#one of the most beautiful scenes in cinematic history

[whiskeylover75]

Marilyn Monroe, born Norma Jeane Mortenson on June 1, 1926, was an American actress, model, and singer who remains an enduring cultural icon. Her life, marked by beauty, talent, and tragedy, continues to fascinate and inspire generations worldwide.

Monroe began her career as a model, rising to prominence in the 1950s as a Hollywood actress. Known for her distinctive blonde hair, captivating smile, and hourglass figure, she quickly became one of the most recognized faces in the entertainment industry. Her roles in films such as "Gentlemen Prefer Blondes" (1953), "The Seven Year Itch" (1955), and "Some Like It Hot" (1959) showcased her comedic talent, charisma, and undeniable screen presence.

Beyond her acting abilities, Monroe captivated audiences with her vulnerability and sensitivity on screen, often portraying characters who masked their insecurities with glamour and allure. Her iconic performance of "Diamonds Are a Girl's Best Friend" in "Gentlemen Prefer Blondes" and her unforgettable subway grate scene in "The Seven Year Itch" have become iconic moments in cinematic history.

Off screen, Monroe's personal life garnered as much attention as her film career. Her marriages to Joe DiMaggio and Arthur Miller, as well as her relationships with other prominent figures, added to her mystique and public fascination. Despite her glamorous image, Monroe faced personal challenges and struggled with her mental health, which contributed to her tragic death in 1962 at the age of 36.

Monroe's legacy transcends her brief life and continues to influence popular culture. Her enduring status as a symbol of beauty, sensuality, and vulnerability has made her an eternal icon. Her timeless photographs by photographers such as Milton H. Greene and Cecil Beaton, as well as her memorable film performances, ensure that Marilyn Monroe remains a cultural phenomenon whose impact resonates to this day.

In conclusion, Marilyn Monroe's legacy as an actress and cultural icon is characterized by her beauty, talent, and complex persona. Her contributions to film and popular culture have left an indelible mark, ensuring that she remains an eternal symbol of Hollywood glamour and enduring allure.

[vidavalor]

Leave the Gun, Eat a Damn Cannoli

Satan to The Metatron like...

And Aziraphale all like...

And Satan all... going with me is not actually a choice, really, Az, I mean, wait 'til I actually get to the 'offer you can't refuse' part...

You ever see 'The Godfather', Az? I know you have.

You remember the film producer that wouldn't give Johnny Fontane the role in that movie? Do you remember how The Godfather forced his hand? The producer was a bit tough to crack at first until they realized what he loved more than anything in the world, remember?

His horse.

Do you remember what they did to get that guy to play ball, Az?

They killed the horse, chopped off its head, and left it in the guy's bed when he was sleeping. He woke up soaked in its blood and screamed the house down. It's one of the most notorious and disturbing scenes in cinematic history. Don't worry, though-- we're gonna do that shit a bit more symbolically here. Think of it as more of an allusion to the film than a literal recreation.

Your horse is Crowley. Amusingly, both euphemistically and symbolically. He's who you love more than anything else. We can also get in his head because he's a demon so there's that bit of the "horse head" in here as well, just for dark amusement.

Instead of killing him, though, which will just tick you off and make you harder to tempt to Hell and get out of the way for Armageddon 2: Armageddon Returns, we're gonna make you an offer you can't refuse:

Crowley's safety.

Yeah, I'm going to show up as The Metatron and tempt you by offering the one thing you would never refuse--no matter how slim the odds of the offer being true seemed-- because you have no choice. You would do anything to keep Crowley safe. Anything. Your unconditional love would be beautiful if I weren't evil incarnate and all that.

I mean, of all the nebulas for my stooge to reference, right?

Just FYI-- we watch more than Mary Poppins down here. This bit below is from 1941, so, really, Shax ghost-wrote part of the novel and film, apparently...

The show we're in has been telegraphing allusions to this film as a thing for awhile now, actually, Aziraphale... you rejecting oranges in 1601... Gabriel and the spilled tomatoes out of the wooden crates in the marketplace in 2.01... the fact that he then spent a chunk of S2 taking a nap in your house after betraying us, so, that Luca Brasi Gabriel was doing a form of, well...

...sleeping with the fishes...

...but really, ya know, the strongest suggestion of all this The Godfather referencing was when those writers of our show told us how it was tied to how you wind up going Down-- way back in the first episode. You foreshadowed it, actually...

You said it yourself then, Aziraphale:

Yep. That's the idea.

[shipcestuous]

Appassionata 1974 (f/d) (submission)

Hey Shipcestuous. ShipCestFan here. Didn’t see 1974’s “Appassionata” on your list so thought I’d submit it.

TL;DR:

Eugenia, a voluptuous, curious and coquettish young woman, decides to seduce her suave, sophisticated father with the help of her BFF.

DETAILED SYNOPSIS:

(WARNING - NARRATIVE AND GIFs CONTAIN SPOILERS!)

Appassionata is a 1974 Italian film made when morality was IMHO at one of its least restrictive points in cinematic history. And I say that as a good thing because I’m not sure this movie would be made today. Then again? It’s the Italians, so who knows? LOL Thank God for me that the 2 young women looked older than the 17ish year olds they were portraying.

I couldn’t find a rating for the movie, but I would put it at rated-R for strong sexual content, taboo themes like ‘cest, con-noncon, zoophilia dreams (don’t ask…just watch the movie), and nudity. And while that is all well and good, I rather enjoyed this film more for how it flip-flopped, back-n-forth from familial to romantic/sexual between father and daughter. One moment dad is scolding his insolent, 17ish year old teenage daughter for staying out too late or not picking up her mess. The next moment, she’s intentionally flashing him, and he’s willingly taking it in. One moment she’s innocently asking daddy to take her shopping; the next moment, she’s devilishly removing her panties for him.

The tagline for this movie on IMDB is “deep inside every young girl burns the passion of a woman.” IMHO, they forgot to add, “…woman’s desire for her father.” LOL The film basically revolves around two best friends, Nicola and Eugenia, who are on a mission to explore love, romance and sex. And they decide to use Eugenia’s sophisticated father, Emilio, as the object of their affection! Mom suffers from mental health issues, spending most of her waking hours on the piano or in bed or talking senselessly as she scurries about. Emilio, his daughter and her BFF pretty much do as they please.

As was popular with 1970s, Italian films of this genre, there’s plenty of gratuitous nudity and sex (altho I would not put this in the softporn/sexploitation category). The stars of the movie were big names back then, especially the still very beautiful Ornella Muti, who plays Eugenia – then 19 years old.

Among some of the key scenes for shippers are Nicola visiting her BFF’s dad – a dentist – under the guise of having dental work and screwing his brains out on the first visit and each visit thereafter. Meanwhile, the more nubile Eugenia is executing her plan to seduce dad, flirting coquettishly, and in one of the more appealing scenes, teasing her father mercilessly with her body. The look of agony on his face is priceless! One of the other things I like about this movie was that Emilio looks very much like a middle-aged dad. He has a paunch, graying temples, is mustached and seemed too old for having just a late-teenaged daughter. I’d put his age in the film at close to fifty.

The film ends with mom being committed because she has a particularly bad meltdown after discovering dad and Eugenia consensually behaving as more than father and daughter. So Elisa is locked away while Eugenia and Nicola take the opportunity to complete their final seduction of Eugenia’s dad.

Without Elisa around, Emilio calls up Nicola with whom he’s now having a full blown affair. But the viewer gets the sense that Nicola and Eugenia were expecting his call. Emilio picks Nicola up and they head back to his home where she gets to work seducing him. She relaxes him, bringing him a bourbon, lighting a cigarette for him and unbuttoning his stiff collar. Once he’s relaxed and in bed, she disrobes and surprises him with sex. But as the morning sunlight shines through the window, it’s Eugenia who’s lying naked next to her father in bed. The movie intentionally obscured the lovemaking scenes through the night so it’s not quite evident who’s making love with him? Is it Nicola? Is it his daughter? I like to think it was both.

The movie’s closing scene was quite satisfying for me. It shows the girls leaving the house, happily, arm-in-arm while Emilio watches them from a window. The shipper in me wants to believe that ending was communicating their new life, now, as a throuple. But it could just be that the girls satisfied their curiosity. And life for everyone is back to familial normality. Your followers who enjoy these types of movies should watch the movie and decide for themselves on that ending.

Here are some GIFs from the movie with my editorial comments in yellow. I added the white-font subtitles for clarity.

[mx-nii]

All of my hyperfixations - past and present - are merging into a chaotic bundle of the Triple Ts (terribly traumatized twinks) and slowly driving me insane.

I can’t focus on my day to day life when I’m constantly thinking of terribly traumatized twinks (not all of them are twinks BUT THEY ARE ALL GAY)

Like genuinely how am I supposed to focus on such trivial matters like pre-calc or my collapsing relationship with my father when all I can think about is:

how Heartstopper isn’t just a cringe teen show, it’s a beautiful representation of being young and queer, and how struggling with mental health can severely impact your most formative years - Charlie had friends and yet still felt completely alone and like he couldn’t burden them with his pain because mental illness fucks with your brain so deeply, it’ll make you believe you have nothing and no one when you may actually have something and someone

or how Dead Boy Detectives isn’t just a silly ghost show (although it’s a wonderful silly ghost show), its a show about how friendship and love can be the most powerful thing in your arsenal (aside from a magic cricket racket) and how your past can haunt (ha) you and how the constant fear of becoming who you hate most in the world will always linger in the back of your mind but your true family can keep you safe and help you heal, and how fucking impossible it is to be gay or a POC at the wrong place, in the wrong fucking time - and maybe you won’t be able to find any peace in your current situation but there is peace out there somewhere, waiting for you patiently. (Charles and Edwin found their peace in their own homebrew afterlife, but seeing as we are mere servants of the mortal plane and not transdimensional beings, we shall have to suffice with sculpting our own peace out of this terrifying world because we fully damn well can, and we deserve it)

or how she-ra isn’t some goofy kid show; it’s a show about how being groomed and manipulated can destroy a child’s psyche so much that it will take years to rebuild (also it’s gay as fuck). catra wasn’t cruel (okay maybe she was just a bit but hear me out guys- I’m due for a rewatch and all I remember is I love that woman more than life itself), she was abandoned again and again and again and all she wanted was for adora to stay, so she wouldn’t be alone anymore, not again. And finally- FINALLY she stayed (giving us one of the most cinematic scenes in history [so just this once, adora: stay]). Adora and Catra are two sides of the same coin. They were both subject to the mental and physical torture of Shadow Weaver and they both responded in different ways due to their own personalities and differences in how they were treated - but they found each other in the end, and always protected each other because that’s what best friends (specifically the really really gay ones) do.

or how the owl house ALSO isn’t a silly kids show, but instead another show about abuse and trauma and growing up queer, and how healing and freeing acceptance is (oh and also some more child soldiers). Amity was so mean to people because meanness and cruelty was all she knew, until Luz took the time to dig a bit deeper and find the real Amity buried deep inside - and how Luz and Amity, even at such a young age, in such a dangerous and confusing world, were ALWAYS there for each other, no matter what

or how 9-1-1 is deeper than just a random fire fire show. It depicts all sorts of personal struggles like post partum depression, PTSD, anxiety, trauma, child neglect/abuse, depression, abandonment, death, foster care, divorce, and ofc: suppressed queerness/comp het! (Eddie literally put Buck in his will and made him the designated legal guardian for Christopher - if that ain’t gay, idk what is)

or how criminal minds has one of the most tragically beautiful found family tropes whilst being a show about the literal scum of the earth? How even in such gruesome circumstances, these people banded together and made the most beautiful family.

or how Percy Jackson is a kids/teen book but delves into such deep and tragic topics so well. Child soldiers, child abuse, being queer at the wrong place and time, coming to terms with being queer, child soldiers, DID I MENTION THE CHILD SOLDIERS??

or how Epic uses expert music theory and lyricism to convey a gorgeous tragedy in the best way I’ve ever seen

or how the grishaverse had so much potential, and is a brilliant literary universe but was BUTCHERED on screen, wasting one of the best casts I’ve ever seen

Genuinely how do I move on with my life when I can’t stop thinking about this (and so many more thoughts that I don’t have the energy to write out at 3:30AM)

[iambicpentameterhamster]

I want to talk about this being one of the best moments in cinematic history.

"Dear Billy" (ep 4 season 4) of Stranger Things is one of the best episodes of any TV show ever. Probably THE best, actually. The episode has a beautiful mixture of suspense, horror, comedy, emotional vulnerability. But undeniably the most iconic scene is where Max escapes Vecna to the sound of Kate Bush.

Every now and then i revisit this show, and every single time i watch this scene i sit forward in my seat, my heartrate soars, and at the end i cry. It never ceases to amaze me. Sadie Sink delivers her speech beautifully, and she sells this scene.

I think the scene is so powerful because it's a glimpse of hope. That montage of her friends, as they try desperately to help her from the outside... it reminds Max why life is worth living. It reminds her why life is worth fighting for. That combined with the perfect music, the high stakes, incredible direction... it's just so so incredible. Steals my breath every time.

[kinonostalgie]

Ursula Andress, born on March 19, 1936, in Ostermundigen, Switzerland, is a Swiss actress and sex symbol who gained international fame for her iconic role as Honey Ryder in the first James Bond film, "Dr. No" (1962). Her entrance in a white bikini, emerging from the sea with a knife strapped to her hip, became one of the most memorable scenes in cinematic history and established her as the quintessential Bond girl. This role not only catapulted Andress to stardom but also set the standard for future Bond girls, blending allure, strength, and independence.

Before her breakthrough in "Dr. No," Andress had appeared in several European films, but it was her role as Honey Ryder that brought her to the attention of a global audience. Her performance was praised for its blend of sensuality and toughness, and she quickly became a symbol of 1960s glamour and beauty. Following "Dr. No," Andress continued to capitalize on her newfound fame with a series of high-profile roles in both European and Hollywood films.

Andress starred alongside some of the biggest names in the industry, including Elvis Presley in "Fun in Acapulco" (1963), Frank Sinatra in "4 for Texas" (1963), and Dean Martin in "The Silk Stockings" (1964). Her versatility as an actress was further showcased in the epic comedy "Casino Royale" (1967), where she played Vesper Lynd, another memorable Bond-related role.

Despite being often typecast in roles that emphasized her physical beauty, Andress demonstrated considerable talent and charisma, making her a sought-after actress in the 1960s and 1970s. Her influence extended beyond the screen as she became a fashion icon, known for her distinctive style and elegance.

In her later years, Andress's career slowed down, but her impact on popular culture remained significant. Her portrayal of Honey Ryder continues to be celebrated, and she is often referenced in discussions about the evolution of the Bond girl archetype. Ursula Andress's legacy in the film industry is marked by her groundbreaking role in "Dr. No," her contributions to the spy genre, and her lasting influence as a symbol of beauty and strength.

[take-a-dip-in-the-deadpool]

It maybe the marijuana talking but i think one of the most beautiful and poignant scenes in cinematic history is when Moana returns the heart to Te Fiti. The whole thing is breathtaking.

[droughtofapathy]

The Gilded Age's Broadway Divas: Agnes van Rhijn (Christine Baranski)

Christine Baranski plays the curmudgeonly head of the van Rhijn household who always has a sharp word for everything. A bastion of Old New York, Agnes detests change and challenges to tradition.

In contrast, Christine Baranski has had a long and illustrious career in the theatre, even before earning mainstream recognition in movie musicals such as Chicago (2002 - a delight), Mamma Mia (2008 - an icon), and Into the Woods (2014 - the highlight in a dismal movie). In the theatre, she has taken on seven of Sondheim's finest works to much better success, including the original pre-Broadway workshop of Sunday in the Park with George (Clarisse, later named Yvonne), regional productions of Sweeney Todd (Mrs. Lovett), and the exquisite Encores! production of Follies (Carlotta) alongside Donna Murphy, our Mrs. Astor at large.

Christine is a two-time Tony winner for Best Featured Actress in a Play for The Real Thing and Rumors. We all know her iconic Tanya Chesham-Leigh of the Mamma Mia cinematic universe, so you'll forgive me if I neglect those performances in this list.

#1: "A Little Priest," Sweeney Todd (1999)

With Sweeney Todd raking in over $1.7 million weekly, let's start with one of many Sweeney Todd productions that's just so much better than what they've got going on at the Lunt-Fontanne Theatre these days.

The act one closer is considered by many as Sondheim at his lyrical best. A comedic killer of a number, nailing the intricate lyrics would give even the strongest theatre veteran anxiety (I have seen many a delightful disaster and brutal butchery of this number), but Christine does so with aplomb.

This performance alongside Kelsey Grammar as Sweeney is from the 1999 Reprise! L.A. 20th anniversary concert production at the Ahmanson Theatre. Three years later, Christine would go on to reprise her role as Mrs. Lovett at The Kennedy Center opposite Broadway's leading man Brian Stokes Mitchell. Also featured in this production is another Gilded Age actress, but more on that later.

#2: "Everybody Wants to Do a Musical," Nick & Nora (1991)

Based on the book/film/tv Nick and Nora Charles, this musical is infamous for being one of the most notorious flops in Broadway history. It had a then-record breaking preview period of 71 shows, and closed after just nine performances, proving not even an all-star cast (including Joanna Gleason, Chris Sarandon, Debra Monk, and Faith Prince) and creative team can make a hit.

Here, Christine plays Tracy Gardner, a fading starlet whose comeback is threatened by an untimely murder. There's really not much that can be said about the plot, but if anyone wants me to recite an oral history of everything I know about this flop, DM me.

It's a miracle we even have a cast album to commemorate this...special show. A full bootleg can be found HERE on youtube, if you want to see this masterpiece for yourself. I can't imagine why you'd want to though.

#3: "A Fact Can Be a Beautiful Thing," Promises, Promises (1997)

Once again proving her comedic chops, here Christine plays a one-scene wonder barfly named Marge MacDougall in the 1997 Encores! production of Promises, Promises opposite Martin Short. The height difference really elevates the comedy. Her character shows up for one scene (and a half) and in every production, has stolen the show. You can see why. The number really has no plot value, but it's perfect in every way.

A note: Encores! for those unfamiliar, is a series of limited run concert-style productions put on by New York City Center. It was originally conceived 30 years ago to highlight hidden gems and forgotten pieces, but has included more mainstream shows in recent years (y'know, to keep the lights on).

Incidentally, Christine is not the only Gilded Age actress to take on this role to great success. The other actress has a...wildly different approach to the role. But more on that later...

#4: "I'm Still Here," Follies (2007)

I love Follies. I would commit atrocities you cannot fathom to have seen the 2007 Encores! production of Follies, starring fellow Gilded Ager Donna Murphy as Phyllis, Victoria Clark as Sally, and featuring Christine Baranski as Carlotta. Here, singing one of Sondheim's greatest hits, Christine plays an aged former Follies girl whose big number was cut, but is happy to serenade her audience with it now. My kingdom for a high quality bootleg of this show, please someone must have it.

Full disclosure: this is not my favorite rendition. That honor goes to Elaine Stritch in the Sondheim 80th Birthday Concert. But this one is damn good, now that I'm reviewing it. It showcases Christine's fantastic vocal and acting abilities, and that's Sondheim for you.

In 2015, Christine would go on to play Phyllis in the Royal Albert Hall production of Follies. And I love you, Christine, but you are a Carlotta through and through.

#5: "Welcome to the Theatre," Applause - Kennedy Center Honors (1997)

This past week, Christine Baranski honored opera diva Renee Fleming at the Kennedy Center Honors, but that was not only time. In 1997, she was one of three mega talents honoring the gorgeous, the glamorous, the golden girl from the Golden Age of Hollywood, Lauren Bacall.

She opened the tribute with a song from Bacall's Tony-winning Applause, a musical based on All About Eve. Side note: people have divisive opinions on Lauren Bacall's singing voice. I love it.

While Christine's isolated performance can be found, I elected to link to the full tribute so you can all enjoy this delight. Following Christine is my beloved Bebe Neuwirth, and the late Ann Reinking (singing songs unrelated to Lauren Bacall, but fuck it). The final trio of all three women is the stuff of my dreams. I need you to witness it too.

Bonus: "Hot for Howie"

Nothing I can say will add to this. I'll just let the song speak for itself.

LINK TO MASTERPOST

[all-things-andrew-scott]

Andrew Scott as Lord Rollo in ‘Catherine Called Birdy’ Part 10/15

I have a morbid fear of pregnancy and childbirth but I thought this was one of the most beautiful, moving scene in cinematic history. I nearly cried.  Billie Piper and Andrew Scott have AMAZING chemistry together and I hope they play another couple again someday, 

[wianes]

I recently experienced four films that left a lasting impression on me, compelling me to capture my thoughts and reflections. These cinematic artworks quickly went up on my list of favorites, as they embody everything I cherish and expect from exceptional screen storytelling.

"Wild Strawberries" is a work of subtle, high art that resembles a dreamy, surreal nighttime slumber. It stirs my subconscious in an odd way, aiming for hushed, hypnotic, and incantatory effects. This symbolic tale is a trip down memory lane, filled with all the bittersweet characteristics of nostalgia. The film delves into themes of fundamental human experiences like life, death, the absurdities of existence, and loss through a dual journey of remembrance and evocative imagery. I consider this movie to be one of the most remarkable films in the history of global cinema.

The story's grace and rustic charm create a cozy atmosphere for introspection, perfect for winter evenings.

"The Mirror" is a profoundly enigmatic and intricately structured film that transcends traditional cinema by embracing artistic experimentation through its non-linear narrative and rich symbolism. It is like stepping into a beautifully woven tapestry of emotions and memories, where every scene feels like a magical painting coming to life. The film intricately weaves together themes of memory, identity, existential dread, and dreamy moments that blur the line between reality and illusion. Its unusual yet striking compositions allow for a meditative exploration of the human experience within sociopolitical contexts. The emotions and enchanting visuals captivated me, immersing me in a world of high-quality art.

"Wings of Desire" creates an atmosphere filled with meditation, elegy, and reverie. It does not rush into the plot but instead moves with the patience of its angelic characters. This two-hour film may lack traditional narrative structure, yet it captures a rare poetic sensibility. It evokes a reflective journey through ethereal realms, where angelic contemplation meets the poignant yearnings of mortal hearts. The film's lyrical quality is both haunting and hounding, blending lovely, harsh, and romantic elements. Its themes are timeless, celebrating the transient and fragile moments of being human. Despite its solemn style, "Wings of Desire" explores love, despair, and the choices that mortals face in dealing with each.

"It is difficult to put into words how visually stunning Akira Kurosawa's 'Dreams' truly is. The film features colorful and sentimental scenery, Japanese folklore, and a fragmented collection of quasi-fairy tales, all seamlessly merging. It reminds me of waking up from my own dreams and realizing their absurdity. No other film has captured the sensation of being trapped in molasses while trying to run or move during a dream so perfectly. Often regarded as an art film, 'Dreams' includes segments that are not overly scary, yet I find much of it deeply creepy, or at least uncanny. The more nightmarish parts hold nothing back. The movie also has a universal emotional appeal and complexity, addressing modern anxieties—the sadness and hardships of war, the unpredictability of nature's forces, the dangers and horrors of nuclear power, and the quiet beauty found in ordinary life.

[the-visual-journey-blogg]

Lotte Reiniger (1920s): An Inspiration to Modern Animation Directors

(10 minutes reading)

By Sofi Ojeda

Lotte Reiniger was a talented German artist born in Berlin, she displayed remarkable, self-taught skills in creating intricate paper silhouettes from an early age. She incorporated these silhouettes into her homemade shadow theater with the influences she drew from traditional Asian shadow plays. Reiniger's talent led to an introduction to her later partner Koch, who not only designed her animation studio but also served as her producer and camera operator until his death in 1963.

Reiniger's enduring fascination with timeless fairy tales permeated her animations, including notable works such as "Aschenputtel" (Cinderella) and "Dornröschen" (The Sleeping Beauty) from 1922. However, her most remarkable achievement was "The Adventures of Prince Achmed," a pioneering project created in collaboration with her husband and others over three years, celebrated as the first full-length animated film in history.

Although, Reiniger created various works in different countries before and after the war, she never ventured into another full-length feature film. Nevertheless, her unique animation style continues to exert a profound influence on a diverse range of cinematic creations, from Disney classics to the enchanting world of Harry Potter, leaving an indelible mark on the realm of animation.

Pioneering Techniques

Furthermore, Reiniger's legacy transcends her era, as her pioneering techniques, including cut-out animation (where body parts are separated and manipulated with anchor points and a skeletal structure). And her silhouette art underscores one of the most recognized design principles—silhouette—in character design and object recognition. This principle facilitates viewers' comprehension of visual information and enhances their grasp of the narrative.

Having gained insight into her techniques, let's explore some examples of her influence.

Inspiration to Animation Directors Over Time

Reiniger influence on Walt Disney

She inspired Disney to incorporate the concept of the multiplane camera into animation. This innovative camera technique involved the use of multiple layers of drawings moving at varying speeds, effectively creating a sense of depth and dimension in the video.

Reiniger influence on Tim Burton

In Tim Burton's "Corpse Bride" (2004), a traditional interpretation of Reiniger's style surfaces in a scene during the musical number 'Remains of the Day.' Utilizing silhouettes set against vibrant green backgrounds, the narrative unfolds, reminiscent of Reiniger's shadow animations.

Reiniger influence in Ford Coppola

The opening scene of Francis Ford Coppola's "Bram Stoker's Dracula" (1992) serves as a clear illustration of this phenomenon. It involves the recounting of Vlad 'The Impaler' Dracula's history, shifting from a live-action sequence to a battle montage that adopts Reiniger's distinctive artistic style.

Lotte R. influence in Harry Potter

In "Harry Potter and the Deathly Hallows – Part 1" (2010), there's a noteworthy transition from live-action to animation as Harry, Ron, and Hermione delve into 'The Tale of the Three Brothers.' To honor Reiniger's iconic storytelling style, which often resembled classic fables, the filmmakers opted for this approach

Conclution

From a gender perspective, it appears that Lotte Reiniger existed in a parallel world where her voice as a woman was not only acknowledged but also illuminated across time to the present day. It's worth noting that she seemed to be the sole practitioner of her unique animation technique, and had she worked in a male-dominated field, the course of history might have unfolded quite differently. However, I am not implying that she didn't face the challenges that were prevalent in her time.

In summation, Lotte Reiniger's contributions to the world of animation stand as a testament to her inventive spirit and pioneering endeavors. Her mastery of shadow animation, her lasting impact on modern animation techniques, and her feminist legacy collectively leave an enduring impression on the cinematic landscape. Her influence continues to inspire filmmakers and animators to this day.

Bibliography

http://www.screenonline.org.uk/people/id/528134/index.html

https://www.acmi.net.au/stories-and-ideas/lasting-legacy-lotte-reiniger/

[mesaylormoon]

When Harry Met Sally: 35 Years Later

My parents were traveling in Mexico and I was battling illness when I watched When Harry Met Sally for the first time. I was vaguely familiar with the title and its presence in pop culture, but didn't have the chance to fully appreciate it until last year. Romantic comedies are a particularly hard sell for me -- and I know I'm not alone in these feelings. They're often trapped in a genre full of cliches, and the characters and conflicts of so many of these movies are not interesting enough to keep them from fading into the histories.

Once in a lifetime, however, you have the opportunity to watch a film like When Harry Met Sally, and it completely shifts your perspective about romance in cinema...

Pros:

Billy Crystal and Meg Ryan share absolutely perfect chemistry together. They don't appear to be very compatible, but their performances and the interactions they share throughout the film make them one of the most iconic and adorable couples in cinematic history

Departures from narrative convention allow the characters to part ways twice in the movie, and deepen their relationships with each other every time they reunite. Even more refreshingly, Harry and Sally have two friends who essentially serve as a foil to the emotional conflict that takes place in the movie. These ideas would almost never be explored in other romantic comedies that followed, and give When Harry Met Sally a unique edge over its successors

The story is character-driven and avoids most of the forced conflict that tends to plague other romantic comedies

The framing device established at the beginning of the movie builds to a heart-melting payoff, as well as an absolutely beautiful finale for the protagonists

The ever-famous diner scene

The cinematography gives this feature a very relaxed, earnest feel

This is probably the only movie I've ever seen where I rooted for the protagonists to end up together

The use of the song It Had to Be You is so perfect it's almost heartbreaking

The fall-inspired aesthetic has made When Harry Met Sally one of the most influential fashion mood boards ever created. It's also a perfect picture to watch during the holidays when its set during Christmas and New Year's

Cons:

None. This film is perfect in every sense of the word.

Verdict: When Harry Met Sally is the greatest romantic comedy of all time. That's all I have to say about it. Go watch it during its 35th anniversary right now!

[zannolin]

the "i do believe in fairies" scene in peter pan (2003) is actually one of the most beautiful and hopeful and kind scenes in cinematic history. i do believe in fairies....yeah....i do....i do....

[ronaldanthony4]

I've always found solace in the rhythm of my digital canvas, each pixel a brushstroke, each stroke a heartbeat echoing the cadence of my thoughts. And today, amidst the whirlwind of life's chaos, I found myself drawn once again to the sanctuary of creation. As my stylus danced across the blank expanse of my screen, I knew exactly who this piece was meant for – my dear friend, Lovemarie. She always appreciated the raw emotion and vulnerability in my artwork.

It's been far too long since our lives intertwined in the tapestry of friendship. Time, that relentless thief, had stolen precious moments from us, leaving behind only fleeting memories. But today, I sought to immortalise our connection in the form of digital art, a testament to the bond we share. Through each stroke of colour and curve of line, I poured my heart into the creation, hoping to capture the essence of our friendship in every pixel. Lovemarie's spirit seemed to guide my hand, whispering words of encouragement and love as the artwork took shape before me.

As the image began to take shape, I found myself drawn to a character from a beloved film, one who embodied the essence of Lovemarie in my mind. Tina Carlyle, the epitome of grace and allure, danced across the screen, her presence reminiscent of my dear friend. Clad in the iconic minidress from that fateful scene in "The Mask," she exuded a magnetic charm that could captivate even the most jaded of souls. As I continued to work on the artwork, I felt a sense of peace and connection with Lovemarie that transcended the physical world.

In this artwork, I captured the essence of that moment when Stanley, in his alter-ego as The Mask, first lays eyes on Tina. It's a scene etched into the annals of cinematic history, a moment of serendipity that sets the stage for an unforgettable encounter. And in Lovemarie, I saw echoes of Tina's spirit – bold, vivacious, and unapologetically herself. That made me feel an inexplicable connection to her, as if we were kindred spirits in a past life. It was a powerful reminder of the universal language of art and its ability to connect us across time and space.

With each stroke of my digital brush, I poured my admiration for Lovemarie onto the canvas, infusing the artwork with a depth of emotion that words could never convey. Every curve, every line, spoke volumes of the connection we shared, a bond forged in the crucible of time and tested by the trials of life. As I completed the painting, I felt a sense of fulfilment and gratitude for the opportunity to express my admiration through art. The finished piece stood as a testament to the enduring power of creativity and human connection.

But even as I marvelled at the beauty taking shape before me, I knew that this was only the beginning. Another artwork beckoned, another opportunity to explore the depths of our friendship through the lens of cinematic nostalgia. And so, with renewed determination, I vowed to embark on yet another creative journey, one that would further immortalise our friendship. As I gathered my energy for the next project in future, I couldn't help but feel excited for the new adventure that awaited. The blank canvas before me held endless possibilities, ready to be transformed into another masterpiece celebrating our bond.

As the final touches fell into place, I paused to reflect on the significance of this moment. It wasn't merely about creating art; it was about capturing a fleeting glimpse of eternity, a snapshot of our friendship frozen in time. And with a sense of satisfaction that bordered on reverence, I sent the finished artwork to Lovemarie, a silent tribute to the profound impact she had on my life. The colours and shapes on the canvas seemed to dance with joy, mirroring the happiness that filled my heart. Each stroke of the brush felt like a declaration of love and gratitude, a testament to the beauty of our connection.

But amidst the flurry of creativity, a quiet curiosity nagged at the corners of my mind. I want to ask her how is her life so far? What joys had she experienced, what trials had she faced? And so, with a simple message, I reached out to her, eager to reconnect and share in the tapestry of her life once more. As I waited for her response, memories of our past adventures flooded my mind, bringing a sense of nostalgia and warmth. I hoped that our conversation would reignite the spark of friendship that had once burned so brightly between us.

For in the dance of creation, amidst the pixels and the brushstrokes, I found not only solace but also a profound sense of connection. And in Lovemarie, I discovered a kindred spirit, a friend whose presence transcended the boundaries of time and space. So here's to you, Lovemarie – may our friendship endure, a beacon of light in the vast expanse of the digital cosmos. Let's continue to create, to share our stories and dreams, and to cherish the bond that unites us in this ever-evolving world of art and imagination. Cheers to the memories we've made and the adventures that lie ahead.

[bobbieisnotcool]

about me ! ⋆˙⟡♡

i’m a british teenager who enjoys acting and english literature. i love writing poetry and i talk far too much. people used to say it was because i had such a wide imagination and that a lot went on in my head that i don’t process. now, however, when i am not alone i don’t think. i’m bad at processing my thoughts, so i tend to just live in the moment. i feel most like myself when i’m on a stage performing, with my best friend, laughing, or making people smile, and i try to find myself or others in everything around me. i consider myself to be somewhat of a neil perry from peter weirs dead poets society. i also consider myslef as somewhat of a charlie kelmeckis (the perks of being a wallflower) and a jo march (little women). i think if i were a song it would be forever young by alphaville, i can imagine that being my song in an 80s coming of age/comedy film. i mean it is my favourite song of all time now, but real life in 2024 is nowhere near as cool. on the topic of films, my favourite scene in cinematic history is neil perry’s monologue scene in dead poets society where he talks about his dream of being an actor (me too neil). however, the art museum scene in ferris buellers day off with the instrumental of the dream academy’s please please please let me get what i want is my favourite moment in cinematic history without speech. in particular, when cameron is staring at the girl in the painting and seeing himself in her. the whole idea is that the more he looks at the girl in the painting the less she becomes and the less he is able to see. he fears that the more people look at him he will get the same fate as the painting. to finish off some of my vague favourites, my favourite writing of any sort whatsoever is sylvia plaths idea of the fig tree analogy in the bell jar, i reference it in almost everything i write, thus it’d be wrong not to give it its rightful mention here. if you have not read the bell jar, or know of this analogy, i highly recommend. i’ll show you an extract about the analogy beneath.

“i saw my life branching out before me like the green fig tree in the story. from the tip of every branch, like a fat purple fig, a wonderful future beckoned and winked. one fig was a husband and a happy home and children, and another fig was a famous poet and another fig was a brilliant professor” and so on.

my favourite films ☆

౨ৎ dead poets society (1989)

౨ৎ the perks of being a wallflower (2012)

౨ৎ mr doubtfire (1993)

౨ৎ stand by me (1986)

౨ৎ beautiful boy (2018)

౨ৎ the virgin suicides (1999)

౨ৎ it chapter one (2017)

౨ৎ ferris buellers day off (1986)

౨ৎ bridge to terabithia (2007)

౨ৎ grease (1978)

౨ৎ forrest gump (1994)

౨ৎ wonder (2017)

if you liked any of those you should totally consider following my letterboxd @bobbieisnotcool !

my favourite songs right now ♫

౨ৎ forever young by alphaville

౨ৎ obstacles by syd matters

౨ৎ please please please let me get what i want by the dream academy

౨ৎ highschool lover by air

౨ৎ when it’s cold i’d like to die by moby

౨ৎ aubrey by bread

౨ৎ all i need by radiohead

౨ৎ tim i wish you were born a girl by of montreal

again, if you liked any of those you should totally follow my spotify linked below!

“we accept the love we think we deserve”

[jedivoodoochile]

Godzilla is a landmark in film history, a cinematic colossus with an inmensurable legacy. Like Mickey Mouse or Spider-Man, Godzilla himself is a timeless global icon, unmistakable all around the world and infinitely larger than any one film, product, or even time period. The Godzilla film franchise is recognized as the "longest continuously running film franchise" ever, with dozens and dozens of films spanning more than half a century. It all grew from the unflinching mastery of the first film, released in Japan in 1954 and localized for American audiences in 1956 as Godzilla, King of the Monsters.

Toho Co. pioneered tokusatsu, a style of genre films that utilize a distinct form of special effects, with Godzilla. Some techniques can be traced to a lost Japanese film from 1934 titled The Great Buddha Arrival, but Godzilla spawned the boom that would lead to properties such as Gamera, Ultraman, and countless others. Godzilla was inspired by King Kong and The Beast from 20,000 Fathoms but when stop motion animation proved unrealistic for the production the tokusatsu methods of miniature sets and actors in suits (suitmation) was born.

Producer Tomoyuki Tanaka and Director Ishiro Honda brought the vision of Godzilla into reality and would work together on the series for the next two decades. Toho’s team of special effect artists, led by Eiji Tsuburaya and Akira Watanabe, revolutionized the entire industry with their work on the film. An unforgettable soundtrack and portfolio of sound effects by Akira Ifukube have endured within the franchise for generations.

In subsequent sequels Godzilla became a hero in increasingly family friendly monster battles but the first film is famously somber and grim, reflecting worldwide nuclear anxiety and the post-war fallout of 20th century Japan. It confronts themes of humanity’s helplessness in the face of natural and manmade disasters, pointing directly to the bombings of Hiroshima and Nagasaki and a fishing boat crisis of radiation poisoning in 1954. The nuclear metaphor is well known and documented, it is impossible to see the bleak scenes of devastation and not instinctively feel the allegory. It may be harder for modern audiences to appreciate how naturally terrifying something like this was at the time, when the world still felt uncharted and full of dangerous mystery. This was the era of Bigfoot, Nessie, and UFOs in the sky, so the prospect of a city crushing dinosaur ignited imaginations, especially as the world grappled with the consequences of the nuclear age.

The Americanized release added actor Raymond Burr, changing much of the setup and story to center around his character, while largely staying true to the aesthetic and themes of the film. The original release carries more weight and class - it is quite simply a better made movie - but King of the Monsters propelled the picture to an international audience in a respectable way and deserves credit for building a bridge to the brand’s enduring success. With tragic beauty the Japanese original portrays the sincere gravitas of the subject in a way King of the Monsters only brushes against but it is still considerably more serious and dark than most American monster movies.

Godzilla transcends time, genre, and the film industry as a whole, it’s an immortal work of art that is representative of an entire era in human history. The character will be with us forever now; as long as there is popular media there will be a concept of giant monsters that destroy cities irreversibly linked to Godzilla. The 1954 masterpiece that started it all will persist too, with its everlasting message about humanity’s self-destructive hubris living on in its indestructible avatar.