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thewayofthemandalorian · 2 years

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burst your bubble - chapter one

Pairing: Dieter Bravo x F!Reader

Series rating: M

Chapter rating: M

Summary: After a booking error, you’re forced to share an adjoining room with Cliff Beasts star Dieter Bravo, who seems hell-bent on making your life miserable. He’s soon to find out that you give as good as you get.

Word count: 4,532

Notes: I’ve had this one in the works for a while! It’s a true enemies to lovers style fic as they really can’t stand each other. Or at least, Keys (our reader) can’t stand Dieter. They’re both gremlins in this and aren’t afraid to fight dirty. This is likely going to be two parts. It is unbeta’d but I’ve spent weeks annoying @ezrasbirdie about it, thank you for allowing me to go on and on about my plans and ideas for this, lovely.

This fic is cross-posted to AO3 under the same name and my taglist can be found linked in my bio as well as my masterlist which is linked below.

Comments/reblogs appreciated.

Chapter warnings: Mentioned drug use, prejudice, enemies to lovers, swearing, fighting dirty, getting even, miscommunication, sex mention, divorce mention, food/drink mention, insecurities

next chapter || masterlist (main) || masterlist (dieter bravo)

When you were told that you would be script supervisor for an important, game-changing, necessary movie, your first thought was that it would be a new, modern classic like Citizen Kane or Gone With the Wind.

You were wrong.

No, the first movie you’re working on as a script supervisor fresh out of film school isn’t a new, bold classic. But the sixth movie in a franchise that no one, not even the producers give a shit about except to save their floundering studio. Cliff Beasts 6: The Battle for Everest: Memories of a Requiem. You had to hand it to Omnipresent Studios. Not only had they conned you into agreeing to do it with their deliberate bad-faith take on their own movie, but they also came up with a title so long and so pretentious it circled around to being impressive before circling back into even more pretension.

And you fucking turned down working on Retribution for this. You suppose you only had yourself to blame, really. Here you are, a fresh graduate from NYU’s film school, eager to impress. You’d submitted your resume to literally every film studio you could think of, even the big ones like Netflix and Warner Bros. You’d gotten a few nibbles of interest here and there before directors went with other people. More experienced people. Two directors had replied with promising interest: Darren Eigan and John Remington. Your thought process, along with the fucking con that Paula the producer had fed you, was that Darren is on a hot streak right now. And, wanting to be a screenwriter one day, you thought, stupidly, that working on a movie of “cultural importance” (cultural importance, your ass) would get your foot in the door.

Which is how you find yourself here. Here being Heathrow International Airport. You had said goodbye to New York, your friends, your life for three and a half months of this. Of fucking Cliff Beasts. Your first order of business had been sprucing up the script. Darren had told you to take a chisel to it, not a sledgehammer. You needed a fucking wrecking ball. But you had diligently followed his instructions. You need him as a mentor. If you get in good with him, he can open the door to bigger and better things.

Looking over the cast list as you wait in line for customs, your eyes freeze on the fourth name from the top. Dieter Bravo.

Oh, fuck no. Anyone but him.

In school, in order to pay the bills not covered by your scholarship, you’d worked as a barista. This asshole had come in on a near daily basis, ordering the weirdest drinks and just generally treating you like shit. Like you were his own personal assistant. When you had politely called him out for it instead of spitting in his drink or spiking it with a laxative like you had wanted to, he’d just laughed in his stupid fucking sunglasses and loungewear, strung out on whatever and said, “It’s your fucking job, sweet cheeks.”

You’d just smiled your tight fuck you smile as he handed over his black Amex card (that he had probably used to snort lines with earlier) and charged him triple, pocketing the remainder as a nice tip for yourself.

Christ, you really should have gone with Remington instead. A tension headache is already beginning to form and you haven’t even done anything apart from a few revisions on the script.

Exhaling deeply, you hope that he’s grown up since then. You have authority over him; you don’t have to worry about him. It’ll all be fine, you tell yourself. Nothing to worry about.

The gate agent waves you forward. Handing over your passport and your work visa you wait while they verify your information. It doesn’t take long and before you know it, you’re in the black car that the studio had sent over, taking you to the hotel where you’ll be staying for the duration of the shoot.

Forty-five minutes later, the car pulls up on the hotel property. You take out your wireless earbuds, putting them in the charging station. “Wow,” you breathe, stepping out of the car. You’re just about to grab your suitcase from the trunk but the driver is faster. You’re not used to people doing that for you.

“Right this way ma’am,” a staff member says. “Welcome to England. I’m Bola, the… well, everything.”

You wave, telling him your name. “But you can call me Keys. Script supervisor.” Before Bola can say anything else a lanky looking man strides over, swab kit in hand.

“Gunther, hi. You must be the script supervisor. I’m the health officer. And we’re just going to do a quick Covid test. You know of course that we require all the cast and crew to self-isolate for two weeks.”

He sticks the swab up your nose, forbidding you from saying yes. You just make a sound that you hope sounds affirmative. He sticks the swab in a container thingy.

“Right this way,” Bola says, leading you to one of the check-in desks where a woman maybe a year or two older than you is waiting at the ready.

“Name?” she asks with an Eastern European accent. Her name tag reads Anika. She seems sweet. You tell her and she types in a few keystrokes, her smile fading, replaced by a frown. “Hmm, that’s odd,” she mutters to herself. “Ronjon?” she calls her boss. A man wearing a smart suit comes over. “I thought there was only supposed to be one person per room,” she mutters to him.

Ronjon puts his glasses on and peers at the screen. “No, you’re right. But that’s not the same room. He’s in 702A and she’s in 702B.”

You’re starting to worry. “Is everything okay? I know we’re supposed to self-isolate.”

The manager gives you a smooth smile. “Everything is fine. It’s just a bit of a booking snafu. Would you mind terribly if you were in an adjoining room to one of the cast members?”

You frown. “No. There would be privacy, right? Like they couldn’t come into my room?”

“That’s correct. There’s an adjoining door inside each of the rooms that connects them, but it needs to be unlocked on both sides to get in. In addition to the hotel room door. It’s totally private for both of you.”

With a sigh, you nod as you readjust your laptop bag on your shoulder. You just want to go upstairs, unpack and lie down. International travel always wipes you out. “Sure, yeah. Fine. Who is it?”

“Is anyone going to tell me the meaning of this? Having to share a fucking room?” a voice you know all too well shouts at the other check-in desk.

Answering your question.

Dieter fucking Bravo.

- - - -

You’re lying on the bed face down. Just your luck that you would have to basically share a room with the one person on this production you had wanted to avoid.

Idly, you wonder if it’s too late to quit and see if John Remington still needs someone.

You’re not a quitter. And it’s only three months. Three months. You can do this. You can kick ass, learn as much as you can and move onto something else. And with any luck you can work on your script while you’re here. You’re only twenty minutes into your two week quarantine period. You brought a lot of reading material, a lot of movies to watch as well. You’ll be good to go. Two weeks will go by in a flash.

You hear a crashing noise from your quasi-roommate’s room. Fuck me with barbed wire, you think. It’s tempting to just pretend that he isn’t here. To just ghost whenever he’s in the same room as you. But three months of that? Plus the accusations of unprofessionalism would stick to you so quick your career would be over before it could really start.

Gritting your teeth, you pull yourself up into a sitting position. You just have to introduce yourself, maybe bury the hatchet if you can. Maybe he was just having a bad day… or weeks, when he was in New York filming that movie. Doesn’t excuse it but it sure does explain it.

You open your part of the adjoining doors and knock. You wait a minute. Two. And then you knock again, louder this time.

It takes him forty-five seconds to open his part of the adjoining doors. He’s wearing an open brown robe and a pair of boxers. Nothing else except for some socks. Charming.

Professional, Keys, you tell yourself.

“Can I help you?” Dieter Bravo asks.

You stop short. “Um… I’m your roommate. In a manner of speaking. I’m the script supervisor.”

Dieter frowns, clearly thinking something over. Does he recognize you? “That’s basically like a PA right?” He ignores your no. “I don’t… I have a rule. I don’t fuck the cast or crew of any movie I’m working on.” He makes an exaggerated grimace and wink.

Your skin crawls. “Do you….? No, that’s not why I’m here. No. I just — I recognized you, I don’t know if you remember —”

Dieter continues as if you hadn’t been saying anything. “Never had a self-proclaimed fan of mine work on a movie and hit on me. They usually hide it. You’re kinda hot. Maybe I’ll make an exception just this once.”

Your eyes nearly roll to the back of your skull. “If you would just shut up and listen for once. I’m not here trying to fuck you. I just wanted to say… water under the bridge. I’m sure you have a very good explanation for treating me like garbage that time in New York.” It’s a lie, but at this point you are fully aware of how collosolly stupid this is.

“What are you talking about?” Dieter asks. Of course he doesn’t remember.

You shake your head. “Nothing.”

“Hey wait a minute,” Dieter says as you’re about to shut the door. You pause. “You’re a PA, right? Can you get me a coffee?”

“Not my position and even if it was, I’m not getting you another fucking coffee ever again. Get it your fucking self if that’s not too hard for you to do. Bola said that UberEats delivers.”

Slamming the door in his face gives you a moment of satisfaction before you realize just how horribly bad that went. “Ughhh.” You scrub your hands over your face. Three and a half months. You can do this. You can.

Vaguely you can hear a snorting-sniffing sound come from next door. If you didn’t hate him so much, you’d ask if he can share.

You can do this.

- - - -

As it turns out, Dieter Bravo makes the worst fucking roommate ever. At odd hours of the night he will ask if you can get him stuff or if he can charge his… toys in your room. He has no respect for your boundaries, always wondering why you don’t keep your side of the door unlocked.

Just think about the experience and the money you keep reminding yourself. Sometimes the mantra needs to be repeated multiple times. Like when he decides to test out the karaoke machine at 11pm. You bang on the door but it goes unnoticed. It’s day eleven of this.

Maybe he has a lot of pent up energy, you tell yourself. But you’re not going to be the meek pushover who’s only there to stroke the actors’ egos, least of all Dieter Bravo’s. He can stroke his own all he wants to. He needs no help from you.

Grabbing your laptop you begin to type a strongly worded email. It toes the line of professionalism and bitchy perfectly.

You have only met Darren once officially in person and it was when you checked in. The only other time you’ve corresponded has been over email or zoom. And it’s always been polite and excited. You’d been hoping to avoid this but it’s getting past the point of absurdity.

Shoving your noise-canceling headphones in, you put on a “go to sleep music” video on YouTube and hope that that will work its magic.

It must because next thing you know, your earbuds are yelling at you to charge them. Groggily you take them out and scrabble for the charging port in the dark, putting it down in the bed. It’s silent next door, thank Christ.

You get an email from Darren the next afternoon after fielding yet another request for food delivery. It just says some inane wishy-washy bullshit about how he values your opinion and will look into it. Maybe you should talk to him in person. You’ll see how things go when shooting starts in a few days. You know there’s a cocktail party for the cast and crew in two days. But you won’t bother him with it then.

- - - -

Once filming starts, Dieter’s shenanigans seem to calm down. All of his energy is put into filming. You’ve heard him rehearse for the movie every now and again, usually when he’s run out of things to do. You don’t question the accent. It’s Cliff Beasts 6, you’re not aiming for high art. At least not in the traditional sense.

Dustin Mulray is a thorn in your other side. He won’t stop pestering you about script changes. Finally you say to him, “Don’t touch my fucking script. I know it’s shit but we’re literally making a sixth movie in a franchise that no one cares about.”

Sean whistles approvingly and low-fives Howie. Apparently you’re not the only person Dustin has pissed off. Or more likely no one has ever dared to fight back against him.

Other than a few hiccups here and there, filming seems to be going well so far. But then, three weeks into production, there’s a positive test. And it’s back into isolation you all go. It gives you a chance to work on your script when you’re not having to put up with Dieter’s bullshit. He never listens, always talks over you, implied that you slept with someone to get this job the other day. You had responded with, “You know the song Fucked My Way Up to the Top?” Dieter had nodded. “I always thought Lana wrote that about you.” And without another word, you had stalked off to the craft services tent. Later that night you had gotten out your pencil crayons and written in elaborate print I am a dragon, you’re a whore and left it outside his door.

On night four of the second isolation, you’re lying in bed, drifting off. It’s late and Darren had just sent out a group text saying that filming is back on again tomorrow. Word on the street was that Dieter had been going around asking people if they wanted to have sex with him with no takers.

You’re nearly asleep when a deafening sound comes from next door. From the sounds of it, Dieter has found the fitness mirror. Only the problem is, he has it at full volume so it’s like you’re getting fitness training too. You crack your eyes and look at the time on your phone. Jesus Christ, it’s two in the morning. Your earbuds are dead, in need of charging.

“Change me!” Dieter grunts and you jump, not expecting to hear him. You can hear the fitness trainer just fine, too. A few minutes later you can hear moaning and panting and grunting. Is he…? That doesn’t sound like any exercise sounds you’ve heard —

Jesus Christ on a bicycle.

It doesn’t stop. It keeps going on a loop. With a truly beleaguered and aggravated grunt, you throw the blankets back and storm over to the adjoining door, pounding on it as loud and hard as you can stand it. “I’m sorry – I’m sorry – I’m sorry,” Dieter repeats.

“I’ll give you something to be sorry about!” you shout.

Sometime around three-thirty the sounds stop. But there’s no point in trying to sleep now. The call time is at five. Even if you fell asleep right now, you’d need to be up in an hour. You want to hide under the blankets and not have to go to work on Cliff Beasts ever again. But this is allegedly your dream. So you get up and turn on the shower and stand under there for as long as you can. At one point you can hear Dieter pound on the wall. “Some of us are trying to sleep!” And you kind of want to kill him.

You’re not going to kill him. You’re going to get your revenge. Bola had told you the other day about the bluetooth speakers in each room. He has stories about Dieter too so he’ll be easy to convince for his help in the plan that you’re concocting. And of course, Dieter has no idea how to work bluetooth.

But first, you’re going to talk to Darren. This will be fine.

An hour later, Krystal is staring at you half-awed, half concerned. “What happened to you?” she asks.

“Ask Dieter,” you say as the man of the hour strolls into make-up.

“What did I do?” he asks.

“You mean you’re not a changed man? You certainly wanted her to change you.”

Dieter looks at you blankly.

Krystal is completely disinterested in your back and forth. She takes you by the hand. “Come on. You look like a zombie.” And she sits you down in the makeup chair, telling Donna to do some work on you before shooting starts.

You manage to catch Darren. “Hey, Darren. I was wondering if I could talk to you about something?”

“Sure, Keys, what’s up?”

You hesitate, resisting the urge to rub your eyes. “Well it’s actually a followup to that email I sent to you a few weeks ago. The one about Dieter being disrespectful and treating me like trash?”

Darren sighs. “Listen, Keys. Being a script supervisor is very different to being an actor. We’re here to guide them, tell them about character and story. But we can’t disrespect the process an actor has. Each one is different but equally valid.”

Stifling a sigh, you say, “But this isn’t a process. This is blatant disrespect and insults.”

It’s clear, though, that Darren is done with this conversation. Okay, peaceful negotiations are now off the table.

Time to do things your own way.

- - - -

“Thanks so much for doing this for me, Bola,” you say that afternoon. Shooting had ended early. You were originally saving these days for script writing on your own project but today is different.

“Do not thank me, I should be thanking you.” Bola taps a few buttons on your laptop screen. “That man has been driving me up the wall since he first set foot in my hotel. There. All set. If anyone asks, I was never here.”

You nod and set to work on your playlist of revenge. You have the perfect first song. Relax, by Frankie Goes to Hollywood. A song about attempting to avoid coming prematurely. Appropriate, you think.

On filming nights, Dieter usually goes to bed at about eleven and is usually out no later than midnight.

Your own headphones are charged and ready to go if need be. At eleven thirty, you connect the bluetooth speakers in Dieter’s room, setting the volume all the way up as high as it can go before you press play.

The reaction is immediate. “What the FUCK!” Dieter shouts.

He jumps a mile high out of his bed. At first he thinks he’s having a bad trip, remembering a song that was playing one time he was high. But then a different song comes on. Just as loud.

It soon becomes clear that this isn’t a hallucination. He isn’t even high right now. Mostly.

“Can you hear this?!” he shouts.

Halfway through the playlist, right as the third What’s New Pussycat? gives way to the fourth he starts banging on the door. Either he’s figured it out or he’s checking to see if you’re affected as well. You don’t bother to press pause, just open the door.

“Turn that off!” he snarls.

“Say please,” you reply.

“What?”

“Say. Please.” Your voice is pure ice.

Dieter sighs. “Will you please turn that off! Jesus Christ. Can’t a guy sleep?”

You press pause and turn on your feet. “Funny. I said the same thing last night when you were doing your exercise.” You see the moment when confusion turns to realization.

“Oh Christ,” he murmurs. “I thought that was a dream. Anyway, you’ve proven your point. I hear you loud and clear.”

This you hadn’t been expecting. “You do?”

“Yeah. You wanna have sex with me. You didn’t have to go to all this effort though, honey.”

You blink several times in quick succession. “You… think I did this because I want to have sex with you?” you ask slowly.

“Well, yeah. Duh.”

Putting on a faux-thoughtful face, you say, “I’m confused. I thought that sex was something that was supposed to mutually beneficial.”

Dieter frowns. “It is.”

“So… what would I be getting out of it? You’d be getting sex and pleasure, but what would I be getting in return?”

It takes a second for Dieter to realize what you’re saying. “Funny. There’s one person I still haven’t asked and she’s working tomorrow. AKA our day off.”

Poor Anika, you think. “And here I was, going to work on my romance dialogue.”

“Listen to me, sweetcheeks, I got some advice for ya. If this is the best you can do for your first gig you’ll never make it as a writer, especially with your piss-poor edits.”

Turning away from him, you blink away the tears that have suddenly formed in your eyes. Dammit.

You are not going to give Dieter Bravo the satisfaction of knowing that he made you cry.

“And yet, here you are,” you spit out, turning to face him, changing your mind about not letting him see that he’s made you cry. Let him feel bad. “Mr. Award-bait movie star in the sixth movie in a franchise that is already six feet under so he can keep paying for his lifestyle.”

He sees the glassy look in your eyes and his snarl softens, whatever retort he had dying on his lips. “Shit – I didn’t mean –”

“Get the fuck out of my room and leave me the fuck alone.”

He doesn’t need telling twice.

Huh. He does have the ability to listen to you.

- - - -

After firing off a quick text to Anika, who quickly agrees to your idea, you type up said “romance dialogue” and send it to her as soon as possible.

She’s going to say yes to Dieter asking her to have sex with him. Just as soon as he’s met and received the approval of Anika’s father.

It’s simple dialogue but it’ll drive home the last point you have to prove to him. Flipping the script of discomfort on him.

Your phone pings. He’s here.

Good luck, you reply.

Anika is supposed to reply back when everything’s done, mission accomplished. Instead she texts you Code red. He saw the lines on my phone screen.

Oops. You put down the arts and crafts project that you’re working on. A homemade version of the Hunger Strike poster that you’re going to burn in effigy. There’s a knock on the door.

You open it, homemade miniature poster still in hand. It’s the last person you were expecting to see.

“Can I come in?” Dieter asks. “I’m really sorry about… well… everything sums it up well, don’t you think?” You could be knocked over with a feather. Dumbly, you nod, opening the door so he can come in. His eyes are clear, his sunglasses nowhere to be seen. He catches the makeshift poster in your hand. “Fanart?” he asks.

“Effigy,” you hear yourself reply. “Thought buying a real poster would take too long.”

Instead of being insulted, Dieter smirks. “Hot.” There’s a pause and Dieter sits down on the couch. “See that’s what I like about you, Keys. You suffer no fools.”

“And yet here you are,” you can’t help but say.

He smiles to himself. “I deserved that. Because I’ve been an idiot this whole time. And the last time.” So he does remember. “Good trick, by the way, charging me three times the original price. I was an ass. But, um, not that it excuses anything, I was kind of going through it at the time. My ex-wife had just filed for divorce. Turns out she had been sleeping with her pilates instructor. Cliche I know. But I thought that it was the first solid thing in my life since my, as you called it, award-bait movie. And you know what she said to me?”

You can guess, but you shake your head.

“She said that I was just this pretentious, washed-up lowlife of a person. And she wasn’t the best person, I’ll give her that. But I believed her so hard that my persona of Dieter Bravo took over my real identity. And interacting with you has made me realize that. Because so many people just bow and scrape and nod and say yes. I know you complained to Darren about me. And that asshole’s the biggest pushover on this set, always goes for the highest bidder and I guess in his eyes the actor outranks script supervisor.”

You don’t know why he’s telling you any of this. “Dieter, why… What does this have to do with anything?”

Dieter sighs. “I just — I’m so used to being in persona mode that I forget sometimes. Forget that… David Lucas Bautista isn’t an asshole. He’s actually a really nice guy. And I respect you, more than any of these pukes on set.”

Your surprised snicker is quickly disguised as a throat clearing. “David Bautista? I can see why you have a stage name. But why change the whole thing?”

“Never half-ass two things. Whole-ass one thing,” Dieter replies.

“You stole that,” you accuse, understanding the reference right away.

Dieter’s eyes twinkle. “You don’t miss anything. Anyway, I was downstairs, propositioning Anika, who clearly wasn’t into it. And her eyes kept darting over to her phone.”

Busted. But he doesn’t seem mad.

“I’m sorry that I’ve been… less than pleasant, Keys. For insulting you and not respecting your boundaries.” His apology sounds genuine. It’s his eyes that tell you he’s being truthful, his words unscripted. It’s a lot of guts laying his cards on the table like this.

You swallow. “I appreciate you saying that, thank you. I forgive you. And I’m sorry that I was such a raging bitch to you. There were other ways to prove my point…”

Dieter snorts. “But none that would have gotten my attention. I’m a stubborn ass. And you’re creative. It wasn’t anything I didn’t deserve. You give as good as you get. Better, even. I respect that about you. Friends?”

He sticks out his hand to shake, his brown eyes hopeful. It takes a minute of contemplation; Dieter’s on tenterhooks the entire time, his entire body exhaling when you stick your hand in his. “Friends,” you agree.

#dieter bravo x reader #dieter bravo #pedro pascal #my writing #my fic #enemies to lovers #the bubble #the bubble movie #pedro pascal character fanfiction #pedro pascal fanfiction

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mariacallous · 2 years

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It was heralded by Le Monde in 1976 as “the first masterpiece of the feminine in the history of cinema”. Nearly 50 years later, Chantal Akerman’s Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles has become the first feature by a female film-maker to be named the “greatest film of all time” by Sight and Sound, the magazine of the British Film Institute (BFI).

Akerman’s 70s classic, which follows the meticulous daily routine of a middle-aged widow over the course of three days – including having sex with male clients for her own and her son’s subsistence – topped the decennial poll this year for the magazine, pushing Alfred Hitchcock’s Vertigo to second place and Orson Welles’ Citizen Kane to third.

The Belgian film-maker was 25 when she shot the experimental, groundbreaking film starring Delphine Seyrig in the main role, and it has since become a cult classic – provoking years of analysis and debate.

“Jeanne Dielman challenged the status quo when it was released in 1975 and continues to do so today,” said Mike Williams, the editor of the Sight and Sound, which has conducted the poll every decade since 1952.

“It’s a landmark feminist film, and its position at the top of the list is emblematic of better representation in the top 100 for women film-makers.”

Dielman leapfrogged from 36th place in 2012. Williams said the film’s success was a reminder that there was “a world of underseen and underappreciated gems out there to be discovered”, and he emphasised the importance of repertory cinemas and home entertainment distributors in spotlighting undervalued films.

In fourth place this year came Yasujiro Ozu’s Tokyo Story, while three new films have made it into the top 10, including Wong Kar-Wai’s In the Mood for Love in fifth place (up from 24th in 2012), Claire Denis’s Beau Travail at No 7 (up from 78th in 2012) and David Lynch’s Mulholland Drive in eighth place (up from 28th).

The survey was its most ambitious to date this year, with more than 1,600 of the most influential international film critics, academics, distributors, writers, curators, archivists and programmers voting – almost double the number of participants in 2012. It is an eagerly anticipated moment within the global film community, representing a litmus test for where film culture stands.

In 2012, Vertigo took the No 1 spot from Citizen Kane, which had held it for 50 years. That year, Jeanne Dielman and Beau Travail were the only female film-makers’ films in the top 100. But this year’s poll features 11 films by female film-makers in the top 100, and four in the top 20.

Furthermore, in 2012 there was one film by a Black film-maker listed in the top 100 – Djibril Diop Mambéty’s Touki Bouki, at No 93. In 2022 there are seven titles in the top 100 by prominent Black film-makers. Touki Bouki has climbed to 67th place, with new entries including Spike Lee’s Do the Right Thing in 24th place, Barry Jenkins’ Academy award-winning Moonlight in joint 60th place, and Jordan Peele’s Get Out and Ousmane Sembène’s Black Girl jointly at No 95.

Jason Wood, the BFI’s executive director of public programmes and audiences, said: “As well as being a compelling list, one of the most important elements is that it shakes a fist at the established order. Canons should be challenged and interrogated and as part of the BFI’s remit to not only revisit film history but to also reframe it, it’s so satisfying to see a list that feels quite radical in its sense of diversity and inclusion.”

Laura Mulvey, a professor of film studies at Birkbeck, University of London, said the success of Jeanne Dielman – a film that closely adhered to the female perspective –signalled a shift in critical taste. “One might say that it felt as though there was a before and an after Jeanne Dielman, just as there had been a before and after Citizen Kane.”

Meanwhile, in a separate directors’ poll, a record 480 film-makers from around the world, including Jenkins, Martin Scorsese, Sofia Coppola, Bong Joon-ho , Lynne Ramsay and Mike Leigh, voted Stanley Kubrick’s 2001: A Space Odyssey the greatest film of all time. Citizen Kane was at No 2, and Francis Ford Coppola’s The Godfather was placed at No 3.

Sight and Sound’s top 20 greatest films of all time

1. Jeanne Dielman, 23, Quai du Commerce, 1080 Bruxelles (Chantal Akerman, 1975) 2. Vertigo (Alfred Hitchcock, 1958) 3. Citizen Kane (Orson Welles, 1941) 4. Tokyo Story (Yasujiro Ozu, 1953) 5. In the Mood for Love (Wong Kar-Wai, 2001) 6. 2001: A Space Odyssey (Stanley Kubrick, 1968) 7. Beau Travail (Claire Denis, 1998) 8. Mulholland Drive (David Lynch, 2001) 9. Man with a Movie Camera (Dziga Vertov, 1929) 10. Singin’ in the Rain (Stanley Donen and Gene Kelly, 1951) 11. Sunrise: A Song of Two Humans (FW Murnau, 1927) 12. The Godfather (Francis Ford Coppola, 1972) 13. La Règle du jeu (Jean Renoir, 1939) 14. Cléo from 5 to 7 (Agnès Varda, 1962) 15. The Searchers (John Ford, 1956) 16. Meshes of the Afternoon (Maya Deren and Alexander Hammid, 1943) 17. Close-Up (Abbas Kiarostami, 1989) 18. Persona (Ingmar Bergman, 1966) 19. Apocalypse Now (Francis Ford Coppola, 1979) 20. Seven Samurai (Akira Kurosawa, 1954)

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petty-crush · 1 year

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“Notorious”

-ahhhhhhhhhh, so refreshing

-what a great picture to start off the year with

-it would be his just as great any other time, but especially satisfying this early

-a woman gets involved in a international weapons conspiracy, and is torn between the spy who loves her and the other fool who craves her

-I haven’t seen 40s Hitchcock in a while, snd I gotta say, it’s beating the pants off 50s Hitch pretty easily (which is also great)

-this picture’s strength’s are endearingly obvious; fantastic visual set pieces, sharp characterization, a dynamite ending, and possibly the most erotic kissing in the history of film

-some choice word nibbles first (courtesy of Ben Hencht, a fierce wordsmith)

-“with my father now dead, I don’t hate him any longer....or myself”

-“I did love you. I was just a big fathead, filled with pain”

-so Hitch had the nerve to start the film with a simply voyeur shirt, a courtroom framed by the opening door

-note how he has the woman walking, but always has her on the right side of the frame, and like a conveyer belt has reporters bursting into the left side asking invasive questions

-hey, cinema lovers, I think this guy might be a great director

-later a continuous one shot, with a stranger introduced only by the back of his head, while the woman walks from one shoulder to another, drinking, drinking other men, laughing

-is this a joke at the reporter from citizen Kane? I got a feeling

-one enormous advantage 40s films have is their excellent black and white photography. So rich, so lush, so dreamlike

-so romantic too, which plays rather well into the torrid affair between Cary Grant and Ingrid Bergman

-note the almost sensual manner Hitch shows a close up of Grant moving his hand to pull the steering wheel from the drunk Bergman, only to hesitate and let her find her way

-get ready to have your mind blown by that shot of Grant entering the room after Bergman is in bed

-it has a cloudy vortex rip to it

-it looks like it could inspire “inception”, but really is stealing from the German expressionists (as Hitch always did) proving film is a ripple of waves splashing again and again

-I also like the reverse shot of Bergman, on her side in bed, with the glass of hangover killer occupying the frame with her face

-this film had some of the best camera work of all time

-I don’t simply meaning the details in the frame or even the motion, but how the story is told robustly and effortlessly visual

-ok, let’s talk about the smooches

-those fucking puritans, those rednecks in the south, told Hollywood via the hays code that no kiss could last more then 3 seconds

-they for sure kissed their cousin or mistresses (do I repeat myself there) for more then 3 seconds, but they project on others

-Hitch then has reasons they keep getting interrupted but kiss again, interrupted, kiss, repeat for 3 mins

-it is unbelievably sensual, and delightfully horny

-from an Englishman? Well, I’ll be

-Bergman must indeed have some of the wettest eyes in cinema history

-what I like about this film is that since everyone is spying, and used to guarding their faces, it’s in the second to second gestures, the gaps in the armor, that we see the real feelings come out

-each close up is a invitation to pour over the eyes more then usual

-How Grant truly wants her but is torn between longing and duty is spectacular

-I’m beyond impressed that Hitch and Ben were able to show American agencies in such a unflattering light, right after world war 2, when many was desperate to return to normal

-the CIA/FBI/etc equivalent is totally willing to have a woman marrying a guy for information, even kill her with no worry. That shit is like oxygen now, but way outside of polite society at the time

-then again, Hitch fucking hated cops (as he should)

-that scene where the five weapon dealers are in a darkened corner, the candles lighting them, looks positively ghastly and medieval

-Claude Rains plays one of the great patsies

-the woman playing his mom only had this one American film credit (more known in Germany) and boy does she make it count

-this is an fascinating piece to watch in view of the way a mother is central to Hitch’s “Psycho” and its world

-I forgot this great line almost

“We are protected by the enormity of your stupidity...for a time”

-oh shit, I also almost forgot this great shot too

-the camera starts high, goes down the stairs, through the party goers, through the champagne being passed around, to a close up of a key in Bergman’s hand

-when people talk about watching a great picture more then once to absorb it, to get the plot out of the way, and just enjoy the symphony of the shots and emotions, this is fucking exactly what they are talking about

-no single viewing will reveal all its tricks and treats

-I adore the part where after Bergman is poisoned (and realizes it) the light goes out on the back, leaving the human only darkened silhouettes

-feels like a powerful acid trip

-the ending is truly spectacular

-you sit there wondering how the hell Hitch is going to pull the cat n mouse game off, how Grant can walk down side by side with Rains but pull it off...and then he does

-there are many a famous shots in cinema, even endings, of doors and a fate closing with them, and I truly think this might be the best one

-I dare say it even outpowers the use of the door in “The Searchers”

-I left the the theatre dizzy with delight, the wonder of motion picture planted firmly in my heart and soul. What a great time at the movies

#notorious #alfred hitchcock #cary grant #ingrid bergman #film #new beverly cinema #new bev

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tilbageidanmark · 1 year

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Movies I watched this Week #108 (Year 3 / Week 4):

Un Flic, Jean-Pierre Melville’s last moody flick, a French Heist Noir. With Alain Delon playing the cop this time instead of the crook, and Catherine Deneuve just showing her beautiful self. A minimalist exercise in style and genre. 4/10.

🍿

7 more by Polanski:

🍿 His genial first film, Knife in the water, as strong as some of cinema’s best debut features (‘Citizen Kane’, ‘Sex, lies and videotapes’, ‘Badlands’, ‘Breathless’, ‘The Iron Giant’, ‘Margin call’, ‘Who’s afraid of Virginia Woolf’, Etc). Co-written by Jerzy Skolimowski (Whose ‘EO’ I just saw last week, and whose complete canon I am going to pursue). A very tense psychological power game with only three players, which surprisingly does not end in violence. A terrific saxophone score. 8/10.

🍿 Venus in Fur, a surprising discovery! Featuring only two characters on an actual Parisian stage, a playwright who looks like a young Polanski, and his real-life wife Emmanuelle Seigner, as an actress who shows up late for an audition. it’s an engaging erotic power-play, a masochistic love story, and it deals with repression, domination, role playing, degradation and cross-dressing. A perfectly-dark subject matter for this brooding director. 9/10.

🍿 For his next number, Polanski directed his wife in another tight two-hander, Based on a True Story, with similar slow-burning psychological threats. This time about a depressed writer who is being befriended by Eva Green, a super obsessive jealous admirer. Co-written with Olivier Assayas, with some inside literary throwaway lines about Amos oz , Cormac McCarthy and Don DeLillo. 6/10.

🍿 First watch: The Pianist. I found the first 1/3 of the film artificial and glossed out in the worst-traditional Hollywood way: Everything was ‘too nice’, and too clean, and not horrible enough. Later in the ghetto and toward the end as Warsaw gets destroyed, it became a bit more “real”, if you can call it that. I can’t stand most movies about the holocaust, because they obviously have to smooth things out, make them palatable. Lanzmann’s ‘Shoah’ was an exception. Coincidentally, I saw it on Friday, on International Holocaust Remembrance Day.

(Also, how did they shave in the holocaust?...)

🍿 Both ‘The Pianist’ from Warsaw and his Parisian The Tenant were made in English, which made it impossible to take them seriously. The tenant is the last of Polanski’s “Apartment Trilogy”, but it doesn’t compare to ‘Repulsion’ or ‘Rosemary’s Baby’. I can’t remember how original were the themes of sexual guilt, anxiety, cross-dressing and paranoia in 1976, but they surely didn’t age well.

🍿 “...It won't hold. I won't build it. It's that simple - I am not making that kind of mistake twice...”

To me, Chinatown is one of the ‘Best films of all time’. It’s like a song I can listen to again and again and again.

The quintessential LA film, the haunting nostalgia to an era that existed only on celluloid. A perfect dark Noir on every level: the perfect screenplay, the masterful sound and score, even the character names are iconic, Lieutenant Lou Escobar, Russ Yelburton, Hollis Mulwray, Noah Cross, Emma Dill. And Jake “Gits” who appears in every scene and gradually being pulled into the tragic mystery together with us, not realizing that he is played for a fool. This film is about duality, (Sister/daughter, money/power, water/drought, the city and the valley) and about ‘Eyes that are Flawed’. Always 10/10.

🍿 I was planning on seeing all of the Polanski movies I haven’t seen yet, but I had to stop after The Fearless Vampire Killers. Good for him for meeting Sharon Tate during the shooting of this lame Central European vampire ‘parody’, but it took me 3 days to finish it, it was so so tedious. 1/10.

If I were to write a new vampire comedy today, I would call it ‘Garlic’.

🍿

“Life is brief; fall in love, maidens, before the crimson bloom fades from your lips . . .” Ikiru, Kurosawa’s timeless retelling of Tolstoy’s ‘Death of Ivan Ilyich’ about the ‘meaning of life’. A terminally-ill salaryman realizes that he never really lived.

I plan on taking a deep dive into Takashi Shimura‘s vast portfolio. 🍿

3 with Alba Rohrwacher, 2 by Paolo Genovese:

🍿 The pupils, a short by Alice Rohrwacher (who directed some episodes of Elena Ferrante‘s ‘My brilliant Friend’). A somehow-related topic to ‘Friend’, it tells of a group of young girls at a Catholic boarding school during the war, and stars Alice’s sister Alba as the Mother Superior. The day after watching it, I was surprised to read that it was nominated for the 2023 Oscars!

🍿...”How many couples would split up if they looked at each other’s phones?”...

Perfect strangers is a perfectly acceptable drama about a group of middle class friends who meet during an eclipse of the moon for their regular dinner. But this time they decide to play a game, and leave their phones in the middle of the table. It’s dark, dialogue-rich, witty and intelligent. 7/10.

This movie has a completely unique history though: Since 2016, it had been re-made into 24 versions, in 24 countries - I never heard of any other movie like that!

🍿 Genovese next metaphorical film, The Place, from the following year, had one of the most unusual stories I ever saw on film. It all takes place at a small cafe where an ordinary looking man meets with various people, and grants them any wish they have, if they perform an arbitrary task he assign them. Yes, it’s the story of Faust, and yes, apparently is is based on a concept from an earlier Canadian TV-show, but I found it absolutely fascinating. 9/10.

🍿

Another nominee for this year’s Oscars, My year of dicks. A feminist animation short about a 15-year-old girl in the early 90′s who is determined to lose her virginity. Explicit, real talk and original about the first sexual experience from a girl’s point of view.

🍿

2 award-winners from Finland:

🍿 Grand Prix winner at Cannes, Compartment Number 6 is different: It starts in a claustrophobic, uncomfortable and compact sleeping car train, which a Finnish woman has to share with a gruff and unfriendly Russian miner. This is the first film I ever hoped to see from the bleak, arctic desert of Murmansk. It ends up literally at the edge of the world, with wide and endless frozen landscapes all around. 8/10.

🍿 The White Reindeer, a 1952 folk horror tale about a Sami woman, wife of a arctic reindeer herder, who turns into a witch in order to make her new husband attracted to her. Not too interesting.

🍿

You people, a new rom-com. It started frantically in a upper-middle-class, plugged-in Brentwood synagogue on Yom Kippur with super hipster Jonah Hill’s family that made me wanna throw up. But soon it turned into a super-sweet romance of super-sensitive Jewish Hill who falls for Eddie Murphy’s black daughter, and sometimes-funny update to ‘Guess who’s coming to dinner’ 55 years later. Eventually it fizzled out into a typical Netflix-level sitcom. 3/10.

🍿

2 unrelated depression musicals:

🍿 "Never again will I allow women to wear my dresses!”

Israel Beilin’s (Irving Berlin’s) musical Top Hat with Frederick Austerlitz (Fred Astaire) and Virginia Katherine McMath (Ginger Rogers). Wonderful high-society dance numbers (mostly in single-shot) in great rooms with 20 ft. ceilings. (Photo Above). 🍿 Re-watching Pennies from Heaven, a strange and uneven musical soap opera by Herbaert Ross. The musical numbers with Steve Martin,Bernadette Peters and Christopher Walken lip-syncing and dancing in Busby Berkeley-style extravaganza, were marvelous. But the depressing drama about a drifting, amoral and horny sheet music salesman who falls in and out of love with a mousy teacher turned prostitute was appalling. It does re-create (nicely, but for no apparent reason) Edward Hopper’s Nighthawks in one scene, and also uses a scene from Fred Astaire and Ginger Rogers’ ‘Follow the fleet’ as background, in another.

🍿

Re-watching the revenge flick Law Abiding Citizen with non-actor Gerard Butler. I remembered it as a technologically-sophisticated ‘fight for justice’ story. But no: It was just sadistic entertainment for sadists, which opened with a brutal child-killing and Clockwork Orange rape, and and continued from there. 2/10.

🍿

Stand up with Jimmy O. Yang: Good Deal. Leaning hard into his hapless Jian Yang character from ‘Silicon Valley”.

Bonus: 25 minutes of The best of Jian-Yang.

🍿

Throw-back to the art project:

Adora in Chinatown (again).

🍿

(My complete movie list is here)

#movies

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schlock-luster-video · 2 years

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O July 17, 2015 Citizen Kane was screened at the Deauville International Film Festival.

#citizen kane #orson welles #40s movies #expressionist film #national film registry #movie art #art #drawing #movie history

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classichollywoodarchive · 16 days

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images and gifs of old hollywood (1910s-1960s)

i post twice a day (unless the queue fails me) and post everything from movie making photos to film stills to theater decor. sometimes international films, too.

nav help: actors and actresses tagged by full name

ex: judy garland -> #judy garland

movies tagged by title

ex: citizen kane -> #citizen kane

decades tagged by last two digits

ex: 1950s -> #50s

if you have a favorite actor or movie you want me to post more of, feel free to send me an ask about it! if you send an image, please send the source to go with it.

i do my best to tag accurately but if i mess up, please let me know!

#classichollywoodarchive #pinned post

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dankusner · 2 months

Text

Way over the top

Varla Jean Merman drags theatergoers up to her level with the circus-inspired, 'Under a Big Top’

By DANIEL KUSNER | March 4, 2005

The 1964 marriage of Ethel Merman and Ernest Borgnine is one of the weirdest in Hollywood history.

It only lasted 38 days. Merman reportedly said the knot began to unravel because Borgnine subjected her to "Dutch ovens” — that's when Borgnine would fart in bed while trapping her under the sheets.

In Merman's autobiography, she devoted a chapter to the Borgnine marriage: It consisted of one blank page.

That bitter coupling produced Varla Jean Merman (aka Jeffrey Roberson) — at least that's what Varla Jean tells people.

"But Varla doesn't like to talk about her parents. In fact, she can't — according to Mr. Borgnine's lawyers," Roberson jokes. "She's actually run into Earnest Borgnine a number of times — strangely, in his home. Now, she's not allowed to go within 100 yards.”

For a drag artist, Roberson doesn't perform much at in nightclubs.

Like Dame Edna and Lypsinka, he'd rather capture the audience's imagination for more than just a few minutes.

Varla Jean keeps Roberson busy.

Every year, since 1999, he's crafted stage shows around the voluptuous red-haired star.

Although he just bought a house in New Orleans, the New York-based entertainer mostly works in cabaret, Off-Broadway and tours theaters around the globe.

In February, he was booked at the Sydney Opera Flouse.

And this weekend, Roberson headlines WaterTower Theatre's annual Out of the Loop festival with a the circus-themed, "Under a Big Top.”

Why a circus theme?

"Well, Varla is traveling around the whole world no matter where she goes, she hears the same thing: Men are always wanting, but they can never find a big top," Roberson explains.

Known for his precisely timed double-entendres, Roberson says "Big Top" is especially gay.

When the show drifts into a song about falling in love with a circus bear, the hetero theatergoers seem lost.

In Pittsburgh, Roberson dropped that bit.

"Because straight people have absolutely no idea what the bear culture is," he says. "I hope to do it in Dallas — if the audience is particularly gay.”

Varla also works in jokes about obscenely big hotdogs, a trapeze number and her strange phobia of clowns.

Whatever them Roberson turns on its ear, it's always the music that steals the show.

The man can sing — the mezzo-soprano was once trained in opera.

"Big Top" has been described as a hyperactive song-cycle where Varla mashes the likes of Puccini, Beyonce, Joni Mitchell and throws in "Gypsies, Tramps and Thieves" along with Bizet's "Flabanera.”

And it wouldn't be a Varla Jean Merman show without belting out a solo while squirting a continuous string of Cheeze Whiz into her mouth.

If you saw the 2003 drag comedy "Girls Will Be Girls," you're already familiar with that show-stopper.

Roberson may look familiar for another reason, too.

In 2003, he graced national television for about six months on "All My Children.”

Roberson played the drag role of Rosemary Chicken, an incarcerated prostitute who crossed paths with various citizens of Pine Valley when they were thrown into the clink.

"I only did like 10 to 12 episodes. The lines were pretty cheesy, so I got to ad lib," he says.

Did Roberson cross paths with Erica Kane or her lesbian daughter?

humor — to play long-lost twins. "

"Did you hear about Nicolette Sheridan? Someone recently said she looks like a transvestite.

She said, 'That's the meanest thing you could ever say to anybody.’ Well, the tranny community is all in a rage with her because of what she said," Roberson continues. "I think it's the highest of compliments.”

"You weren't allowed to have eye contact with Susan Lucci," he says. "Well, I guess I could have looked at her. But all the interns actually had to sign a contract that said so. I'm not even joking.”

During our phone interview, I bring up an eerie observation.

Did Varla Jean (who definitely burst onto the scene first) know that she's the spitting image — lisp and all! — of zaftig, flame-haired actress Sara Rue, star of the ABC sitcom "Less than Perfect”?

"I've actually thought that I look just like her too, but when you're a big redhead, they say you always look like the more masculine, overweight girls," Roberson says.

"For years people used to say I look like Wynona Judd. But I think I look exactly like Dame Joan Sutherland." Roberson laughs when told that she should buddy up with Rue — who seems to have a great sense of

CLOWING AROUND: Ring mistress Varla Jean Merman (Jeffrey Roberson) headlines three shows at WaterTower Theatre's "Out of the Loop" test.

SEPARATED AT BIRTH? Varla Jean, right, and sitcom star Sara Rue could play long-lost twins.

WaterTower Theatre 15650 Addison Rd. March 4 at 8 p.m. March 5 at 7:30 p.m. and 9:30p.m. $15. General admission. Early tick- et-purchase recommended. 972-450-6220

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writer59january13 · 6 months

Text

Twenty first century civilization gone?... I askew.

Ah... what luxury to wax poetic as freedom to trumpet thoughts, ideas, emotions, et cetera will wane, especially if president number forty five

courtesy wealth and/or stealth dons the mantle as de facto fractious tyrant of these United States

come November 5th, 2024

methinks perchance mankind always vain n'er did appertain moral hike polar opposite

from human being: uncivil, unethical, unsocial, et cetera minimally app proxy mating, neither didst faithfully abide as citizen Kane externally - nar main ten an ounce, (asper atop figurative fain faux shaw didst attain "FAKE" horn o' manners), tolerance, our predecessors didst abstain nor internally between brain,

sans modest straight, and ne'r did entertain narrow true lofty salient tenet absence of virtue tis no matter pray'n - quite self evident, plain as day, and vice gripped by fratricide (or homicide in general) endemic throughout evolution of humanity dripping nee gushing more'n

nah globule bloodstain, viz more aptly bloodbath, haply insinuated, embedded, and accrued heart felt toehold gain saying division among caveman club rings animal hides pelt did maintain bare co-opted spirit hood did micro reign buzzfeed ding death,

via plenti did retain aplomb murderous sprees kickstarter thankfully guaranteeing (ha) hardy internecine characteristic kept in lock step with proto humans enlightenment, qua i.e. as earliest primates acquired innate haughty

zealous apropos boastfulness to ascend chain

of command anointing insane lee flattering hashtag, re: (albeit ill fit ting), yet utopian appellation "noble savage," which inchoate bipedal hominids (forerunners of Homo sapiens), quickly dost wrought impertinent sobriquet (by anonymous

simian "Einstein brain child"), viz favored

killing one another strove and still thrives,

since Adam and Eve, for sport, but most dramatically didst appear purportedly, when Abel got slain by Cain punctuated equilibrium lopping limb and/or head off if one didst dissent or complain setting precedent for consanguineous modern Roman Times

(font size twelve) brutish, nasty, and short train ning supposedly "civilized insubordinate" Lorde foo fighting beastie boy

received fatal crackbrain

with imprimatur challenging authority, sans grossly wading, brazen overstepping circumscribed domain, where thwack on noggin determined, hence did explain survival of fittest.

0 notes

brookston · 10 months

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Holidays 9.5

Holidays

Achalasia Awareness Day

Amazon Rainforest Day

Another Look Unlimited Day

Beard Tax Day

Be Late for Something Day

Bill Murray Day (Canada)

Clifford the Big Red Dog Day

Dia de Santiago Iglesias Pantin (Puerto Rico)

First Day of School (Vietnam)

Flg Day (Mozambique)

Flag-Flying Day (Denmark)

Freddie For A Day

Freddie Mercury Day

Gaura Parva (Nepal)

Hassaku-sai (Kyoto, Japan)

International Day of Charity

International Day of the Vaquinta Marina

International Indigenous Women’s Day

International Multiple Myeloma Day

International Pierre Robin Sequence Awareness Day

Jury Rights Day

Mexican Marigold Day (French Republic)

National Actdumb. Day

National Cellulite Day

National GIF Day

National Shrink Day

On the Road Day

Red Cross Day

Regata Storical (Historical Regatta; Venice, Italy)

Straight Story Lawnmower Day

Teacher's Day (India)

Tweet Like Werner Herzog Day

Working Mothers Day

World Day of Siblings

World Day of Tourism Journalists

World Spinal Cord Injury Day

Yrittäjän Päivä (Entrepreneur Day; Finland)

Food & Drink Celebrations

Bitter Beer Day

National Cheese Pizza Day

World Samosa Day

1st Tuesday in September

Another Look Unlimited Day [Tuesday after 1st Monday]

Camo Tuesday [1st Tuesday]

Play Days begin [Tuesday through Saturday after 1st Monday]

Protect Your Groundwater Day [1st Tuesday]

Telephone Tuesday [Tuesday after 1st Monday]

World Art Drop Day [1st Tuesday]

Independence Days

Bir Tawil Empire (Declared; 2015) [unrecognized]

Feast Days

Abdus of Susa (Christian; Saint)

Alto (Christian; Saint)

Bertin (Christian; Saint)

Caspar David Friedrich (Artology)

Charbel (Christian; Martyr)

Day of the West Wind (Pagan)

Duhamel [du Monceau] (Positivist; Saint)

Gargling Day (Pastafarian)

Genebald (Christian; Saint)

Genesia (Day of the Dead; Ancient Greece)

Gregorio Aglipay (Episcopal Church)

H.L. Mencken Day (Church of the SubGenius; Saint)

Janmasthami (Birth of Lord Krishna; Hindu)

Jupiter Stator (Ancient Rome)

Laurence Gustiani (a.k.a. Laurence Justinian; Christian; Saint)

The Moes (Muppetism)

Teresa of Calcutta (a.k.a. Mother Teresa; Christian; Saint)

Ursicinus of Ravenna (Christian; Saint)

Yodeling Day (Pastafarian)

Zechariah and Elisabeth (Anglican and Eastern Orthodox Church)

Lucky & Unlucky Days

Sakimake (先負 Japan) [Bad luck in the morning, good luck in the afternoon.]

Premieres

Batman: The Animated Series (Animated TV Series; 1992)

Blue Christmas, recorded by Elvis Presley (Song; 1957)

Bonanza Bunny (WB MM Cartoon; 1959)

The Chain Gang (Disney Cartoon; 1930)

Citizen Kane (Film; 1941)

The Criminal, by Jim Thompson (Novel; 1953)

Dr. Zhivago, by Boris Pasternak (U.S. Novel; 1958)

Greenpernt Ogle, Part 1 (Rocky & Bullwinkle Cartoon, S3, Ep. 105; 1961)

It (Film; 2017)

Louder Than Love, by Soundgarden (Album; 1989)

The Mail Animal or Bullwinkle Stamps His Foot (Rocky & Bullwinkle Cartoon, S3, Ep. 106; 1961)

No No: A Dockumentary (Documentary Film; 2014)

On the Road, by Jack Kerouac (Novel; 1957)

Ping Pong Playa (Film; 2008)

Sherman’s March (Documentary Film; 1986)

Smile, Darn Ya, Smile! (WB MM Cartoon; 1931)

A Street Cat Named Sylvester (WB LT Cartoon; 1953)

Trolley Troubles (Disney Cartoon; 1927)

The Wrestler (Film; 2008)

Today’s Name Days

Albert, Larentius, Roswitha, Teresa (Austria)

Elisaveta, Hari, Zahari (Bulgaria)

Borko, Eudoksije, Lovro, Roman, Tereza, Terezija (Croatia)

Boris (Czech Republic)

Regina (Denmark)

Preedik, Priidik, Priido, Priidu, Priit, Reedik, Vidrik (Estonia)

Mainio, Roni (Finland)

Raïssa (France)

Hermine, Roswitha, Urs (Germany)

Zacharias (Greece)

Lőrinc, Viktor (Hungary)

Vittorino (Italy)

Klaudija, Perse, Persijs, Vaida (Latvia)

Dingailė, Erdenis, Justina, Stanislova, Stasė (Lithuania)

Brede, Brian, Njål (Norway)

Dorota, Herakles, Herkulan, Herkules, Justyna, Laurencjusz, Stronisława, Wawrzyniec (Poland)

Regina (Slovakia)

Obdulia, Teresa (Spain)

Adela, Heidi (Sweden)

Elizabeth, Raisa, Raya, Zachary (Ukraine)

Bert, Bertha, Bertie, Bertin, Berton, Burt, Burton, Rigoberto (USA)

Today is Also…

Day of Year: Day 248 of 2024; 117 days remaining in the year

ISO: Day 2 of week 36 of 2023

Celtic Tree Calendar: Muin (Vine) [Day 1 of 28]

Chinese: Month 7 (Geng-Shen), Day 21 (Bing-Yin)

Chinese Year of the: Rabbit 4721 (until February 10, 2024)

Hebrew: 19 Elul 5783

Islamic: 19 Safar 1445

J Cal: 8 Aki; Oneday [8 of 30]

Julian: 23 August 2023

Moon: 62%: Waning Gibbous

Positivist: 24 Gutenberg (9th Month) [Duhamel (du Monceau)]

Runic Half Month: Rad (Motion) [Day 9 of 15]

Season: Summer (Day 76 of 94)

Zodiac: Virgo (Day 15 of 32)

Calendar Changes

Muin (Vine) [Celtic Tree Calendar; Month 9 of 13]

#calendar #Holidays

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brookstonalmanac · 10 months

Text

Holidays 9.5

Holidays

Achalasia Awareness Day

Amazon Rainforest Day

Another Look Unlimited Day

Beard Tax Day

Be Late for Something Day

Bill Murray Day (Canada)

Clifford the Big Red Dog Day

Dia de Santiago Iglesias Pantin (Puerto Rico)

First Day of School (Vietnam)

Flg Day (Mozambique)

Flag-Flying Day (Denmark)

Freddie For A Day

Freddie Mercury Day

Gaura Parva (Nepal)

Hassaku-sai (Kyoto, Japan)

International Day of Charity

International Day of the Vaquinta Marina

International Indigenous Women’s Day

International Multiple Myeloma Day

International Pierre Robin Sequence Awareness Day

Jury Rights Day

Mexican Marigold Day (French Republic)

National Actdumb. Day

National Cellulite Day

National GIF Day

National Shrink Day

On the Road Day

Red Cross Day

Regata Storical (Historical Regatta; Venice, Italy)

Straight Story Lawnmower Day

Teacher's Day (India)

Tweet Like Werner Herzog Day

Working Mothers Day

World Day of Siblings

World Day of Tourism Journalists

World Spinal Cord Injury Day

Yrittäjän Päivä (Entrepreneur Day; Finland)

Food & Drink Celebrations

Bitter Beer Day

National Cheese Pizza Day

World Samosa Day

1st Tuesday in September

Another Look Unlimited Day [Tuesday after 1st Monday]

Camo Tuesday [1st Tuesday]

Play Days begin [Tuesday through Saturday after 1st Monday]

Protect Your Groundwater Day [1st Tuesday]

Telephone Tuesday [Tuesday after 1st Monday]

World Art Drop Day [1st Tuesday]

Independence Days

Bir Tawil Empire (Declared; 2015) [unrecognized]

Feast Days

Abdus of Susa (Christian; Saint)

Alto (Christian; Saint)

Bertin (Christian; Saint)

Caspar David Friedrich (Artology)

Charbel (Christian; Martyr)

Day of the West Wind (Pagan)

Duhamel [du Monceau] (Positivist; Saint)

Gargling Day (Pastafarian)

Genebald (Christian; Saint)

Genesia (Day of the Dead; Ancient Greece)

Gregorio Aglipay (Episcopal Church)

H.L. Mencken Day (Church of the SubGenius; Saint)

Janmasthami (Birth of Lord Krishna; Hindu)

Jupiter Stator (Ancient Rome)

Laurence Gustiani (a.k.a. Laurence Justinian; Christian; Saint)

The Moes (Muppetism)

Teresa of Calcutta (a.k.a. Mother Teresa; Christian; Saint)

Ursicinus of Ravenna (Christian; Saint)

Yodeling Day (Pastafarian)

Zechariah and Elisabeth (Anglican and Eastern Orthodox Church)

Lucky & Unlucky Days

Sakimake (先負 Japan) [Bad luck in the morning, good luck in the afternoon.]

Premieres

Batman: The Animated Series (Animated TV Series; 1992)

Blue Christmas, recorded by Elvis Presley (Song; 1957)

Bonanza Bunny (WB MM Cartoon; 1959)

The Chain Gang (Disney Cartoon; 1930)

Citizen Kane (Film; 1941)

The Criminal, by Jim Thompson (Novel; 1953)

Dr. Zhivago, by Boris Pasternak (U.S. Novel; 1958)

Greenpernt Ogle, Part 1 (Rocky & Bullwinkle Cartoon, S3, Ep. 105; 1961)

It (Film; 2017)

Louder Than Love, by Soundgarden (Album; 1989)

The Mail Animal or Bullwinkle Stamps His Foot (Rocky & Bullwinkle Cartoon, S3, Ep. 106; 1961)

No No: A Dockumentary (Documentary Film; 2014)

On the Road, by Jack Kerouac (Novel; 1957)

Ping Pong Playa (Film; 2008)

Sherman’s March (Documentary Film; 1986)

Smile, Darn Ya, Smile! (WB MM Cartoon; 1931)

A Street Cat Named Sylvester (WB LT Cartoon; 1953)

Trolley Troubles (Disney Cartoon; 1927)

The Wrestler (Film; 2008)

Today’s Name Days

Albert, Larentius, Roswitha, Teresa (Austria)

Elisaveta, Hari, Zahari (Bulgaria)

Borko, Eudoksije, Lovro, Roman, Tereza, Terezija (Croatia)

Boris (Czech Republic)

Regina (Denmark)

Preedik, Priidik, Priido, Priidu, Priit, Reedik, Vidrik (Estonia)

Mainio, Roni (Finland)

Raïssa (France)

Hermine, Roswitha, Urs (Germany)

Zacharias (Greece)

Lőrinc, Viktor (Hungary)

Vittorino (Italy)

Klaudija, Perse, Persijs, Vaida (Latvia)

Dingailė, Erdenis, Justina, Stanislova, Stasė (Lithuania)

Brede, Brian, Njål (Norway)

Dorota, Herakles, Herkulan, Herkules, Justyna, Laurencjusz, Stronisława, Wawrzyniec (Poland)

Regina (Slovakia)

Obdulia, Teresa (Spain)

Adela, Heidi (Sweden)

Elizabeth, Raisa, Raya, Zachary (Ukraine)

Bert, Bertha, Bertie, Bertin, Berton, Burt, Burton, Rigoberto (USA)

Today is Also…

Day of Year: Day 248 of 2024; 117 days remaining in the year

ISO: Day 2 of week 36 of 2023

Celtic Tree Calendar: Muin (Vine) [Day 1 of 28]

Chinese: Month 7 (Geng-Shen), Day 21 (Bing-Yin)

Chinese Year of the: Rabbit 4721 (until February 10, 2024)

Hebrew: 19 Elul 5783

Islamic: 19 Safar 1445

J Cal: 8 Aki; Oneday [8 of 30]

Julian: 23 August 2023

Moon: 62%: Waning Gibbous

Positivist: 24 Gutenberg (9th Month) [Duhamel (du Monceau)]

Runic Half Month: Rad (Motion) [Day 9 of 15]

Season: Summer (Day 76 of 94)

Zodiac: Virgo (Day 15 of 32)

Calendar Changes

Muin (Vine) [Celtic Tree Calendar; Month 9 of 13]

#Holidays

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mayanaisnin · 1 year

Text

Citizen Kane

By Roger P. Smith

ESSAYS

—

DEC 3, 1984

Since the dawn of the sound era, an estimated 25,000 feature-length films have been produced—and that’s in the English language alone. When, in the early 1960s, an international group of film critics were polled as to their “number-one film of all time,” Citizen Kane was in first position. The repetition of this poll in the early 1970s and once again in 1982 produced the same result: Citizen Kane was a solid first each time. Even more important than the opinion of critics is the opinion of audiences. They too, decade after decade, have ranked Citizen Kane as their favorite film. For what truly sets Kane apart from every other film commonly called a “masterpiece” is that it’s also an enormous amount of fun.

If one thinks about it, the very idea that there could be unanimity of opinion on such a subject as “the best movie ever made” is absurd. Not only have different generations viewed movies differently, but groups within each filmgoing generation seek different things. Some search for an aesthetic experience; others look for social relevance; still others rank storytelling as the ultimate purpose of a film; and yet another group believes insight into human psychology is the special province of film. Citizen Kane’s accomplishment is, simply, that it achieves greatness whatever one’s perspective may be.

Despite the fact that Citizen Kane can’t truly be called “art”—or perhaps because of it—its greatness is undeniable. While some critics have gone so far as to call Kane kitsch, such people tend to regard estrangement from popular entertainment as proof of worth. In stylistic terms, the film is an amalgam of many forms of popular entertainment—the historic radio plays, the breakneck pace of vaudeville comedy, the cheap emotions of pulp fiction, the phony drama of the newsreel, the cartoon-like, larger-than-life quality of the characters. It is these “popular” qualities which underlie the film’s extraordinary claims on our attention.

While numerous individual elements of the film are truly artistic—cinematographer Gregg Toland’s deep-focus camera work leaps to mind—those elements are subservient to what was presumably Welles’ original purpose, and certainly his ultimate effect: to grab the audience from the very first frame and take it on a breathless rollercoaster ride through early twentieth-century America, leaving it at the end of the trip exhilarated and spent, but begging for more.

As for the social relevance of Citizen Kane, it—like the film’s art—is there when needed but always subjugated to the film as grand entertainment. At the time of Kane’s release, social commentators (particularly on the Left) felt the film failed to inveigh sufficiently against the abuse of wealth and power by such as Kane/Hearst. Instead, it tells the audience what it already believes: money doesn’t buy happiness. While the absence of a desire to transform human consciousness may bother some, for most of us Kane-as-Daddy Warbucks, lonely despite vast riches, is a far more engaging character than the malefactor of great wealth some would have him be.

It is in the telling of the story of Charles Foster Kane that the film transcends the limitations of popular entertainment and achieves greatness. That it does it through the devices of popular entertainment is irrelevant. From the first moment when the camera conspiratorially draws the viewer behind the giant iron gate with its “No Trespassing” sign, to the final moment when the sled is consumed by flames, every aspect of cinematographic art—photography, music, set design, editing, costuming, special effects—is assembled with a unifying vision into an endlessly fascinating portrait of a not-all-that-fascinating man.

The New York opening of Citizen Kane was at Broadway’s RKO Palace, newly converted from a vaudeville house, on May 1, 1941. While from the beginning the film’s extraordinary quality was recognized, it was not what today would be called a blockbuster. Its initial release earned RKO most, but not all, of its total cost—as Hearst-inspired fears of booking on the part of many exhibitors probably contributed to its failure to earn a profit. However, beginning in the 1950s, a series of releases brought the picture to the attention of a new generation of filmgoers. Most of them saw the film in grainy 16 mm prints in “art” houses. Despite all of the attention the film has subsequently received, few viewers have, according to Welles himself, seen the film as he intended it to be seen.

#citizen kane

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vatt-world · 1 year

Text

filmmaking class 3 ucla ext

story more denser cross pollinating stories/genres

story vs plot

pay off /satisfy

ask intriguing questions-- mystery

plotting /setting the structure

john truby mario movies

expectations

visual storytelling

other people 2012 movie

evovling internal conflicts - addiction tangerine poverty

how it pay offs - back to future

anatomy genres - truby

inciting incident -- upsets balance

who is protaganist - detective / or kane what does rosebud mean ?

news reel -

in john wick - dog getting killed he associates his wife

character change citizen kane

more unhappy he becomes.. more destructive he becomes

his desepration changes

character change in themes that expressed like in godfather.. main character becomes bad

1927-1945 classical filmmaking

characters should be relatable

always sunny

you

sopranos

testing limits of empathy

enmorous self pity in breaking bad

tormented characters

bojack brilliant show

unintrusive styles of filmmaking

avenger end game

zack synder is a hack

visual transition on jaws-- when he watches from cavern

subverting structure to express theme-- no country for old men

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zooterchet · 2 years

Text

Letter to China White (By Arrow’s Light):

Note what I’m sending my father.

These are university ethics.

If he doesn’t understand them, you’ll be visiting me in the sanitarium some day.

It will prove my point about comic books and my father’s poor education, in Attleboro, and his friend, David Carlson.

Why are you all Israeli, Dad?

Letter to Batman (From The Riddler):

Jewish law, in Calvinism, is the military code, of the Army. Egyptian code, is the State Police, Sicilian code, is the Constable.

Calvinism, states the anti-Semitism, is poor education, but pro-Jewish, and anti-Jewish, are separate issues, non-claimed, and variable and fluid, to create politics of American statehood, Congregationalism.

A statement, of anti-Semitic, as politics, is fascism, to be targeted as an enemy of the United States federal and provincial code, my code, civics; a country stating pro-Semitism, or anti-Semitism, as necessary of politics, for policy, is to be opposed.

The Jews created a code, held in academics, not a tawdry comic book, for casual review, for mockery of those in poverty of mind, not in money.

Review the following two entries.

(Erratum Given Joker, Bob Kane):

The Fake Comic, Batman, by Freddy Manson (Bob Kane, Kin of Charles Manson):

Batman masters Jewish law, he can't have a son

He always marries his wife's code, without being able to have a Jew, his wife if she's Israeli, and can't follow his son's local determination of foe's enemy.

My mother was MI-6, I'm Cuban, my foe is RIN, and my father is IDF.

Batman, can't be Jewish.

MI-6 is criminal networks, Cuban is alteration of art to fix self, RIN is remedial education to aid disabled, and IDF is murder of those claiming culture of education without being pro-Jewish.

I'm revolted at my father, for being a retard.

I'm disgusted by Matt Lennox, for being a faggot.

I'm exulted by Spaniards, for stealing intellectual property from child molesters.

I adore my mother, for using crime as a front for protection of money.

(Achievements of Three Children, Male Caribineiiri, Female Shiva, Female Putinnist Assassin)

Intelligence Services:

Narcotics Bureau: Your job is to victimize the families of those working with organized crime, foreign intelligence, to breed them as political supporters, through local politics, for national imperialism fo Britain, through a border zone.

MI-6: Criminal networks and lockworks, meant to establish a culture of wealth, to prevent criminal attacks on common citizens, for consumption of front companies, the concept of the "shell" the entire concept of Britain, for exports of skilled labor of Nobles, worldwide.

CIA: The concept of extrajurisdictional police being shut down, through police, SWAT, and Army, any cop crossing international, national, federal, state, county, municipal, town, or hamlet borders, through violent raid on home, through armed region of executive, governor's, or telecommunications council.

ExSec: The removal of counter-drug networks supported by Jews, so the Jewish interests remain strictly in national policy, hence fraternities of a federated union nature, remain closed and sanctioned, and the infiltration of criminals, is refused, any criminal acting under sanction of private body protected by police to turn a blind eye to act, unless victimizing individual to be traumatized.

IDF: The hunting of Jews holding themselves in sanctimony to Israel, especially if duplicating Catholic organization of past pogrom, the concept of a man or woman or union claiming Judaism, or converting forcibly such, assassinated with live round, reported in news by Freemasons with tip given for fiction episode of local repute.

Saudi Intelligence: The murder of Muslims, if crossing state borders, those that have fasted another individual, the only punishment of fast given for forced marriage, therefore conversion of wife to Islam, the forced date, wife, or marriage, a capital crime in Islamic states, hence Islam is the point and penalty of Saudi intelligence.

MSS: The free flow of infomation, given leadership, patent, and information, the programming of encryptions given for the open trade of management and leadership information, technical skill excused, for safer driving.

SDF: The hire of mercenary organization to hunt criminals, any claiming Asian blood but not acting as open source of engineer, those practicing claim of gang or body advising, but without corporate source available, to be granted for payment back into Asian bloodlines, any refusing to be shut out of license to practice gamed form of SDF with competitor in broad review granted.

Vatican: The active live hunt of those against teenage rebellion, those Sinful hunting those against money, sex, and drugs, out of the Catholic Church, supporting teenage rebellion, the common reinvestment in community out of poverty, the live murder of those rich supporting sanctimony of cloistered restriction of sex, death, and drugs, music and gaming.

Cuban: The film industry, the variable nature of film, fiction, and art to be changed, altered reference, otherwise regarded as "cholo", to be hazed, supporting all of Latino, Native, and Carib culture, the demand of any form of art to be modified to the people, for a business scheme, the opposition to common copyright, intellectual property, and claim of right, if information claimed freely and discussed.

Federalist: The concept of all organizations given education, academic, and capital, being open for politics and fair trade of people, any considering fraud of common good of people targeted as homosexual, if those in remedial populace acting as criminal, "thug".

Royal Irish Navy: The concept of those serving other powers, refused, through outreach styles of country, attempting to turn foes into commando Nazi socialist, through multiculturalism, to hunt those considered bright but refusing obese girlfriend or wife, the point of the Irish to give that man an obese wife, to refuse sex and practice job in poverty of union, to poison those common fans excelling at school.

Hindu National Intelligence: The reform of support groups, to sell the products of prime support and those related, at higher margin, through eliminating psychiatric, educational, and university care, reversing Hinduism, the common slavery of the autistic, physically disabled, and mentally adept disabled, returning life and style to those independent, and preventing any schizophrenics from existing, by saving them through counseling to avoid parasites, the psychiatric services, the common counselor.

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