikipedia.org/wiki/Enron:_The … n_the_Room
trailer: youtu.be/0zMakN-EMLg

ENRON: THE SMARTEST GUYS IN THE ROOM [2005]
Written in part and directed by Alex Gibney

[b]Congressman [to Skilling at hearing]: In the Titanic the captain went down with the ship. In Enron, it looks to me like the captain first gave himself and some friends a bonus and lowered himself and the top folks down into a lifeboat and then hollored up, “oh by the way, everything is going to be just fine”.

…

Narrator: Beyond the financial issue, some suspected a political conspiracy. Enron had been the largest corporate contributor to the first presidential campaign of George W. Bush.

…

Narrator: When Jeff Skilling applied to Harvard business school the professor asked him if he was smart. He replied, “I’m fucking smart”. One of his favorite books was The Selfish Gene about the ways human nature is steered by greed and competition in the service of passing on our genes.[/b]

He used to say that money was the only thing that motivated people. Capitalism here is aligned with human nature in other words. Nurture apparently has nothing to do with it.

[b]Trader at Enron [on the the survival of the fittest mentality pervasive there]: If I’m on my way to the boss’s office to talk about my compensation and if I step on somebody’s throat along the way that doubles it, I’ll stomp on the guy’s throat. That’s how people were.

…

Narrator: The game was called “pump and dump”. Top execs would push the stock price up and then cash in their mult-million dollar options.

…

Analyst: You are the only financial institution that can’t produce a balance sheet or cash flow statement with their earnings…
Skilling: You, you, you… Well, uh… thank you very much. We appreciate it… asshole.

…

Calif. Gov. Gray Davis: I’m going to get the $9 billion dollars back that Enron stole from us.[/b]

And we know what happened to him.

Narrator: The year long energy crisis in California would cost the state $30 billion dollars.

And it was all just a fake crisis brought on by Enron in order to make obscene profits. What to do? Turn it into a fucking joke:

[b]Skilling: Oh I can’t help myself. You know what the difference between the state of California and Titanic? And this is being webcast, and I know I’m going to regret this - at least when the Titanic went down, the lights were on.

…

Sherron Watkins: August 14th, 2001, Skilling abruptly resigns. Well that made me angry and it made loads of employees angry. It was a real sense of betrayal by the employees. This was Jim Jones feeding us the kool-aid and then deciding not to drink it himself.

…

Lay [Q&A session with employees]: All right, we are down to questions. And I got a few that were sent up here.
[he reads a question from the floor]
Lay: ‘I would like to know if you are on crack, if so that would explain a lot. If not, you may want to start because it’s going to be a long time before we trust you again.’

…

Commentator: I’ve thought about this and it couldn’t have been just a few executives at Enron that made this happen. If you think of the banks involved…Chase, Morgan, Citi-Bank…the billions in loans…Arthur Anderson…the lawyers…there had to have been complicity across the board.[/b]

Just follow the path. Or go off the beaten one. The one where you don’t risk running into any “tourists”. The one where you might get lost and die. That’s because just like that you can go from endless options to bare survival.

But at the time they were figuring any path at all will lead them eventually to “the thing”.

Them: Two guys who call each other Gerry. Two guys who use the expression “to gerry”. To gerry: to fuck up. And boy do they ever. For example: they trek though the desert with no water.

Then there’s THE MOMENT: that’s the one when they first realize they are completely lost out in the middle of nowhere. Then there is THE MOMENT when they realize they could very well DIE out there.

Needless to say for some this will only be worth watching if they find the desert beautiful. Why? Because that’s really all there is: Two guys walking through the desert from beginning to end. Lost.

But if you come to like them you’ll stay until the end if only to see if they survive. And the ending is truly heartbreaking. Just think of your own best friend. And then think of the two of you being the two of them.

IMDb

This film, Elephant and Last Days form Gus Van Sant’s “Death Trilogy,” which he edited himself. This film centers on death at the hands of one’s best friend.

at wiki: en.wikipedia.org/wiki/Gerry_(2002_film
trailer: youtu.be/5LHKhsXvjMo

GERRY [2002]
Directed by Gus Van Sant

[b]Gerry: Hey, Gerry, the path.

…

Gerry: Hiking moms on the trail?
Gerry: It’s just gonna be. It’s all tourists up there.
Gerry: Well how far is the thing.
Gerry: We’re halfway there. Let’s go this way, man. Everything’s gonna lead to the same place.
Gerry: Just loop around. Do our own fresh route.
Gerry: Yeah.

…

Gerry: Fuck the thing.
Gerry: Yeah. Fuck the thing.
Gerry: It’s just going to be the thing at the end of the trail.
Gerry: Yeah, let’s go back.

…

Gerry: Where you going?
Gerry [his voice breaking]: I don’t know!

…

Gerry [after several minutes of walking in complete silence]: Fuck you.
Gerry: Fuck you.

…

Gerry: I’m leaving…[/b]

For some mysterious reason women are unable to give birth. But then one does. And yet given the state of the world – dystopian down to the bone for some – is this really such a good thing? After all there are any number of folks who insist they would never bring a child into a world this fucked up. And others will tell you the planet could only be better off with the extinction of the human race.

Here the whole world has crumbled into chaos. Only the Brits “soldier on”. And, as a result, they have a rather significant problem with immigrants. Britain apparently is what now passes for “civilization”. If you can call a virtual police state civilized.

And yet isn’t this what [increasingly] more and more people are predicting? The end of the world as we know it. A new world where only the fittest will survive. In their minds there are only two kinds of people: those who are preparing for it and those who are not. We’ve got a few of the former right here, don’t we? Kids mostly. In fact, they can’t wait for the world to come crashing down!

Here though it’s hard to distinguish which is worse: the authorities or the masses. And while one might think the world would celebrate – united – the first child born in 20 years, the mother is a “fugee”. And black. And that equals terrorism.

The contrast is stark: The world they experience and the willingness to bring a child into it. Something about the human species [through the Human Project] going gack to square one: back to Africa. I can just imagine the reaction of the fascists in here!

IMDb

[b]When Miriam (Pam Ferris) is taken off the bus at Bexhill, the camera pans by several cages with prisoners inside. One of them is the infamous “hooded man” from the Abu Ghraib prison torture pictures. He is seen in the exact pose as the real pictures.

Michael Caine based his performance on John Lennon.[/b]

at wiki: en.wikipedia.org/wiki/Children_of_Men
trailer: youtu.be/BA3JTWAeZ2A

CHILDREN OF MEN [2006]
Written in part and directed by Alfonso Cuarón

[b]Jasper [to Theo as a bus passes them]: Illegal immigrants. Taking them to Bexhill. Poor fugees. After escaping the worst atrocities and finally making it to England, our government hunts them hown like cockroaches.

…

Theo: The Human Project, why do people believe this crap? You know even if these people existed with these facilities in these secret locations, fuck me, that’s strong! Even if they discovered the cure for infertility, doesn’t matter! Too late. World went to shit. Know what? It was too late before the infertility thing happened, for fuck’s sake.[/b]

I’m with him.

[b]Jasper: Ok, the Human Project gives this great, big dinner for all the scientists and sages in the world. They’re tossing around theories about the ultimate mystery: why are all the women infertile? Why can’t we make babies anymore? So, some say it’s genetic experiments, gamma rays, pollution, same ol’, same ol’. So, anyway, in the corner, this Englishman’s sitting, he hasn’t said a word, he’s just tuckin’ in his dinner. So, they decide to ask him, they say, “Well, why do you think we can’t make babies anymore?” And he looks up at ‘em, he’s chewin’ on this great big wing and he says “I haven’t the faintest idea,” he said, “but this stork is quite tasty isn’t he?”

…

Theo: Julian? I haven’t seen you in twenty years. You look good. The picture the police have of you doesn’t do you justice.
Julian: What do the police know about justice?

…

Theo: I don’t talk politics.
Julian: That’s all you ever used to do.
Theo: That was 20 years ago. I’m a lot more successful now.

…

Theo: A hundred years from now there won’t be one sad fuck to look at any of this. What keeps you going?
Nigel: You know what it is, Theo? I just don’t think about it.

…

Theo [about Kee’s name choice for her unborn child]: This is the first baby born in 20 years and you want to name it Froley?

…

Miriam: It’s all part of a bigger thing.[/b]

There are the kids who need to be protected and the police unit assigned to provide this protection. They both take a toll here.

This is filmed as a docudrama. The characters are actors but the stories are true. All too terribly true. It is based on actual cases handled by the Paris CPU [Child Protection Unit].

All major cities have these sordid underbellies. But Paris is not one that immediately comes to mind. The city of love? Tell that to these folks.

Let’s face it, when sex is turned into a commodity it is going to be everywhere. Sex sells. So you are bombarded with it. It is hardly ever far from your mind. And some minds are more twisted than others. The minds of men in particular. So expect all manner of unseemly consequences.

And over there like over here kids can be used by parents to get back at each other. And sometimes that includes accusations of sexual abuse. What is true and what is not? Or the really surreal cases. The woman who “jerks off” her young son each night because it’s the only way to get him to fall asleep. She seems genuinely startled when the police tell her this is a sex crime.

Or families that are ripped apart when the parents exploit their own children for money and then the children are taken away from them. It’s not like the children love their parents less. Or even the parents, the children. It’s all about the money. About subsistence. At least from their frame of mind. Or surely some of them.

Of course, it’s not always about sex. Children can need protection from the adult world for any number of reasons. The parents are junkies, or beat them, or neglect to feed them, or leave them alone for hours [days] at a time. And sometimes the adults themselves are left dangling in the system: victims of poverty, racism, homelessness, a lack of jobs, being immigrants. The children are just along for the ride.

All the cops can do then is deal with the consequences that flow from the bigger picture. If that isn’t changed nothing they do will. They can only have the satisfaction of helping one child at a time. Of course if the problems were tackled systemically they would be out of a job. And that would be fine with them. There are plenty of other ways to be a cop.

And then there are the kids who choose to do these things [they will tell you] of their own free will:

Kid: Back in the day you waited for marriage, had sex when you were 20, but life’s changed now. The old days are gone, Louis XIV and all! Life is this now. Aged 14 you suck and you fuck and you live! Watch some TV, try to get with it!

And forget about the gaps in communication that revolve around religion and culture:

CPU agent: You won’t talk to me because I’m a woman?
Muslim man [about to marry off his young daughter]: Shame on you. Go home and look after your husband and kids.
CPU agent: Shame on me? Don’t talk to me like that! Respect, okay? You’re sure you read the Qu’ran? Prove it.
[she holds out a copy of it]
CPU agent: Tell me, if you’re a man and a good Muslim, tell me just where it says a father can force his daughter to marry. Show me. You think you can teach me about the Qu’ran? Where does it say a woman isn’t allowed to work? Show me! You call yourself a Muslim?! You taint us! The Qu’ran teaches respect? Got it?

IMDb

The French word for Police is spelled and said the same as in English. The title “Polisse” sounds like “police” and it is written as a child would do.

at wiki: en.wikipedia.org/wiki/Polisse
trailer: youtu.be/PbXbO2iYxEA

POLISSE [2011]
Written in part and directed by Maïwenn

Prepare or die!

Preppers. They’re everywhere these days. Or they are if you subscribe to cable television. And why not. There are so many potential threats out there. Consider: asteroids, comets, CMEs, a supernova, a supervolcano, a megatsunami, runaway climate change, a freak weather event, a viral pandemic, a nuclear war, a gamma ray burst, an economic implosion, a societal collapse…even something they call “grey goo”.

So, sure, take shelter.

Of course the calamity can also originate from inside your own mind. Disturbing dreams, for example. An apocalyptic mental illness. Once we go down this road though we always have to wonder: is it real…or is it all just in his head? And once it gets stuck in there it can come at you from all directions. You start to see what you believe. And not believe what others tell you they see.

Here you have to take shelter from yourself. Good luck with that. And good luck for those around you.

This is one of those movies that will spark debate: What happened at the end? What does the end of the movie mean? Some folks hate ambiguity. Some can’t get enough of it.

Oh, and you also get another look at health care in America. The part about how some just can’t afford to actually need it. Or barely can.

IMDb

[b]Tova Stewart, the little girl who plays Hannah, is deaf in real life. And so are both her parents.

Michael Shannon purposely didn’t read up on mental illnesses before taking on the role as Curtis, as this is something the character himself knew little about.

As it is mentioned in the DVD special features, the extras in the group lunch at the Lion’s Club were only told they would get free lunch and be in a movie. They had no idea the scene would escalate to a physical fight and (seemingly) psychotic rant.[/b]

at wiki: en.wikipedia.org/wiki/Take_Shelter
trailer: youtu.be/I5U4TtYpKIc

TAKE SHELTER [2011]
Written and directed by Jeff Nichols

[b]Curtis [talking about Hanna, his deaf daughter]: I still take off my boots not to wake her.
Samantha [whispering]: And I still whisper.

…

Curtis [to the family]: I’m thinking about cleaning up that storm shelter out back.

…

Curtis [paying for a prescription]: How much is it?
Clerk: $47.92.
Curtis: How much is the co-pay?
Clerk: That is the co-pay.

…

Curtis [at counselor’s office]: Out of the five possible symptoms needed to be diagnosed with schizophrenia – delusions, hallucinations, disorganized speech, disorganized behvior and the negative symptoms – I’ve had two. Delusions and hallucinations.
[the counselor looks at him…startled]
Curtis: So, I took this quiz in the back of the book. I scored a five out of a possible 20. Schizophrenia starts at 12. So they say it might be a brief psychotic disorder.[/b]

It seems his mother was diagnosed as a paranoid schizophrenia when she was 30. He’s now 35.

[b]Samantha [watching Curtis dig the shelter]: Are you out of your mind?!

…

Curtis [to Samantha]: You gonna leave me?

…

Curtis [ranting angrily at a roomful of neighbors]: You think I’m crazy? Well, listen up, there’s a storm coming like nothing you’ve ever seen, and not a one of you is prepared for it. Sleep well in your beds. 'Cause if this thing comes true, there ain’t gonna be any more.

…

Curtis: Sam?
Samantha: Okay.[/b]

This comes about as close as a mainstream movie is ever likely to in exposing what goes on behind the scenes in most top drawer American elections. Like the song says:

Presidential elections are planned distractions
To divert attention from the action behind the scenes
Like a game of chess when the house is a mess
Or a petty money squabble when your marriage is in trouble
Or a football game when there’s rioting in the streets
youtu.be/BbT1PJsTVkU

It’s a scenario cynics like me dream of: Some nationally known candidate [here a Senator] has nothing left to lose so he runs a political campaign predicated solely on what he actually believes is true and not what his handlers insist he must stump on based on the latest polls. Or in alignment with the wishes of his biggest campaign contributers.

Imagine a televised campaign debate where a candidate says this to the celebrity newswoman from the corporate media:

Come on, why are you here? Admit it. It’s because you make a bundle. Come on, come on. We got three pretty rich guys here getting paid by some really rich guys to ask a couple of other rich guys questions about their campaigns. But our campaigns are financed by the same guys that pay you guys your money!

The plot is totally absurd but no more absurd than the actual election campaigns we endure. Unfortunately, the very real points being made here about the nature of the American political process tend to get lost in slapstick, in farce…in the inanity that unfolds between the preposterous characters making the points.

And the ending? Oh well, this is Hollywood. And Twentieth Century Fox no less!

at wiki: en.wikipedia.org/wiki/Bulworth
trailer: youtu.be/-0SgQKpWGD4

BULWORTH [1998]
Directed by Warren Beatty

[b]Insurance company lobbyist: …you throw down some lazy welfare-taking, drug-dealing, rap singing punk and then you tell me my people have to give him a policy? Why? So he can burn down his house or smoke crack and get AIDS?
Bulworth: I’m not sure you can get AIDS by burning down your house, but I get your point.

…

Bulworth [to the guy who hires the hitman]: A check for the second half of the money. If I’m not dead by Monday, I stop payment on that check.[/b]

That’s right: He’s hiring someone to kill himself. Let’s just say it’s, uh, integral to the plot.

[b]Woman in the audience [at South Central church]: When the riots went down four years ago you promised us federal funding to rebuild our community. What happened?
Bulworth: What happened was we knew that was gonna be big news for a while so we all came down here – Bush, Clinton, Wilson – we got our pictures taken, told you all what you wanted to hear and then we pretty much forgot about it.

…

Woman in the audience [at South Central church]: We can’t get any insurance down here—no health insurance, fire insurance, life insurance. Why haven’t you come out for Senate Bill 2720?
Bulworth: Well, because you really haven’t contributed any money to my campaign have you? Do you have any idea how much these insurance companies come up with? They pretty much depend on me to take a bill like that and bottle it up in committee during an election and in that way we can kill it when you are not looking.

…

Woman in the audience: Are you sayin’ the Democratic Party don’t care about the African-American community?
Bulworth: Isn’t that obvious? You got half your kids are out of work and the other half are in jail. Do you see ANY Democrat doing anything about it? Certainly not me! So what’re you gonna do, vote Republican? Come on! Come on, you’re not gonna vote Republican! Let’s call a spade a spade!
[loud, angry booing]
Bulworth: I mean - come on! You can have a Billion Man March! If you don’t put down that malt liquor and chicken wings, and get behind someone other than a running back who stabs his wife, you’re NEVER gonna get rid of somebody like me![/b]

Next up: The Jews.

[b]Man: Senator, do you thnk those of us in the entertainment business need government help in determining limits on the amount of sex and violence in today’s movies?
Bulworth: You know the funny thing is how lousy most of your stuff is. You make violent films and dirty films and you make family films…but most of them are just not very good, are they? It’s funny…so many smart people could work so hard and spend all that money and make so much money on them. What do you think it is…it must be the money, huh? It turns everything to crap! How much money do you guys really need?
Man: Do you think it’s advisable to schedule campaign stops with industry leaders when you have such a low opinion of their product?
Bulworth: My guys are not stupid. They always put the big Jews on my schedule. You’re mostly Jews, right? Three out of four anyway. I’m sure Murphy put something bad about Farakhan in here for you.

…

Bulworth: What is it exactly you’re concerned about, Murphy?
Murphy: I’m concerned that you stood up in front of three hundred people in a black church and told them that they were not a factor and never would be as long as we remain in the pocket of the insurance lobby! I’m concerned that you went to a fundraiser in Beverly Hills and told various leaders of the entertainment industry that they make a lousy product, and since many of them also happen to be Jewish, you decided the prudent thing to do would be to mock their Jewish paranoia! I’m concerned that we are in an after-hours club in Compton on the eve of the most important event of the campaign swing, where God knows how much illegal activity is taking place and you are SMOKING MARIJUANA!

…

Bullworth: Murphy, Feldman, you’re lookin’ pretty beat / I thought you might feel better with some ribs to eat / Eat 'em, gentlemen, you’ll think they’re really fine / And if you want a couple more you can get 'em anytime!
Murphy: I am incredibly frightened.

…

Bulworth [now rapping his campaign]: One man, one vote now is that really real/The name of our game is “let’s make a deal”
Now people got problems the haves and have nots/But the ones that make me listen pay for 30 second spots.

…

Bulworth: Why do you think there are no more black leaders?
Nina: Some think it’s because they all got killed but I think it’s from the decimation of urban manufacturing bases. Senator, an optimistic, energized population throws up optimistic, energized leaders. When you shift manufacturing to the Thrid World you destroy the blue collar core of the black activist population…Fact is, I’m a materialist. If I look at the economic base, high employment means jobs for African-Americans. World War II meant lots of jobs for black folks. That is what energized people for the civil rights movement. An energized hopeful community not only produces leaders, but leaders they’ll respond to.

…

Bulworth [at the debate]: The companies we both get our money from want us to believe that corporations are more efficient than government, right? You want to know why the health care industry is the most profitable business in the United States? 'Cause the insurance companies take 24 cents out of every dollar that’s spent. You know what it takes the government to do the same thing for Medicare? Three cents out of every dollar. These guys need to be regulated. What, do you think these pigs are going to regulate themselves?

…

Bullworth: We’ve got people in this country that can’t even buy a meal! / Ask a brother who’s been downsized if he’s gettin’ a deal. / Or a white boy bustin’ ass till they put him in his grave / he ain’t gotta be black to be livin’ like a slave.

…

Bulworth: All we need is a voluntary, free-spirited, open-ended program of procreative racial deconstruction. Everybody just gotta keep fuckin’ everybody 'til they’re all the same color.[/b]

I’m reasonably certain the bourgeoisie – most of them – are [by now] indifferent to being mocked and ridiculed. As long as they get to keep doing the things that the bourgeoisie do. For instance, exploiting the rest of us.

In other words, for the “masses” [sadly], all they really have at their disposal is the ability to caricature them.

But enough of “politics”. Here it’s personal. And their mannerisms never change: always surreal, always absurd. Whatever the occasion. A world totally bereft of irony. By, among other things, bursting at the seams with it. Lampooning the French ruling class is [apparently] almost as effortless an undertaking as lampooning the prigs in Britain. It’s all just a matter of perspective. And here even the “revolutionaries” are fair game.

In short, everything is blown up all out of proportion. Until [at last] we begin to see how futile it is to take any of it seriously at all. Except that “out in the world” the various factions do take “it” seriously. Along with themselves. After all, it’s not like they have much choice. Though the brutal consequences would not be described [by many] as surreal and absurd.

And then there is the question of what to put in its place. Is there anything at all that isn’t also subject to satirical romps? Bunuel…the nihilist?

Or just think of it as a dream within a dream within a dream.

Look for the French connection.

IMDb

In his autobiography, My Last Sigh, Luis Buñuel said he had difficulty finding a title for the film. On the last day of writing the script, he came up with A bas Lénine, ou la Vierge à l’écurie - Down with Lenin, or The Virgin in the Manger. Someone suggested Le Charme de la Bourgeoisie, and the adjective “discret” was eventually added. Buñuel said he and co-writer Jean-Claude Carrière never once thought of the word “bourgeoisie” while working on the screenplay.

at wiki: en.wikipedia.org/wiki/The_Discre … ourgeoisie
clips from movie: youtu.be/YOsobfjQt7k

THE DISCREET CHARM OF THE BOURGEOISIE [Le Charme Discret de la Bourgeoisie] 1972
Written in part and directed by Luis Buñuel

[b]Rafael: No system can give vthe masses the proper social graces. But you know me, I’m no reactionary.

…

Bishop: I’m delighted to meet you. We have an important mission in Bogota.
Rafael: Bogota is in Colombia.
Bishop: That’s right, Colombia. Sorry, I got mixed up. I’ve never been to Miranda, but I hear it is a magnificent country: the Great Cordillera, the pampas…
Rafael: The pampas are in Argentina, monsignor.
Bishop: The pampas. Of course. I should’ve known that. Recently I saw a book on Latin America. There were photos of your ancient pyramids.
Rafael: Our pyramids? We have no pyramids in Miranda. Mexico and Guatemala have pyramids. We don’t.
Bishop: You’re sure?
Rafael: Absolutely.

…

Colonel: Marijuana isn’t a drug. Look at what goes on in Vietnam. From the general down to the private, they all smoke.
Mme. Thevenot: As a result, once a week they bomb their own troops.
Colonel: If they bomb their own troops, they must have their reasons.

…

M.: Any news from Miranda?
Rafael: Yes.
M.: The situation?
Rafael: Quite calm.
M.: And the guerrillas?
Rafael: There are a few left. They are a part of our folklore.
Alice: You have problems with the students?
Rafael: Students are young. They must have some fun.
Mme. Thevenot: How’s your government treating them?
Rafael: We are not against the students, but what can you do with a room full of flies? You take a fly-swatter and Bang! Bang!
Mme. Thevenot: No more flies!

…

Colonel: I didn’t know that chivalry still existed in your semi-savage country.
Rafael: Sir, you just insulted the Republic of Miranda!
Colonel: I don’t give a damn about the Republic of Miranda!
Rafael: And I shit on your entire army!

…

Peasant: Father? I want to tell you something.
Bishop: Then tell me, my child.
Peasant: I really don’t like Jesus Christ. Even as a little girl I hated him.
Bishop: But such a good, gentle God? How is it possible?![/b]

There are folks out there who know just how realistic this movie is. Well, I’m not one of them. Is it basically the exception or basically the rule?

Famous crime novelist and LAPD specialist James Ellroy described the movie as “a complete waste of time”. IMDb

One would imagine however there is a rather significant gap between how the the city of Los Angeles would like citizens to view their police department and the way it actually functions instead.

My own reservations stem from the manner in which some argue this is the only realistic way in which to approach narcotics in the Big City; but the plain and simple truth is this: it hardly seems to be working. Drug use is as rampant as ever and the prison industrial complex still revolves around it. At best they might argue that things would be considerably worse if the Alonzos – the “system” – weren’t around. And maybe that’s true. One thing for certain: in narcotics there is an enormous amount of cash involved. Who wouldn’t be tempted?

He fucks with everybody though. That means you’re on his side with some folks but not with others. And it’s hard to tell if he is really being himself or is just playing this character he invented on the job. Or when he is even telling the truth for that matter. But one thing is for sure: it’s a goddamned dangerous world that he does these things in. By the book? Right.

It’s all about the means to an end. Sooner or later it has to be. It’s just that we live in an imperfect world. Sometimes the result is justice and sometimes it’s not.

And it goes without saying: Don’t fuck with the Russians.

IMDb

When the movie came out, many viewers and critics were skeptical of the scenes where Jake Hoyt smokes marijuana laced with PCP and Alonzo’s explanation of how a cop who didn’t take drugs offered to him on the street would be ID’d as police and murdered. David Ayer responded in an interview by holding up a highlighted section of the LAPD’s rules and regulations; it stated that officers were allowed to use narcotics in very specific undercover situations, and hewed closely to what Alonzo told Jake.

at wiki: en.wikipedia.org/wiki/Training_Day
trailer: youtu.be/gKTVQPOH8ZA

TRAINING DAY [2001]
Directed by Antoine Fuqua

[b]Alonzo: Tell me a story, Hoyt.

…

Alonzo: Today’s a training day, Officer Hoyt. Show you around, give you a taste of the business. I got 38 cases pending trial, 63 in active investigations, another 250 on the log I can’t clear. I supervise five officers. That’s five different personalities. Five sets of problems. You can be number six if you act right. But I ain’t holding no hands, okay? I ain’t baby-sitting. You got today and today only to show me who and what you’re made of. You don’t like narcotics, get the fuck out of my car. Go get you a nice, pussy desk job, chasing bad checks or something, you hear me?

…

Alonzo: Why do you wanna be a narc?
Jake: I want to protect the streets by ridding it of dangerous drugs.
Alonzo: Yeah, but why do you wanna be a narc?
Jake: I wanna make detective.
Alonzo: There you go. You stick around with me, you’ll make it. Unlearn that bullshit they teach you at the Academy. That shit’ll get you killed out here.
Jake: I’ll do anything you want me to do.
Alonzo: My nigga.

…

Alonzo: To be truly effective, a good narcotics agent must know and love narcotics. In fact, a good narcotics agent should have narcotics in his blood.
Jake: Are you gonna smoke that?
Alonzo: No, you are.
Jake [laughs]: Hell if I am.
Alonzo: You not gon’ smoke it?
Jake: Naw, man. I became a narc to rid the streets of dopers, not to be one.
Alonzo: Come on, man, take a hit.
Jake: Naw, man.
Alonzo [slams on brakes, then puts a gun to Jake’s head]: Yeah, right. If I was a drug dealer, you’d be dead by now, motherfucker. You turn shit down on the streets, and the chief brings your wife a crisply folded flag. What the fuck’s wrong with you? Talking about - You know what? I don’t want you in my unit. I don’t even want you in my division. Get the fuck out the car. Go back to the Valley, rookie.
Jake: All right, I’ll smoke it.

…

Alonzo: Didn’t know you liked it wet, though.
Jake: What’s wet?
Alonzo: Butt-naked. Ill. Sherm. Dust. PCP. Primos. P-dog. That’s what you just had.

…

Roger: Here’s a joke, boy. One day this man walks out of his house to go to work. He sees this snail on his porch. So he picks it up and chucks it over his roof, into the back yard. Snail bounces off a rock, cracks its shell all to shit, and lands in the grass. Snail lies there dying. But it doesn’t die. It eats some grass. Slowly heals. Grows a new shell. And after a while it can crawl again. One day the snail up and heads back to the front of the house. Finally, after a year, the little guy crawls back on the porch. Right then, the man walks out to go to work and sees this snail again. So he says to it, ‘What the fuck’s your problem?’
Jake [bursts out laughing]: That wasn’t funny.
Alonzo: Then why are you cackling like a jackal?
Jake: I dunno.
Roger: Figure that joke out and you’ll figure the streets out.

…

Alonzo: You know about this place?
Jake: It’s the Jungle, right? They say don’t come with anything less than a platoon.
Alonzo: This is the heart of it. The jungle. Damu headquarters. Stoners. A lot of murder investigations lead here. One way in, one way out. Don’t ever come here without me. I’m serious.

…

Jake: How much money was in that bag?
Alonzo: 40 G’s.
Jake: What was that for?
Alonzo: You really wanna know?
Jake: Yeah. I asked, didn’t I?
Alonzo: Nothing’s free in this world, Jake. Not even arrest warrants.
Jake: Shit, I didn’t wanna know.

…

Alonzo [after killing Roger and shooting Jeff]: It’s not what you know, it’s what you can prove.

…

Jake [to Alonzo]: That is the second time you have pointed a gun at me, there will not be a third.

…

Jake: That man was your friend, and you killed him like a fly.
Alonzo: Why is he my friend, because he knows my first name? Son, this is the game. I’m playing his ass. That’s my jub. That’s your job. Roger sold dope to kids. The world is a better place without him. This man was the biggest major violator in Los Angeles. I watched that cocksucker operate with impunity for over 10 years, and now I got him. The shit’s chess, it ain’t checkers. What, we all of a sudden gonna roll up in a black-and-white? Come on, man, take the money.

…

Alonzo: All right, burn it, barbecue it, fish-fry it, I don’t give a fuck, but it’ll make the boys feel better…
Jake: Fuck their feelings.
Alonzo: You’re not makin’ them feel like you’re part of the team.
Jake: Team? You guys are fuckin’ insane.

…

Alonzo [to Jake]: The sooner you match what’s in your head with what’s in the real world the better you’ll feel.

…

Jake [to Alonzo]: Its not so fun when the rabbit has a gun.

…

Jake [to Alonzo]: You wanna go to jail or you wanna go home?

…

Alonzo: What a day. What a motherfuckin’ day.[/b]

Never had to endure all this shit myself. I knew what I wanted in a woman and so I put myself in an environment where the women who wanted much the same thing in a man tended to congregate.

Here though the guy just wants to get laid. It’s on his brain. All the time. And what counts [aside from looks, charm, wit and a bank account of course] is learning all the tricks of the trade. The trade? Being a wolf. Roger, a sophistication Manhattan “player”, wrote the book. On the other hand, Nick, his nephew, is still in high school. But we know where this one is going practically from the start. It just depends on how well it is written. And, for what it is, this one is well written indeed. A gem.

Roger, you see, is pretty much of an asshole. So Nick is there to straighten him out. Unwittingly, as it were. Not that Roger doesn’t have a lot to teach him. It’s just that he [Roger] has a lot to learn himself. About treating a lady, for example. Or, for that matter, his own sister.

Of course, they are all very, very attractive. Beautiful, you might say. Another sex, lies, and videotape ensemble. Hey, few have the balls to scrap that part of the narrative.

IMDb

Jesse Eisenberg received his very first kiss from Jennifer Beals in a scene from this movie.

This was his film debut.

at wiki: en.wikipedia.org/wiki/Roger_Dodger_(film
trailer: youtu.be/8xWPGxa2vNA

ROGER DODGER [2002]
Written and directed by Dylan Kidd

[b]Roger [at lunch with the gang from work]: Interestingly, a group of scientists in England just announced their intention to fertilize an egg without the use of sperm cells.
Joyce: I don’t understand that.
Roger: Every cell in the human body contains a copy of the genome pattern. The only reason sperm cells have all the fun is that up until now they were the only ones with access. Within our lifetime, artificial insemination will render sperm as useless as an assembly line worker in Detroit.

…

Joyce: Roger, you know that we women make love because we like it. Not just to procreate.
Roger: Yes. But are men absolutely necessary? Think of the structure of the female genitalia. What is the most sensitive part of the vagina? It’s the clitoris. The crown of the clitoris contains 8,000 nerve fiibers. It’s a far great concentration than in any part of the male body even our fiingertips. It is the most effiicient, pleasure-delivery system ever devised by nature. Now, ask yourself why didn’t the clitoris end up inside the vagina so that intercourse would be naturally…compellingly, constantly pleasurable for a woman?
Joyce: I know the answer. Because in primitive time, women often died of childbirth. So for intercourse to be too pleasurable…it wouldn’t make sense from a Darwinian standpoint.
Roger: Absolutely right. What does that tell us? That for women intercourse and sexual fulfiillment were never intended to intersect. New technology just makes it offiicial. Future generations of women will evolve clitorises – ‘‘clitori, clitorati’’ – that are larger, longer, even more sensitive. And a woman’s ability, as well as her desire to self-stimulate will increase exponentially as intercourse is robbed of its procreative utility. Natural selection. That is a principle of nature. Selection. Something has to lose, something has to be defeated in order for something else to be selected.

…

Roger [to woman in a bar]: I could tell you that what you think of as your personality is nothing but a collection of Vanity Fair articles. I could tell you your choice of sexual partners this evening was decided months ago by some account executive at Young & Rubicam. I could tell you that given a week to study your father and the ways in which he ignores you I could come up with a schtick you’d be helpless to resist. Helpless.[/b]

She doesn’t fall for it. But you suspect that many have.

[b]Roger [aloud to the woman as she walks away]: But if you feel compelled to contribute to the pathetic, heartbreaking predictability of it all, by all means…

…

Nick: Like, what do you do all day?
Roger: What do I do all day? I sit here and think of ways to make people feel bad.
Nick: I thought you wrote for commercials.
Roger: I do…but you can’t sell a product without first making people feel bad.
Nick: Why not?
Roger: Because it’s a substitution game. You have to remind them that they’re missing something from their lives. And when they’re feeling sufficiently incomplete…you convince them that your product is the only thing that can fill the void. So, instead of taking steps to deal with their lives, instead of working to root out the real reason for their misery they run out and buy a stupid-looking pair of cargo pants.
Nick: So…is it fun?
Roger: It can be.

…

Roger [teaching Nick the, uh, ways of women]: Do you think women have a clue what goes on up here? What do they think, it’s all stock quotes, drill bit sizes? They don’t know shit! Let’s keep it that way.

…

Roger: I’m gonna get us some drinks. While I’m there, think of a hook.
Nick: What? A hook?
Roger: A hook. A line. An opening salvo. Any minute now, Rosebud is going to be standing right here looking down at you, and you’re going to have one chance…one chance to either hit it out of the park or strike out miserably.

…

Nick: What is this?
Roger: Rum and coke. I told him to mix it weak. We got a long way to go here.
Nick: Okay. I don’t drink. I don’t put alcohol into my body.
Roger: You drink that drink! Alcohol has been a social lubricant for thousands of years. What do you think, you’re going to sit here tonight and reinvent the wheel? Please.

…

Roger [to Nick]: You did one very good thing. You lied. You made something up. Keep that part of your brain working. We get those girls over here, your first instinct is gonna be to open up. To tell the truth. Fight it!

…

Roger: So, the time. 7:00. We’ve got nine hours until closing time. An eternity. Look at me, Nick, and answer me this question. Who is the greatest basketball player in the history of the game?
Nick: Michael Jordan?
Roger: Michael Jordan. Why was he the greatest? Because he paced himself. Because he always had something left at the finish. Magic Johnson called it ‘‘winning time.’’ We are a long way from winning time, so pay attention.

…

Roger: Ask any woman, ‘‘What’s the single most attractive quality a man can possess?’’ And what do they invariably answer?
Nick: Sense of humor.
Roger: Sense of humor. Sense of humor is huge. And yet, if two lean, mean, play-by-their-own-rules motorcycle-riding men strolled up to this booth and beat the shit out of us two humorous guys and asked you out for a ride, you would be weak at the knees.
Sophie: No way.
Roger: Weak at the knees.
Andrea: Well, actually, guys who ride cycles are pretty sexy.
Roger: Thank you.

…

Nick: You said there was a fail-safe.
Roger: What fail-safe?
Nick: Back at the bar. You said there was a fail-safe.
Roger: Did I? I don’t think you want the fail-safe.
Nick: No, I want it!
Roger: You sure?
Nick: Yes, I’m sure.[/b]

Take a wild guess.

[b]Roger: I’m talking about standing out from this guys-only, Star Trek-convention, frankly, homoerotic little group…and introducing yourself to one of these girls.
Nick’s friend: Yeah, but I always get so nervous.
Roger: Why? There’s nothing at stake. If there was a chance of you actually getting laid then you’d have a reason to be nervous. Try working someone in a bar for three hours and then you gotta close the deal right before last call. That’s pressure.

…

Darren: Yeah, but you can’t let a girl know how nervous you are. You gotta let her know you’re in control, right?
Roger: ‘‘In control’’? Who is this guy? You’re in high school. You don’t control anything. Look at your face!

…

Roger [to Nick]: I gotta get home, look for work. As we speak, consumers everywhere need reminding of just how fat and unattractive they are.

…

Angela: Hey, Nick. Some guy…I guess he’s your uncle…he said you had something to tell me. He said it would ‘‘blow my mind.’’[/b]

Revenge is a meal best served cold. By all means, serve it up any way you wish. But know this: In a world without God, it is your only viable option. Otherwise the perceived injustice becomes more than you can bear. Yet there will always be a context and a point of view. No getting around that. So, if you can justify it to your own satisfaction what more do you need?

Here the acts are abominations. And they are committed against children.

Creasy is ex CIA. He did the wet work for them. So, depending on who exactly he dispatched [and your inclination regarding American foreign policy], you like him or you don’t. Now however he is a washed up, over the hill drunk “reduced” to babysitting some rich kid in Mexico.

But as you come to like the kid so does he. In fact, she brings him back from the dead. So when she is kidnapped and the attempt to rescue her is botched she is [presumably] killed. And then one by one Creasy sets about to…even up the score. To me the whole sequence was exhilarating. Just in trying to imagine being able to do it myself. And it is a whole string of [really despicable] folks because corruption is everywhere down in Mexico City. In and out of the government. But especially within the police department. In other words, kidnapping here is organized crime.

at wiki: en.wikipedia.org/wiki/Man_on_Fire_(2004_film
trailer: youtu.be/6s_-O4HglGI

MAN ON FIRE [2004]
Directed by Tony Scott

[b]Creasy: Do you think God’ll forgive us for what we’ve done?
Rayburn: No.

…

Samuel: Your resume is quite impressive. 16 years of military experience, extensive counter-terrorism work. I’m surprised anyone could afford you, what’s the catch?
Creasy: I drink.
Samuel: How does that affect you?
Creasy: Coordination, reaction time. Top professionals try to kidnap your daughter I’ll do the best I can…but the service will be on par with the pay.

…

Pita: Creasy is like a bear too. A big, sad bear.

…

Pita [to Creasy]: There were 24 kidnappings in Mexico City in the last 6 days. Four a day.

…

Sister Anna: Do you ever see the Hand of God in what you do?
Creasy: No, not for a long time.
Sister Anna: The Bible says, “Do not be over come with evil, but overcome…?
Creasy: …but overcome evil with good.”
[then in Spanish]:
Creasy: That’s Romans Chapter 12 Verse 21. I am the sheep that got lost, Madre.

…

Lisa: You read the Bible Mr. Creasy?
Creasy: Yeah, sometimes.
Lisa: Does it help?
Creasy: Yeah, sometimes.

…

Rayburn: Well, you know what we used to say. A bullet always tells the truth.

…

Creasy: There is no such thing as tough. There is trained and untrained.

…

Pita: Creasy! Creasy!

…

Miguel [to Rayburn]: Hospitals can be very dangerous places…especially if you have killed two corrupt cops.

…

Rayburn [looking at a list]: You’re talking war, Crease.

…

Lisa: What are you going to do?
Creasy: What I do best.

…

Mariana: Fuentes is better protected than the president of Mexico.
Creasy: He’s gonna need it.

…

Miguel: I want this man as much as he does.
Rayburn: Creasy will deliver more justice in a weekend than ten years of your courts and tribunals. Just stay out of his way.

…

Rayburn: Pita Ramos…that’s a number to you. You know, one more dead, but a number.
Miguel: What was she to Creasy then?
Rayburn: She showed him it was all right to live again.
Miguel: And the kidnappers took that away, huh?
Rayburn: Right. And they are going to wish they never touched a hair on her head. A man can be an artist…in anything, food, whatever. It depends on how good he is at it. Creasy’s art is death. He’s about to paint his masterpiece.

…

Elderly Man: In the church, they say to forgive.
Creasy: Forgiveness is between them and God. It’s my job to arrange the meeting.

…

Creasy: Do you know what this is? It’s a charger used by convicts to hide money and drugs…they tuck it up their rectum. This is pencil detonator, timer, used as a receiver from the pager. This is C4…highly explosive; you put it all together you’ve got a bomb, not very sophisticated, but very powerful.
[whispers in his ear]
Creasy: That’s what you have up your ass right now.

…

Fuentes: You know, I’m really sorry for the girl. It’s just a business. I-I’m a professional.
Creasy: That’s what everybody keeps saying. “I’m just a professional”. Everybody keeps saying that to me. “I’m just a professional”, “I’m just a professional”. I’m getting sick and tired of hearing that. You understand?

…

Lisa [to Creasy of her husband]: You kill him or I will.[/b]

In which we learn the definition of irony. And [for some] how to embody nihilism. You know, like they do out in Hollywood.

Oh, and how, sooner or later, most of us have to make compromises in our lives regarding, well, most everything that is important. And thus how crushing it can be when we come across the folks who don’t. Why? Well, maybe because they’re lucky, maybe because they’re gifted, maybe because they’re just rolling in dough. Or maybe because they worked their asses off to be what they always wanted to be.

It all works here though because it’s just comedy. Or it is until you recognize the parts that weren’t really all that funny when it was your turn to embody them. But lest we forget these are just kids. And things can always get even more complicated when you are no longer.

Reality, in other words, can bite.

To wit:

Lelaina is making a “reality doc” about the true plight of young folks in America. Reality as it actually is for them and not as some McCorporate state would like them to think it is. In other words, allowing folks to find their true Identity. For instance, one you don’t pay for at a mall. These guys are really, really hip. What others would call “cool”. But there it is: That accursed need for money. And what a bummer now that socialism is just a relic from the past. The rest is basically how they cope with it.

IMDb

Despite Lelaina’s anti-consumerism speech at the beginning, this film has a considerable amount of product placement and product references in the dialogue, including Gap, BMW, Diet Coca-Cola, Pringles, 7-Eleven (its Big Gulp drinks are seen throughout the film), Pizza Hut, Domino’s Pizza, Evian, Camel Straight cigarettes, Snickers, McDonalds (Troy mentions a Quarter Pounder with Cheese as one of life’s pleasures), Whole Foods Market, Continental Airlines, Cocoa Puffs, Infiniti (Nissan USA luxury automobile division), Ford Motor Company, and Minute Maid.

Irony you think?

at wiki: en.wikipedia.org/wiki/Reality_Bites
trailer: youtu.be/xDYGo0UgIVM

REALITY BITES [1994]
Directed by Ben Stiller

[b]Vickie: I’m going to take Sam against his will and straighten him out because I truly believe that if we can get two women on the supreme court, we can get at least one on him.

…

Daddy: And, little darling, after you’ve been in the real world for a while you’re gonna appreciate that car.
Troy: Yeah. Just think of all those starving children in Africa who don’t even have cars.

…

Michael: Do you have a lawyer or something?
Lelaina: No, I don’t have a lawyer. I don’t have a dentist. I’m…You know, I make four-hundred dollars a week.

…

Troy: If I could bottle the sexual tension between Bonnie Franklin and Schneider I could solve the energy crisis.

…

Troy [answering the phone]: Hello, you’ve reached the winter of our discontent.

…

Troy [to Michael at the door]: Are you a collection agent?

…

Troy: I am picking up some very strange vibes in here. They’re of the…“I just got laid” variety. Did he dazzle you with his extensive knowledge of mineral water? Or was it his in-depth analysis of Markie Mark that finally reeled you in? I just would have liked to have been there to watch how you rationalized sleeping with a yuppy-head cheeseball on the first date.
Lelaina: He’s not a yuppy.
Troy: He’s the reason why Cliff Notes were invented.

…

Lelaina: If something’s bothering you that much I wish you could just be man enough to talk to me about it.
[he gets up, walks over to her and cups her face]
Troy: All right, Lelaina. I am really in love with you.
[it’s what she has always wanted him to say…but then]
Troy: Is that what you want to hear? Is it? Well, don’t flatter yourself.
Lelaina: Go to hell.[/b]

Of course he really is in love with her. Or so we are meant to assume.

[b]Troy [in the documentary]: When my father found out that he had cancer he decided to bring me here and he gives me this big pink sea shell and he says to me, “Son, the answers are all inside of this.” And I’m all, like, “What?” But then I realized that the shell was empty. There’s no point to any of this. It’s all just a…a random lottery of meaningless tragedy and a series of near escapes. So I take pleasure in the details. You know…a Quarter-Pounder with cheese, those are good, the sky about ten minutes before it starts to rain, the moment where your laughter become a cackle…and I, I sit back and I smoke my Camel Straights and I ride my own melt.

…

Lelaina: I’m not going to work at the Gap for Chrissake!

…

Troy: Now if you’ll come this way, please we will continue our short but happy walking tour of the career of Troy Dyer. And here we have the newsstand where Troy dared to ask the question “Are employee snacks subsidized?” The answer…tragically…no.

…

Lelaina: I thought the ad said that this was a job for a production assistant.
Boss: Yes. You will be assisting me…in the production of videotapes, all right? You’re going to make copies for me…many copies.
Lelaina: Oh, is this like a…like a pirate operation?
Boss: Do I look like a pirate to you?

…

Editor: Define irony.
Lelaina: Irony. Uh…Irony. It’s a noun. It’s when something is…ironic. It’s, uh…Well, I can’t really define irony…but I know it when I see it![/b]

Later…

[b]Lelaina: This day has been the biggest nightmare. I mean, these job interviews, Troy…the word vivisection, a staggering understatement. I mean, can you define irony?
Troy [looking up from Heidegger’s Being and Time]: It’s when the actual meaning is the complete opposite from the literal meaning.

…

Charlane [Mom]: Why don’t you get a job at the Burgerrama? They’ll hire you! My Lord, I saw on the TV - they had this little retarded boy working the register.
Lelaina: Because I’m not retarded, Mom. I was the valedictorian of my University!
Wes [step-father]: Well you dont have to put that on your application.

…

Vickie: Lainie, what are you doing? What are you doing? You lay on that couch all day. Those pajamas are like your uniform. You run up a four-hundred dollar phone bill. You watch TV. You chain-smoke. You don’t go outside. You don’t do anything. Man, you are in the bell jar!

…

Vickie: All right. We’re just trying to pay bills here, OK? So, Troy, if you got any money…
Lelaina: Money? Oh, but what’s money to an artist? To a philosopher? It’s just green-colored paper that floats in and out of his life like snow. It’s nothing you actually have to, I don’t know, work for…is it, Troy?

…

Michael: Have I stepped over some line in the sands of coolness with you? Because excuse me if somebody doesn’t know the secret handshake with you.
Troy: There’s no secret handshake. There’s an IQ prerequisite, but there’s no secret handshake.

…

Michael [to Lelaina after an MTV clone butchers her documentary]: It’s, like, you have this great piece of work and we have this audience, these kids… and it’s like trying to feed them meatloaf or something and they don’t want to eat it, right? So you have to give them, like, “Here comes the plane. It’s coming into the hangar. Open up the hangar.” But it’s still meatloaf.[/b]

I know: huh?

[b]Michael: Look…I’ll make them take the pizza thing out, OK?

…

Lelaina: I just don’t understand why things just can’t go back to normal at the end of the half hour like on the Brady Bunch or something.
Troy: Well, 'cause Mr. Brady died of AIDS.

…

Michael: You know what happens to him? They find his skull in a grave, and they go…“Oh, I knew him, and he was funny.” And the guy, the court jester, dies all by himself.
Troy: Where’d you hear that, a Renaissance festival? Besides, everyone dies all by himself.
Michael: If you really believe that…Who are you looking for out here?

…

Troy [on answering machine]: At the beep, please leave your name, number, and a brief justification for the ontological necessity of modern man’s existential dilemma, and we’ll get back to you.

…

Dad [leaving a message on phone]: Uh, Lelaina, this is your dad. Give me a call when you get this. I need you to explain something. I just got a nine-hundred-dollar bill on my gas card![/b]

A kid. But not really a kid at all. Let’s just say that, with respect to some things, he’s…precocious. He thinks thoughts that wouldn’t occur to other kids his age in a million years. He’s an outlier, an outsider. Well, kind of. But he knows how to blend in if it might get him what he wants. The girl, for one thing.

In other words, he is trying to find himself in a world that can be really, really dull and really, really predictable. Think of them as groping to get beyond the mentality of American Youth. Only in Wales. Not that they always succeed, of course. Sometimes you can hardly tell them apart. They are, after all, not exactly revolutionaries. But [naturally] he does read Nietzsche. And Shakespeare and Salinger.

Sadly, these kids don’t exactly have many role models worth emulating. So, if there are going to be ones for the next generation it had better be them. On the other hand, maybe he’s just better off chucking them all and finding his own way through the bullshit. It seems that, when push comes to shove, she’s still one of them. But then so is he.

at wiki: en.wikipedia.org/wiki/Submarine_(2010_film
trailer: youtu.be/yUT4GtS9_ns

SUBMARINE [2010]
Written and directed by Richard Ayoade

[b]Oliver [voiceover]: Most people think of themselves as individuals, that there’s no-one on the planet like them. This thought motivates them to get out of bed, eat food, and walk around like nothing’s wrong.

…

Oliver [voiceover]: I find that the only way to get through life, is to picture myself in an entirely disconnected reality. I often imagine how people would react to my death. Mr Dunthorne’s quavering voice as he makes the announcement. The shocked faces of my classmates. A playground bedecked with flowers. The empty stillness of a school corridor. Local news analysis. Tear-streaked tributes. The steady stoicism of my parents. Candlelit vigils.[/b]

And in the background reactions and images more reflective of Princess Di’s demise.

[b]Oliver [voiceover]: Sometimes I wish there was a film crew following my every move. I imagine the camera craning up as I walk away. But, unless things improve, the biopic of my life will only have the budget for a zoom out.

…

Oliver [voiceover]: My mother is worried I have mental problems. I found a book about teenage paranoid delusions during a routine search of my parents’ bedroom. After that, I start slipping choice phrases into our conversation. “My body has been replaced by a shell.”, “My organs are made of stone”, “I’ve been dead now for years.”
Mother: Right.

…

Jill: So. How are things with Jordana?
Oliver: Fine.
Jill: You ever going to let us meet her?
Oliver: I don’t think so. Maybe if you get a terminal illness.

…

Oliver [voiceover]: Jordana and I enjoyed an atavistic, glorious fortnight of lovemakin’; humiliatin’ teachers and bullying the weak. I have already turned these moments into the Super-8 footage of memory.

…

Oliver [to Jordana]: Well, you know, I thought it would be nice to get some mutual interests…now that we’ve had sex…other than spitting and setting things on fire.

…

Oliver: Mum?
Mom: Yes?
Oliver: Who would you save first in a fire, given the hypothetical situation that Dad and I were equally hard to save?
Mom: I’d go for you but I’d feel bad for your father.

…

Oliver [voiceover]: My mum is the exact type of person who is susceptible to this mystic bullshit. I can picture her telling Jackie at work how it’s a bit over the top but there’s something in it. If my dad radiated a colour, it’d be ochre or eggshell. He knows the number for the pothole helpline by heart…

…

Oliver: Dad, who would you save first in a house fire, given the hypothetical situation that both Mum and I were equally difficult to save?
Dad: I’d save your mother first, so we had a better chance of working together to save you.

…

Oliver [voiceover]: I have no idea what I’m hoping to achieve by breaking into Graham’s house. I just want to give him the idea that I’m deranged and therefore capable of anything. This will probably involve me urinating or something.

…

Oliver [to Jordana]: My mum gave a handjob to a mystic.

…

Oliver [voiceover]: Jodana’s new boyfriend has an incredibly long neck. Just thinking about giraffes makes me angry.[/b]

What can I [or anyone else for that matter] say: a very strange and beautiful film.

A man packs his 2 children into a VW Beetle and drives them out into the Australian outback—for a picnic. There he takes shots at them with a revolver, sets the car on fire and puts a bullet in his head. He’s dead. And so out in the middle of nowhere the two kids are on their own. Until they meet an aborigine—a boy on a walkabout.

That’s the whole thing. Only you can’t take your eyes off the screen from start to finish. Or, rather, I couldn’t.

There are folks able to fend for themselves…to survive…“off the land”. And there are those who are not. Most of us cannot. But most of us will never have to.

And then out of the blue these scientists and their weather balloons.

And the eliptical relationship between the the white world and the world of the aboriginals. Why did the black boy die? Did he kill himself? Is it related to the dance? My best guess: it revolves around the girl. The dance was a courting ritual. But she did not accept him. In fact, she seemed to view him more as one might a servant.

Or maybe not. It’s just purely conjecture.

Make sure you watch this film all the way to the end: clas.ufl.edu/users/burt/intr … y/end.html

Look for Walter Reilly.

at wiki: en.wikipedia.org/wiki/Walkabout_(film
trailer: youtu.be/Fdqwbs8uKwQ

IMDb

[b]Jenny Agutter was embarrassed when doing the scene of her swimming naked in the lake, so as many as possible of the crew were sent away. When shooting was done they returned, stripped naked, and went for a swim.

First cinema film of David Gulpilil.[/b]

WALKABOUT [1971]
Directed by Nicolas Roeg

[b]Woman on radio: The Ortolan is the name given to a European singing bird. It is extremely rare. When fattened for eating, they are left in dark cardboard boxes, and packets of grain are pressed to a hole in the box, through which a light is shone. The bird picks at the grain in the hope of penetrating through to the light, which he mistakes for the sun. This goes on for several weeks. When it has eaten itself so full that it cannot stand or see, it is drowned in cognac. Gourmets regard it as an exceptional delicacy. You will find vinegar is an acceptable substitute for cognac.

…

Woman on radio: Apart from the scientific explanation, the expectation that the world…that is, that human society will someday come to an end leads me to believe that man is more than the complement of root and matter. It is he who imparts dignity to the planet in which he lives, although not receiving importance from it. The idea that man has passed through years of trials, in order that there might be, at last, a perpetual succession of comfortable shopkeepers…
Boy: I was listening.
Girl: We mustn’t waste the batteries.

…

Girl [to aboriginal boy]: Water. Drink. We want water to drink. You must understand! Anyone can understand that. We want to drink. I can’t make it any simpler. Water. To drink. The water hole has dried up. Where do they keep the water?

…

Man on radio [while Aborgine boy kills and eats a kangaroo he hunted]: The one set of values for “X”… is 4-3 (X-4 ) equal to X-2 (4 -X). Write 24, 48. Seven fours aew 28. Eight fours are 32.
Boy [to the black boy]: I can multiply 84 by 84. I did it yesterday.
Man on radio: Divide 3,894 by 12 minus a third. If your answer is a decimal, what is…

…

Man on radio [against the vastness of the outback]: Nothing can ever be created or destroyed…Every man and every woman is a star…What do we know?..By the telescope, a faint…

…

Girl: I don’t know why you’re telling him all this. He can’t understand. He doesn’t know what a ladder is. I expect we’re the first white people he’s ever seen.

…

Man on the radio: There’s predestination and free will required. We know now that that that is, is.

…

Boy: Why won’t he speak? What’s he dancing for?
Girl: I don’t know.
Boy: Perhaps he’s pleased.
Girl: Why?
Boy: Because we got here at last.

…

Girl: I want to start early in the morning.
Boy: I think he wants to stay here.
Girl: Why should he?
Boy: It’s nice. I think that he wants to stay here for a while. There’s lots of ferns growing out there.
Girl: Anyway, I’ve already decided something. We’re going on our own tomorrow.
White boy: Why?
Girl: That’s best.
Boy: No!
Girl: Suppose he wanted to do something, or something happened? Suppose he tried to…

…

Narrator:

Into my heart, an air that kills from yon far country blows.
What are those blue remembered hills? What spires, what farms are those?
That is the land of lost content, I see it shining plain, the happy highways where I went… and cannot come again.[/b]

Ushpizin is the Aramaic word for guests. Which then begs the question: What is required of a host when he has guests in his home? Well, believe it or not, there is not just one set of customs applicable in all cultures around the globe. Incredible as it may seem, different cultures have different obligations. And it will no doubt always be that way until philosophy and/or science is able to determine the only truly objective course of action.

Or until one or another God is able [existentially] to lay claim to the whole truth.

Seriously, isn’t this all rather absurd? Here the culture is Orthodox Jew. Within the community they are taught from birth that when they have a guest in the home certain behaviors are required of them. Where does this come from? From tradition and/or from some rendition of the Scripture. Same with all the hundreds and hundreds of conflicting cultural/religious narratives out there. Yet people fall for these fabricated rituals because it allows them to believe that what they do is necessary. Why? Well, maybe in order to get into Heaven.

In this place – eventually – everything either is or is not His will. Maybe. But in the interim you better come up with the shekels.

In this regard though Moshe and his wife need a miracle. They can’t even afford a succah. So both pray fervantly to God for one. For the miracle. And they get it. But wait until you see how that comes about!

And when the ushpizins turn out to be assholes? Of course: It’s a blessing in disguise. Somehow this is all unfolding to make us realize what it truly means to be “of the faith”. What I see though is just how far some folks will go in order to be thought of as of the faith. The more shit the guests shovel on them the closer they feel to God.

I’m sorry but however sincerely these folks hold their beliefs, the beliefs themselves seem interchangable with all other such superstitious nonsense. Or so it appears to me.

The rest is scripting.

All the skeptics can do here is to recognize this and allow themselves to be transported into this really strange and alien world—to watch how a particular community goes about rationalizing a particular set of behaviors. And then to ponder in what ways this overlaps [or is at odds with] their own community.

at wiki: en.wikipedia.org/wiki/Ushpizin
trailer: youtu.be/I98QNhD8TQo

USHPIZIN [2004]
Directed by Giddi Dar

George is a bully. Even worse, a really, really obnoxious one. So Rocky decides to get even. He and Sam concoct a prank to humiliate him. Only the folks they invite along include Marty. And Marty [in his own way] is as obnoxious as George is. And, as it turns out, a bit more dangerous.

Then as is often the case these things don’t exactly go according to plan. Think Deliverance with kids.

Here’s the thing about being a bully: It’s not exactly an inherited trait. Instead, it tends to become a personality trait over the years. Usually because the bullies themselves have others bullying them. So if there is any hope of ending it all you need to be able to put this explanation out there and hope that the bully is able to grasp the bigger picture.

Unfortunately, the bigger picture also includes a culture steeped in a mentality whereby the strong stomp on the weak over and again. Why? Well, for one thing, in order that the fittest survive. Some in fact take pride in it. Being the master and not the slave. But mostly its about needing a scapegoat.

These things always seem to get so goddamn complicated. And this is America.

at wiki: en.wikipedia.org/wiki/Mean_Creek
trailer: youtu.be/fZAKFfgOhyA

MEAN CREEK [2004]
Written and directed by Jacob Aaron Estes

[b]Millie [to Sam]: If you could snap your fingers right now and he would drop dead in his tracks, would you do it?

…

Sam: You know, if we hurt him, we’d be just as bad as him.
Rocky: So we need to hurt him without really hurting him.
Sam: I mean, if you could think of something like that, then…

…

Bumper sticker on the back of Marty’s Mom’s car: MY CHILD KICKED THE CRAP OUT OF YOUR HONOR STUDENT!

…

Millie: Sam, what’s going on here with George?
Sam: Oh, it’s nothing bad. It’s just a joke.
Millie: What kind of joke?
Sam: Well, we are planning on stripping him, throwing him in the river, and then we are gonna make him run home naked. We have a plan and it involves a dare.
Millie: A dare?
Sam: Yeah. See, the only reason I didn’t tell you before…
Millie: Who said I wanted to be a part of this?
Sam: What about this?
[Sam snaps his fingers]
Millie: What’s that?
Sam: “If you could snap your fingers right now, and he would drop dead in his tracks, would you do it?”
Millie: It’s totally mean, Sam.
Sam: He’s mean.
Millie: He’s a stupid fat kid. He’s got problems, but he’s obviously… Promise me you won’t do anything to him.
Sam: It’s not just me.
Millie: Promise me or I go back to the car.
Sam: All right, I promise. I’ll tell Rocky.

…

George: Clyde. Pussy number one. Sam. Pussy number two. Millie. Pussy number three.
Millie: Go ahead, Clyde. Start the game.

…

George [after Marty tells him why he is really there]: You’re a fucking lying son of a bitch, Sam! All right? And I hope you fucking go to hell!
Millie: Don’t make things worse, George.
George: Shut the fuck up, Millie. You fucking stupid JAP cunt!
Clyde: Sit down, George. You’re out of control.
George [shouting]: Shut the fuck up, Clyde! You faggot! Fucking skinny butt-munching faggot. I hate you! You know that? I really do! Because all you do is fucking prance around school, talking about your fucking faggoty fairy fathers! I’ll tell you what! I don’t wanna hear about your fucking fathers and how they’re assholes work, all right? It makes me sick, all right, and I fucking hope they fucking die of fucking fag disease! Yeah!
[he pauses, then looks at Marty]
George: And speaking of dead…fathers…I just remembered why bonehead white-trash fucking donkey-dick Marty got so fucking freaked when I started talking about his “daddy”. His neanderthal, drunk father put a gun in his mouth and splattered his brains all over the wall. You know, I almost forgot my mom told me that. She said, “His daddy splattered his brains all over the wall.” I thought it was sad at first. But now? I like it. HIS DADDY SPLATTERED HIS BRAINS ALL OVER THE WALL! HIS DADDY SPLATTERED HIS BRAINS ALL OVER THE WALL!
[everyone is trying to shut him up]
George: HIS DADDY SPLATTERED HIS BRAINS ALL OVER THE WALL! HIS DADDY SPLATTERED HIS BRAINS ALL OVER THE WALL!

…

Millie: Fuck you! Fuck you! Fuck you! We can never be forgiven for what we did.
Sam: You didn’t do anything.
Millie: I don’t wanna be here…I don’t wanna be here…

…

Rocky: You have to trust me on this one, Sam. I’m your big brother.
Sam: But I don’t trust you.

…

Marty: What do you think?
Rocky: I don’t know what to think.
Marty: Well, if you don’t know what to think, then you probably shouldn’t be making decisions.

…

Detective: When your brother pushed George into the river, would you say he was in control, or out of control?
Sam [to the camera after the detective leaves the room]: I’ve never seen him more out of control in my life.

…

George [on his videotape “documentary”]: My name is George…and this…is the inside of my mind.
[sighs]
George: The inside of my mind has a zillion things…
[sighs]
George: The inside of my mind has a zillion things about it but…people that don’t see inside of my mind don’t know there are a zillion things and…Y’know, since no one sees inside my mind, no one really knows. But… one day people will know. One day people will know 'cause that’s my master plan. To film it all. To document every aspect of the life that is me. And put it in a time capsule in my backyard and so that one day some alien or some highly evolved species will find it and…understand.[/b]

Yes, the language spoken here is English. But I challange you to watch it without subtitles. Fortunately, I watch so many foreign films that subtitles are par for the course. In fact, it has reached the point where I watch all films with the subtitles on. It just feels strange not to.

Subtitles definately needed here though because the characters are deeply enscounced in a working class community outside of Glasgow. Scots English can be…tricky.

Liam is a Ned. But he is trying hard not to be. His aim is to relocate his about to be released from prison Mum. Start a new life on the straight and narrow. Of course that is easier said than done in the world he comes from. He and his mate Pinball are always out on the streets hustling one thing or another to make ends meet. And it’s not like his family [aside from his sister] is bursting at the seams with good role models. But however much we might come to like them [Liam especially] we mustn’t forget that they spend the better part of their days making life miserable for others. And only some of them actually deserve it.

It’s all about options. What you want you have to be able to pay for. And if you want it bad enough and the options afforded along the straight and narrow won’t get it for you you either don’t get it or you fall back on the gear. But that means dealing with the big fish who run the pond. And that has consequences. Dire consequences.

He’s with the big boys now.

IMDb

[b]The film sparked a censorship debate in the UK regarding the amount of bad language used. Under current British Board of Film Classification rules, multiple uses of the word “fuck” usually only warrant a 15-certificate, but even a single aggressive use of the word “cunt” tends to lead to an 18-certificate, as was the case with Sweet Sixteen. It was argued, however, that this would prevent the people who could most closely identify with the characters in the film from going to see it, and that such language was much more commonly used, and therefore less offensive, in the north of the UK, where the film was set. The London based censors, however, stuck to their guns, although the local authority who cover the area where the film was shot, Inverclyde, utilized their cinema licensing powers to overrule this, and awarded the film a 15-certificate for screenings in their area.

The word “fuck” and its variations are used 313 times.

The film was shot in sequence.[/b]

at wiki: en.wikipedia.org/wiki/Sweet_Sixteen_(2002_film
trailer: youtu.be/-rsDPu9wgjs

SWEET SIXTEEN [2002]
Directed by Ken Loach

[b]Chantelle [to Liam]: Remember when you ran out and fought three big boys? They all thought you were brave. I didn’t. I was screaming through the window. I heard your arm snap. When they let you go, you still laughed in their face. You didn’t fight them because you were brave. You fought them because you just didn’t care what happened to you. That’s what broke my heart. Just another kicking for you. How can you really care about us if you don’t care for yourself? What am I supposed to tell the wean in the morning? You tripped? Some junkies stole your fags and nearly killed you? All wee Calum’s got in the whole world is me and you. Nobody else. What happened to us isn’t going to happen to him. Never. Over my dead body, and I swear it.

…

Liam: Why are you doing this?
Jack: You work for me, I take care of you. As easy as that. You can have these as soon as you take care of that wee prick Pinball.
Liam: He didn’t know what he was doing. He’s had a hard time. His dad was a junkie. I’m all he’s got. I’ll sort it out, I swear. He’ll apologise to you and I’ll pay you back.
Jack: Hey, if you can’t deal with this, you get out now.
Liam: He’s like a brother to me.
Jack: Listen, an opportunity like this for someone like you only comes once.

…

Pinball: What’s this?
Liam: Put it down.
Pinball: A blade. What are you going to do with that?
Liam: Put it down.
Pinball: So you were here to do me in? Here - take it. Are you fucking man or mouse? Fucking take it! I’ll help you. Ready? The caravan. That’s right. Fucking Pinball burnt it. It wasn’t Stan, it was me.
Liam: Why…?
Pinball: Don’t fucking move. I knocked a motor, can of petrol. Boom! Up she went. Fucking shame, so it was. You fucking hurt me. I’d have done anything for you. Fucking anything. But you fucked me about. You don’t believe me? Fucking get back! You want the chance now? Fucking do it. Fucking bastard. I’ll fucking do it, then, eh? 'Cause you fucking put me through pain.
[Pinball slices his face with the knife]
Pinball: You came to do me in…you came to do me in.

…

Liam: Is Mum up yet?
Chantelle: What’s wrong with you? She’s gone.
Liam: A wee walk will do her good. I think she had one too many last night.
Chantelle: No, Liam. She’s gone. Gone where she normally goes. The same “usual” as always. Liam, let her go. She’ll drive you mad. Let her go, for Christ’s sake! Liam, listen. It’s not that she doesn’t care, she can’t care! She’s a fucking crazy lost wee soul and she’s gonna ruin you too!

…

Chantelle [on phone]: It’s Chantelle. Are you OK? Where are you?
Liam: I don’t know.
Chantelle: Is it true? Everybody’s looking for you. The police have been round. Oh, Liam. What a waste. What a waste. It’s your birthday, you’re 16. Did you know that? What are we gonna do? Eh?
Liam: Chantelle, my batteries are running down.
Chantelle: I love you, Liam.[/b]

Going postal with a twist: someone beats you to it. At least that’s one version of it.

And then out of the blue you become a hero. What are the odds? In fact what are the odds of all this unfolding inside your head?

Given the nature of our political economy—in which crippling alienation is built right into tasks rationalized down to the most menial components on one or another assembly line…in which those at the bottom barely scrap by from paycheck to paycheck…in which most are clearly expendable when the time comes—it’s not all that surprising that some go berzerk. On the contrary, it has always amazed me why it doesn’t happen more often. But the American ruling class [with its own rendition of state capitalism] has always been particularly effective in subjugating the “workforce”.

Bob’s work is particularly mindnumbing. Wait’ll you see it. Ask yourself how you’d feel after a day of doing it. Let alone weeks, months and years.

Obviously, life does not unfold this way very often. In fact it doesn’t even unfold that way here. But just knowing that it can [that it might] is enough to give you pause. You never really know what’s around the next corner. And it is always intriguing how reality itself can be one thing and how people view it as another thing entirely. And yet it is what people think it is that counts.

at wiki: en.wikipedia.org/wiki/He_Was_a_Quiet_Man
trailer: youtu.be/TK4XWGYe_nw

HE WAS A QUIET MAN [2007]
Written and directed by Frank A. Cappello

[b]Bob [voiceover]: It was easier in the past. A man knew what it was to be a man. He stood up to things that were wrong. He was expected to do so. The way we lived trained then you to put yourself through the inevitable confrontations. Ones that could lead to dimemberment or even death. Then something happened. We passed laws of decency. Lawyers became our shepherds. What was once a fairly easy thing to understand became muddled in bureaucracy…what we call “civilization”. A man could no longer stand up to the wrongs around him. He had to go through courts and lawyers and miles of red tape. Woman demanded equality and she got it. Not by getting everthing a man had but by men being castrated before the world. They don’t care what you say. It’s not progress…it’s a delusion. It’s a disease until someone understands what’s at stake. Someone who can stand up like a real man and take action against injustice and unfairness in this world…today. Right now. Before lunch.

…

Bob [voiceover]: It’s all a matter of timing. My time will come.

…

Note taped to Bob’s refrigerator: YOU MAY ASK WHY I DID WHAT I DID…BUT WHAT CHOICE DID YOU GIVE ME?

…

Bob: I’m not half as lame as you are.
Ralf: Oh yeah? Then you tell me what you’d call a man who’s stupid enough to piss off a maniac with a fucking loaded gun?
Bob: I’d call him a maniac with his own fucking loaded gun.

…

Goldie [the fish he converses with]: Welcome to our world, Bob.

…

Shelby: As Vice-President of Creative Thinking you can think of this as your first assignment.
Bob: You’re going to pay me to think?
Shelby: It’s a crazy world.

…

Bob [to Janice]: I don’t get out much. Sizzlers is all I lnow.

…

Bob: I…am not…a spoon.

…

Bob [aloud to himself]: The bitch lied!

…

Bob [voiceover]: You may ask why I did what I did. But what choice did you give me? How else could I get your attention? All I wanted to do is exist in your world. If only one person would take time to actually see me. Help me find a way out.

…

Bob [voiceover]: There comes a time when the diseased and the weak must be sacrificed to save the herd.[/b]