#Ernest Christophe

[weirdlookindog]

Ernest Christophe - La Danse Macabre, 1859

[philoursmars]

Il y a une petite quinzaine, je suis allé avec Julien et Katie, au Louvre-Lens pour une expo temporaire : “Animaux Fantastiques”. Une très belle expo ! Ici des sphinx (et des sphinges)

Gustave Moreau - "L'Egalité devant la Mort"

Tony Johannot, illustrateur pour le livre de Charles Nodier - "Smarra - ou - les Démons de la Nuit"

Ernest Christophe - "Le Baiser Suprême"

voir 1

[hiidenneiti]

The work by Ernest Christophe (1827-1892) entitled Le Baiser suprême (The Supreme Kiss or The Sphinx), marble, exhibited posthumously at the Salon of 1892, shows a young man in a terminal embrace with a sphinx or chimera.

[schizografia]

Sono in lei radunate le grazie fiorentine:

in un corpo che insieme è solido e flessuoso

stanno Eleganza e Forza, due sorelle divine.

E’ una donna mirabile, frutto miracoloso,

stupendamente salda, eppure assai leggera,

fatta per troneggiare sopra un letto sontuoso,

e d’un papa o d’un principe attizzare i piaceri.

– Vedi come il sorriso è fine e voluttuoso:

in quella fatuità trascorre dolce un’estasi,

nello sguardo un’ambigua e languida ironia,

un velo intorno al viso la seduzione desta,

ogni tratto ci dice con trionfante malia:

“La Voluttà mi chiama, l’Amore m’incorona”.

Vedi che forte fascino dona la gentilezza

a colei che di tanta maestà si corona.

Su, giriamole intorno, scrutiamo la bellezza.

O artificio blasfemo, sorprendente malizia!

E’ un mostro bicefalo questo corpo di luce

che riverbera un mondo di suprema delizia!

– No, è solo una maschera quel volto che seduce

e che una fine smorfia ora va rischiarando.

Ma osserva il volto vero com’è atrocemente

raggrinzito e com’è arrovesciato standosene

al riparo del primo artefatto sembiante.

Povera sovrumana bellezza, il tuo bel rivo

di lacrime nel cuore spaurito si riversa,

mi fa ebbro il tuo inganno, e l’anima s’abbevera

al flutto che il Dolore dalle pupille versa.

– Perché ora piange, lei, l’avvenente regina

che terrebbe ai suoi piedi l’umanità sperduta?

Quale oscuro male l’è al bel fianco spina?

– Insensato, lei piange proprio perché ha vissuto.

E perché vive. E quello che più e più deplora

e che tutta la scuote è il fatto che poi,

domani, è necessario, ahimé, vivere ancora,

domani, posdomani, e sempre: come noi!

Charles Baudelaire, La maschera

[andrew3garfield]

Josh Hartnett as Ernest Lawrence OPPENHEIMER (2023) dir. Christopher Nolan

[hollytanaka]

JOSH HARTNETT as DR. ERNEST LAWRENCE OPPENHEIMER (2023), dir. Christopher Nolan

[lacontroller1991]

"Dr. Lawrence, I presume?" "You must be Oppenheimer. I hear you want to start a school of quantum theory."

Oppenheimer (2023)

[lepetitdragonvert]

THE MOON MAIDEN’S SONG

Sleep ! Cast thy canopy

Over this sleeper’s brain,

Dim grow his memory,

When he wake again.

Love stays a summer night,

Till lights of morning come ;

Then takes her winged flight

Back to her starry home.

Sleep ! Yet thy days are mine ;

Love’s seal is over thee :

Far though my ways from thine,

Dim though thy memory.

Love stays a summer night,

Till lights of morning come ;

Then takes her winged flight

Back to her starry home.

Ernest Christopher Dowson

[lowlifesymptoms]

anyways, i saw oppenheimer, hmu if u like these boys

[pedroam-bang]

Oppenheimer (2023)

[dreaminginthedeepsouth]

~ Eliot Daingerfield (1859–1932), The Moon Path, 1900

+

Then said my voices:

'Wherefore strive or run, On dusty highways ever, a vain race? The long night cometh, starless, void of sun, What light shall serve thee like her golden face?'

For I had pondered on a rune of roses, And knew some secrets which the moon discloses.

~ Ernest Christopher Dowson (1867-1900), Sapientia Lunae

[Guillaume Gris]

[adamwatchesmovies]

The Sound of Music (1965)

I was shocked to learn that The Sound of Music received mixed reviews upon its release in 1965. I can sort of understand someone criticizing the liberties it takes with the story it's based on (though of course, someone who does this should realize that real life is not particularly cinematic) but how can you not fall in love with this musical? Unabashedly sweet, it effortlessly charms you. This is exactly the kind of movie you’d love to watch on a miserable day when you’re sick. No matter how foul your mood is, it’ll lift your spirits.

In 1938 Austria, Maria (Julie Andrews, magnificent) studies to become a nun but doesn't fit in with her peers. She’s always humming a tune and constantly finds her spirit whisked away by music. To help her decide where she belongs, Maria is sent to help care for the seven children of Captain von Trapp (Christopher Plummer). As the family bonds, everything seems blissful, until neighbouring Nazi Germany begins mobilizing its troops…

If you’ve never seen The Sound of Music before, you’ll feel a little foolish once it’s over. You haven't sat down with this movie, but you’ve heard several of the songs before, you’ve seen parodies of the most memorable scenes and you may have even seen clips out of context. It makes you go "Oh! That's from THIS movie!" There’s no way to forget My Favorite Things, Do-Re-Mi, Sixteen Going on Seventeen or So Long, Farewell and you won’t want to. Much credit belongs to Richard Rodgers and Oscar Hammerstein II, who wrote the stage musical but if that was all the movie had going for it, you could watch a stage version. What elevates this production is the cast. Julie Andrews, best known for her role in Mary Poppins is unsurprisingly excellent as Maria. What she does almost seems easy because - like the children she cares for - you instantly fall for her. She’s so sweet, gentle and kind it’s hard to imagine even the iciest hearts - like the one beating inside Captain von Trapp - staying cold in her presence. What’s surprising is Christopher Plummer. Turns out, he can sing. I don’t know if you’d be as excited at the idea of them becoming romantically entangled if the children weren’t there, but that’s the point. If Maria does fall in love, it won’t be with just the father, it will be with the family.

The film’s best scenes often involve dance numbers. Not the big kind of dances that suddenly has everyone in the country expertly coordinated; playful, childlike dances as the young Von Trapps perform for a crowd or tender scenes between two people who tell us how they feel through lyrics and body language. Though the children are only given limited screen time and character development, they all get enough for you to understand them as people. It helps that the young actors portraying Liesl, Louisa, Friedrich, Kurt, Brigitta, Marta and Gretl are terrific.

One of my favorite things about The Sound of Music is that while it’s light, happy, romantic and carefree - maybe even corny - it has this tiny bit of tension and a smidge of fear in it too. As we approach the second act, a looming shadow in the distance keeps you wondering. When Germany annexes Austria, it’s a cold bucket of reality dumped onto this musical. Things were so sweet and light before; surely this means the family will be alright? You’re pretty sure they will be, but there’s a part of you that doubts. It’s just enough to give this movie stakes and compels you to keep watching. As nice as the film is, it might’ve been too much without that little bit of vinegar.

The Sound of Music has melted the ice around my heart and rekindled my appetite for musicals. It's the kind of picture that introduces itself to you by handing you a bouquet. You fall in love with the songs, the story and the dance numbers too. There's even a puppet show so darling it'll make your every worry and fear vanish. I can't wait to see it again. (December 13, 2023)

[moonwaterstories]

Winnie the Pooh quotes

Piglet: “How do you spell ‘love’?” Pooh: “You don’t spell it… you feel it.”

A friend is one of the nicest things you can have and one of the nicest things you can be.

Sometimes the smallest things take up the most room in your heart.

“We’ll be Friends Forever, won’t we, Pooh?” asked Piglet. “Even longer,” Pooh answered.

How lucky am I to have something that makes saying goodbye so hard.

What’s wrong with knowing what you know now and not knowing what you don’t know until later?

If it’s not Here, that means it’s out There.

If people are upset because you’ve forgotten something, console them by letting them know you didn’t forget—you just weren’t remembering.

I always get to where I'm going by walking away from where I have been.

People say nothing is impossible, but I do nothing every day.

I wonder how many wishes a star can give.

Those who are clever, who have a Brain, never understand anything.

Because Poetry and Hums aren’t things which you get, they’re things which get you. And all you can do is to go where they can find you.

“What day is it?” asked Pooh. “It's today,” squeaked Piglet. “My favorite day,” said Pooh.

-Alan Alexander Milne: Winnie the Pooh -illustartions: Ernest H. Shepard

[danverssawyer]

Jennifer Simard as Helen Sharp and Christopher Sieber as Ernest Menville singing "Let's Run Away Together" from Death Becomes Her The Musical.

[denimbex1986]

'Christopher Nolan has a knack for wrangling impressive ensemble casts for his films, but he really outdid himself with his 3-hour historical epic Oppenheimer. Even if the World War II biopic didn’t include the frequent Nolan collaborator Michael Caine, the stacked ensemble is filled with a terrific ensemble of veteran Hollywood stars, Academy Award-winning performers, underrated character actors, relative unknowns, and a few former box office titans that have seemingly disappeared over the last decade or so. It wasn’t that long ago that Josh Hartnett was the marquee lead of films like Lucky Number Slevin and Black Hawk Down, but his star power has seemingly evaporated, as some actors can only maintain the same level of success for so long. However, Hartnett has always been a more interesting and complicated actor than the roles that he was given at the beginning of his career. Hartnett isn’t just in the middle of a major comeback; he basically steals Oppenheimer with one of the most nuanced supporting performances.

Why Is 'Oppenheimer's Ernest Lawrence So Important?

Oppenheimer is told in non-chronological order, in what has become a hallmark of nearly all of Nolan’s films. While Hartnett doesn’t play a significant role in the black-and-white sections that show the confirmation hearings for Lewis Strauss (Robert Downey Jr.), he is instrumental within the main storyline focused on J. Robert Oppenheimer’s (Cillian Murphy) studies at the University of California in Berkeley, where he first conceived of much of the technology that ended up becoming critical within the Manhattan Project. The sequences in Berkeley aren’t just where Oppenheimer unlocks part of his genius, but also where he falls in love with his second wife Kitty (Emily Blunt), and makes a community of friends for the first time. It is during this period that he works hand-in-hand with Hartnett’s depiction of Ernest Lawrence; having an outsider’s perspective on Oppenheimer’s work was necessary for this sequence to function.

Ernest Lawrence was an incredibly influential figure in Oppenheimer’s life. While he’s not someone that Oppenheimer often looks up to and idolizes like Neils Bohr (Kenneth Branagh) or Albert Einstein (Tom Conti), Lawrence represents the sort of man that Oppenheimer could never really become. Hartnett depicts Lawrence as a man of great importance, intelligence, and class that also has a relatively normal social life and shows an ability to adjust to the stresses within his life. Lawrence encourages Oppenheimer to find a balance within his work, but it becomes obvious that it’s not possible for someone with his capacity for genius. It creates an odd tension between them; Lawrence feels both resentful and sympathetic for his friend. Oppenheimer’s inability to simply “turn off” his brain and focus on something other than his work may end up making him more historically important than Lawrence, but it negates any sense of accomplishment or happiness he may feel.

Josh Hartnett does some really outstanding subtle work with his performance, as there’s an interesting dichotomy to Lawrence’s feelings about Oppenheimer. He’s not resentful, as he and Oppenheimer are able to get along and share much in common due to their shared experience in nuclear research. Lawrence is someone who can communicate with Oppenheimer on an intellectual level about the groundbreaking studies that are being done, but he’s not capable of reaching the same next-level conclusions. Lawrence is well-educated and knows what he’s talking about, but also acknowledges that it’s not his name that the world will remember. It was almost a bit of reflective acting on Hartnett’s part as if he was acknowledging that he was no longer the same star who had led Pearl Harbor to its box-office success two decades prior.

Ernest Lawrence Is Important to the Politics of 'Oppenheimer'

Christopher Nolan isn’t necessarily known as a “political filmmaker,” but while his films aren’t necessarily as overt as the work of directors like Oliver Stone or Spike Lee, there are strong anti-war, anti-escalation themes in The Dark Knight, Dunkirk, and Tenet. Oppenheimer is definitely Nolan’s most overtly political work to date, and Lawrence is instrumental in unpacking the film’s complex understanding (and criticism) of the decisions that Oppenheimer made on behalf of his country during his lifetime. At first, Oppenheimer’s relationship with Jean Tatlock (Florence Pugh) is nothing more than a passionate romantic affair, but it's Lawrence who explains the danger that being involved with the socialist political movement at the time that they are in. Lawrence has his personal feelings about the rising Communist movement, but he worries that Oppenheimer’s mind could be distracted when he’s working on studies that could literally change the way that mankind observes the world.

The political differences between Lawrence and Oppenheimer are fascinating, and Hartnett does a great job of showing Lawrence’s conviction in his belief and handling the dense political dialogue. It’s fascinating that Lawrence’s political beliefs aren’t delved into that deeply other than his expressed desire to keep all discussions about the socialist movement out of the classroom. Lawrence tells Oppenheimer that he considered himself a patriot, but he also wants the University to be an institute of science, and not a hangout spot for a potentially dangerous movement to begin. He and Oppenheimer begin to grow further apart as a result of this, but they still share a mutual understanding of which events transcend their own personal beliefs. Both men react with the same surprise and fear when news of Adolf Hitler’s invasion of Poland breaks.

Josh Hartnett does a great job of showing Lawrence’s empathy for Oppenheimer. While he understands that a traditional celebration isn’t necessarily something that Oppenheimer would enjoy, there’s a friendliness between the two men that continues after General Leslie Groves (Matt Damon) whisks him away to work on the Manhattan Project. Lawrence refuses to report incriminating evidence on Oppenheimer during the government’s investigation, and the two are able to shake hands at the end of the film. That’s more than Oppenheimer can say about Edward Teller (Benny Safdie), whose pro-nuclear beliefs created too much of a divide between them.

Josh Hartnett is in the midst of a much-needed comeback, and it’s great to see that Oppenheimer gave him such a nuanced role to execute. While it may have taken a while for him to finally get the chance to work with Nolan, his performance is one that is essential to show what made Oppenheimer tick on both an intellectual and personal level.'

[yannis-boultadakis]

In 2021 I had the chance to work as a posing artist and animator on another beautiful feature Ernest et Célestine: Le Voyage en Charabie from directors Jean-Christophe Roger & Julien Chheng for Fost, Folivari and La Cachette studio, I uploaded some sequences below, enjoy ;)