#source: shakespeare in love (1998)

[alaynasansa]

‘ Sansa Stark went up the mountain, but Alayne Stone is coming down ‚

Sansa Month 2023 : day twenty-one - the vale arc

[crippleprophet]

Hey Mac! Do you have any crip books or resource recs for crip sex/sexuality?

Feel free to delete if you're uncomfortable answering :]

do i ever! i actually did an essay for my master’s in disability studies on the topic of disabled people’s access to sex so a lot of these are sources from that (feel free to dm me for my paper!) & others are things i’ve collected for leisure (hah)

i’m bolding my favorites and italicizing ones i haven’t read but have been recommended / have on my list; as with everything, having read a piece + recommending it is not an uncritical endorsement, & i have various contentions with all of these pieces ranging from minor nitpicking to outright disagreement.

feel free to send an ask or dm if you want my thoughts on a particular work or need help obtaining a pdf!

books

Sex and Disability ed. Robert McRuer & Anna Mollow

The Sexual Politics of Disability: Untold Desires by Tom Shakespeare, Kath Gillespie-Sells and Dominic Davies

Unbreaking Our Hearts: Cultures of Un/Desirability and the Transformative Potential of Queercrip Porn by Loree Erickson. York University, dissertation submitted 2015.

McRuer, R. 2006. Crip theory: Cultural signs of queerness and disability. New York: New York University Press.

Kinked and Crippled: Disabled BDSM Practitioners’ Experiences and Embodiments of Pain. Emma Sheppard. Edge Hill University, dissertation submitted 2017.

Love, Sex, and Disability: The Pleasures of Care by Sarah Smith Rainey

intellectually disabled people / people with learning difficulties’ right to sex

Hamilton, C. A. 2009. ‘Now I’d like to sleep with Rachael’ – researching sexuality support in a service agency group home. Disability & Society. 24(3), pp.303-315.

Hollomotz, A. 2008. ‘May we please have sex tonight?’ – people with learning difficulties pursuing privacy in residential group settings. British Journal of Learning Disabilities. 37, pp.91–97.

Vehmas, S. 2019. Persons with profound intellectual disability and their right to sex. Disability & Society. 34(4), pp.519-539.

Significance of the attitudes of police and care staff toward sex and people who have a learning disability by A. Bailey & D. Sines. Journal of Learning Disabilities for Nursing Health and Social Care (1998), 2(3), pp.168-174.

sexual facilitation & making sex accessible

Bahner, J. 2016. Risky business? Organizing sexual facilitation in Swedish personal assistance services. Scandinavian Journal of Disability Research. 18(2), pp.164-175.

Linda R. Mona (2003) Sexual Options for People with Disabilities, Women & Therapy, 26:3-4, pp.211-221.

No Pity Fucks Please: A critique of Scarlet Road’s campaign to improve disabled people’s access to paid sex services by Tova Rozengarten and Heather Brook. Outskirts vol. 34, 2016, pp.1-21.

Julia Bahner (2013) The power of discretion and the discretion of power: personal assistants and sexual facilitation in disability services, Vulnerable Groups & Inclusion, 4:1, 20673.

BDSM, paraphilias, & alternative sex

Goldberg, C. E. 2018. Fucking with Notions of Disability (In)Justice: Exploring BDSM, Sexuality, Consent, and Canadian Law

Hollomotz, A. 2013. Exploiting the Fifty Shades of Grey craze for the disability and sexual rights agenda. Disability & Society. 28(3), pp.418-422.

Reynolds, D. 2007. Disability and BDSM: Bob Flanagan and the case for sexual rights. Sexuality Research & Social Policy. 4(1), pp.40-52.

Tellier, S. 2017. Advancing the discourse: Disability and BDSM. Sex & Disability. 35, pp.485-493.

Sheppard, E. 2018. Using pain, living with pain. Feminist Review. 120, pp.54-69.

Tyburczy, J. 2014. Leather anatomy: Cripping homonormativity at International Mr. Leather. Journal of Literary & Cultural Disability Studies. 8(3), pp.275-293.

Sheppard, E 2019, 'Chronic Pain as Fluid, BDSM as Control' Disability Studies Quarterly, vol. 39, no. 2.

other articles

Finger, A. 1992. Forbidden Fruit

Fritsch, K., Heynen, R., Ross, A. N., and van der Meulen, E. 2016. Disability and sex work: developing affinities through decriminalization. Disability & Society. 31(1), pp.84-99.

McKenzie, J. 2012. Disabled people in rural South Africa talk about sexuality. Culture Health & Sexuality. pp.1-15.

Shakespeare, T. 2000. Disabled sexuality: Toward rights and recognition. Sexuality and Disability. 18(3), pp.159-166.

Shildrick, M. 2007. Contested pleasures: The sociopolitical economy of disability and sexuality. Sexuality Research & Social Policy. 4(1), pp.53-66.

Wentzell, E. 2006. Bad bedfellows: Disability sex rights and Viagra. Bulletin of Science, Technology & Society. 26(5), pp.370-377.

“‘Like, pissing yourself is not a particularly attractive quality, let’s be honest’: Learning to contain through youth, adulthood, disability and sexuality” by Kirsty Liddiard and Jenny Slater. Sexualities 2018, Vol. 21(3), pp.319–333.

non-academic texts

Andrew Gurza’s blog - andrewgurza dot com / blog

Disability After Dark podcast

A Quick & Easy Guide to Sex & Disability by A. Andrews

Cripping Up Sex with Eva

my cripsex tag, which i’ll add to this post, has other relevant content, & i welcome any additions from folks! all the best to you 💓

[theghostparty]

Roméo et Juliette: de la Haine à l'Amour - Redesign - 2024

To understand my completely unnecessary desire to redesign a musical that is over twenty years old, you have to understand that Romeo et Juliette is my Roman Empire. Long explanation under the break.

I wanted this design to be an homage in the silliest way possible.

I really leant into the sensibilities of original costume designer Dominique Borg, who used contemporary colour and technique and applied it to historical (or pseudo-historical) silhouettes.

Broadly, I wanted the Montagues to feel English in their shapes--Elizabethan doublets, high necklines, and ruffs, in homage to Shakespeare and the source text. They're all leather, denim, silver hardware--a little bit punk with status.

The Capulets would be deeply Italian Renaissance in their silhouettes, in reference to the setting of the play. They're all velvets, lace, chiffon, satins, and gold hardware--giving them an airiness of the Mediterranean while still allowing some drape here and there.

I wanted each family to have a slightly more broad palette than most versions afford them--which is why the Montagues have a smattering of green and magenta while the Capulets play with some soft yellows and lavenders.

The ball scene is largely Arthurian in inspiration--just because I took the idea of "what would the 1500s consider vintage and costume-y in the same way we think of the Victorian era" and ran away with it. There's also some silly Y2K nonsense because I rewatched the "On dit dans la rue" music video and thought "What if the Capulets threw this big Arthurian affair with full elegance and the Montagues cobbled together some gay club outfits circa 1998 fits out of a suit of armour."

FINALLY, I wanted Roméo and Juliette to take on elements of each other's family's style and colours for the end of the play--because to be loved is to be changed.

So here is a breakdown of my choices for each of the looks.

Un Jour: Here we see Roméo in his base look. It's a two-tone patent leather double with multiple zipper details. The peplum is criss-crossed zippers. The wings over the shoulder seams are edged with zipper teeth. The ruff detail at the neckline is also edged with zipper teeth. He has along zipper across the front of his boot like he's trying to be the next Sailor Moon. I don't know y'all. I went a little feral with trying to figure out all the places I could put zippers in.

Juliette is the most juvenile looking in Un Jour. I imagine that in this scene, she's being dressed by her family instead of her own volition.

She's in an asymmetrical, empire-waisted gown that is likely a brocaded or printed silk. Her chemise is a sheer lavender georgette or chiffon that peaks through the lacing at the shoulders and along the upper arms. She has a velvet choker and velvet belt and a heavily stoned velvet headband. Her hairstyling (it would have to be a wig, it would be NUTS to not make this a wig) is an homage to the open-weave Juliet caps that were similar to nets worn in the period on hair. Italy was, fun fact, one of the few countries where women didn't cover their hair during the renaissance.

L'amour heureux: As I explained above, Roméo's outfit is so silly. The wrap around glasses. The one arm of armour. The sheer, stoned period shirt. The gold brocade on the trousers. The pearl earring. The many, unnecessary belts. Bless this mess. It's also a cheeky little nod to Baz Lurhmann's Romeo + Juliet.

Juliette is, ostensibly, cosplaying as Guinevere or Lady Macbeth or Ophelia or any number of Middle Ages women. The ball is the Capulet's opportunity to really sell their daughter as marriage material so I wanted the look to feel bridal, hence the veil. I wanted to give reference to exaggerated surcote sleeves without actually doing them, hence the sleeve-into-glove and bow detailing with trails down to the floor. There is also a hint of yellow chemise underneath, which is actually just her Le balcon look underdressed for ease of the quick change (yes, I did think about this.) The dress is velvet with one panel of lace in-set into the underskirt. The bows are satin-face organza.

Le balcon: Romeo would change into his base again (during Le Poète). Juliette is in a simple yet totally impractical sheer chemise + slip combo. I wanted this soft yellow for this sequence because I always think about the lines "O she doth teach the torches to burn bright!" and "But soft! What light through yonder window breaks?/It is the east and Juliet is the sun" when it comes to describing her. The chemise would likely be a chiffon, while the slip would be silk.

Aimer: I say this with my whole chest--I hate how they changed the palette for Aimer in the 2010 production. I want my lovers soft and angelic and matching in this moment of union. Here we see a bit more of Romeo's lace shirt--his sleeves are laced like Juliette's in the first look. His doublet, trouser, boot combo are off-white leather in homage to the original production. Juliette's dress has a similar train length to her ball look (again, bridal) and we see the neckline creep up into a ruff (Elizabethan, rather than Italian). Lots of sheer net and lace with cream bridal satin as a skirt. Tiered sleeves. A little circlet on her head.

Le poison: Honestly? Just wanted her to have another outfit change before her death dress as a transitional choice. There's so much more of the purple in this look because it's going to take us into the blue elements of the final dress.

La mort de Roméo/Juliette: Again. To be loved is to be changed. Juliette has a dropped waistline, a high neckline and ruff, and a heart shaped cut-out detail (see: boob window). She's straight up in blue, and all the sweet and soft pinks of her youth are gone. Romeo has lost his high neckline, ruff, wins, and peplum in favour of a shorter Italian silhouette. He's asymmetrical (a call-back to Juliette's asymmetry) and all the edging detail is done in red. Mantua as a setting is patchworked, torn, and dirty, so I imagine the doublet is pieced together from scraps of jersey (so it's drippy and sad and hangs off him in a lovely manner).

[justforbooks]

The Strangers by Ekow Eshun

From Malcolm X to Justin Fashanu, Eshun uses historical figures to illuminate contemporary struggles – and his own alienation

“All blacks in this country are condemned to be performers.” This is the thought, allegedly, of Ira Aldridge, a 19th-century black Shakespearean actor, who features in Ekow Eshun’s The Strangers. Why “allegedly”? Because there’s no record of Aldridge’s assertion. Eshun’s book, though, is not a novel; it’s “creative nonfiction”. This innovative approach, while successful, will nonetheless vex historians who wince at the use of speculation, rather than verifiable fact, in presenting the past.

Toni Morrison argued that black lives are “spoken of and written about as objects of history, not subjects within it”. How then to humanise and investigate the interior lives of historical figures in the absence of source material? It’s a dilemma addressed in Eshun’s hybrid of biography and memoir through an extraordinary feat of empathy. Along with Aldridge, Eshun takes four other black pioneers – Matthew Henson (an explorer), Frantz Fanon (a psychiatrist and thinker), Malcolm X (an activist) and Justin Fashanu (a footballer) – and writes about them using the second person. But he does it so intimately that “you” becomes a proxy for “I”.

In the chapter on Aldridge, his 1830s portrayal of Othello “causes only revulsion” in the mind of audiences who cannot accept “a full-blooded Negro, incarnating the profoundest creation of Shakespeare’s art”. But the actor is not enraged by detractors; his mournful response echoes his reflection on how it feels to play Othello in the light of Desdemona’s betrayal: “You feel only grief. The weight of this man’s story bears down on you.” The contrast between Aldridge’s sensitivity and how he is misperceived by the white British public is pitiable.

It’s surprising to learn that for much of his life Eshun, too, has felt misperceived. In decades past, as a cultural commentator – a favourite on the BBC’s Late Review, editor of Arena magazine and director of the Institute of Contemporary Arts – Eshun seemed to transcend race. But, lately, he has addressed it more directly as curator of exhibitions such as In the Black Fantastic and The Time Is Always Now. He is alive to the way in which every Black man is “heir to [a] legacy of caricature, which renders him simultaneously invisible and hypervisible”. Henson, for example, faithfully accompanies American explorer Robert Peary on a gruelling Arctic expedition, subsequently claimed to be the first to reach the north pole. But not only does Peary refuse to share the glory with his companion, critics such as congressman Robert Macon use Henson to cast doubt on the venture, labelling him a “useful Negro tool” and an untrustworthy witness. “The moral support of a white man,” laments the English reporter Henry Lewis, “would have done much toward establishing an unqualified claim of success.”

Fanon, Malcolm X and Fashanu are more widely known than Aldridge and Henson, but the same canopy of sadness and loneliness veils them, and Eshun captures it in his remarkable, imaginative writing. In 1955, working in sympathy with Algerian rebels in the midst of a brutal colonial war with France, Martinique-born psychiatrist Fanon is “stretched taut with the effort of maintaining a double life”. A decade later, ostracised by the Nation of Islam, Malcolm X catches sight of his mentee, Muhammad Ali in Ghana. The pugilist turns his back: “Watching Muhammad’s car roar away, you know it’s not possible for real love to disappear, even in the heat of betrayal.” Fashanu, threatened with lurid tabloid exposé, reluctantly comes out, becoming Britain’s first openly gay footballer before his suicide in 1998.

Stories from Eshun’s own life provide the thread that links his case studies, and include glimpses of unease over his inchoate racial identity. In one stark moment, he confesses that at the age of nine he took a Brillo pad to his face to rid him of its shameful blackness. There are vignettes of other trailblazers, such as the musician and producer Jay-Z. Eshun praises Jay-Z for his “final disavowal of the shell of unfeeling masculinity” that he has carried through life, in favour of “an open embrace of vulnerability, a reckoning with love as the signal marker of black humanness”. It’s a fitting description of the author, too. Ever since leaving home for university, dumping his past into a black bin liner bound for the incinerator, it seems Eshun has been a stranger to himself. His book is an act of rapprochement rendered with great emotional intelligence and tenderness.

Daily inspiration. Discover more photos at Just for Books…?

[cleoenfaserum]

REBLOG: from dailyworldcinema film THE BLUE ANGEL (1930) (1218)

Whatever can be said about this film, right off the bat, it is a CLASSIC FILM and a historical representation of the moment in film.

The Blue Angel (German: Der blaue Engel) is a 1930 German musical comedy-drama film directed by Josef von Sternberg, based on Heinrich Mann's 1905 novel Professor Unrat (Professor Filth) and set in an unspecified northern German port city.

dailyworldcinema Jun 30 Marlene Dietrich in The Blue Angel (1930) Dir. Josef von Sternberg

The Blue Angel presents the tragic transformation of a respectable professor into a cabaret clown and his descent into madness.

The Blue Angel - Wikipedia

The Blue Angel (1930) - IMDb 7'7

The English version which is a little hard on the ears and sometimes difficult to understand, however some allowances can be made for a the classic.

LINK https://ok.ru/video/1205418723842

The film was shot simultaneously in German- and English-language versions. Though the English version was once considered a lost film, a print was discovered in a German film archive, restored and screened at San Francisco's Berlin and Beyond film festival on January 19, 2009. The German version is considered to be "obviously superior"; it is longer and not marred by actors struggling with English pronunciation.

NOTES

The film was the first feature-length German sound film and brought Dietrich international fame. It also introduced her signature song, Friedrich Hollaender and Robert Liebmann's "Falling in Love Again (Can't Help It)". The film is considered a classic of German cinema.

I have to admit, I am fascinated by REMAKES.

Remakes, adaptations and parodies 1959 The Blue Angel, director Edward Dmytryk's remake with Curd Jürgens.

link https://ok.ru/video/1843272485445

1966 Pousse-Cafe, a 1966 Broadway musical version with music by Duke Ellington. It was unsuccessful and closed after three performances.

Pinjra (1972), director V. Shantaram's highly successful Marathi/Hindi adaptation with Sandhya and Shreeram Lagoo.

1988 Lola, director Rainer Werner Fassbinder's loose adaptation of the film and its source novel.

1991 The Royal Shakespeare Company produced a stage adaptation, written by Pam Gems and directed by Trevor Nunn, that toured the UK from 1991 to 1992.

1988 In 1998, the Gems adaptation was translated to Japanese. With added songs composed by accordionist Yasuhiro Kobayashi, the Japanese version was staged as a musical starring Kenji Sawada at the Bunkamura in Tokyo.

2001 A stage adaptation by Romanian playwright Răzvan Mazilu premiered in 2001 at the Odeon Theatre in Bucharest, starring Florin Zamfirescu as the professor and Maia Morgenstern as Lola Lola.

2010 In April 2010, Playbill announced that David Thompson was writing the book for a musical adaptation of The Blue Angel, with Stew and Heidi Rodewald providing the score and Scott Ellis directing.

VARIOS: Lola Lola's nightclub act has been parodied on film by Danny Kaye as Fraulein Lilli in On the Double (1961) and by Helmut Berger in Luchino Visconti's The Damned (1969).

REBLOG: from dailyworldcinema film THE BLUE ANGEL (1930)

[brian-in-finance]

Summit Entertainment

Now You See It (2013)

Academy Award Winners 🏆🏆🏆

Michael Caine 1987 Hannah and Her Sisters • 2000 The Cider House Rules

Morgan Freeman 2010 Invictus

Getty Images

Money Monster (2016)

Academy Award Winners 🏆🏆🏆🏆🏆

Jodie Foster 1989 The Accused 1992 • The Silence Of The Lambs

Julia Roberts 2001 Erin Brockovich

George Clooney 2006 Syriana • 2013 Argo

Twentieth Century Fox

Source

Caitríona Balfe

Getty Images

Ford vs. Ferrari / Le Mans ‘66 (2019)

Academy Award Winners 🏆🏆🏆🏆🏆

Matt Damon 1998 Good Will Hunting

Christian Bale 2011 The Fighter

Andrew Buckland & Michael McCusker, Donald Sylvester 2020 Ford v Ferrari

Google Search results

Belfast (2021)

Academy Award Winner 🏆

Judi Dench 1999 Shakespeare In Love

Academy Award Nominee 🏅🏅🏅🏅🏅

Kenneth Branagh 1990 Henry V (2) • 1993 Swan Song • 1997 Hamlet •2012 My Week With Marilyn

Remember… Acting is not about being famous, it's about exploring the human soul. — Annette Bening

[i-am-very-very-tired]

In the wake of Tuesday’s shocking New Yorker exposé, several more actresses came forward with harrowing stories of sexual harassment and assault at the hands of movie mogul Harvey Weinstein. One of these brave women was Angelina Jolie, who said the predatory studio executive had made unwanted advances to her in a hotel room around the release of 1998’s Playing by Heart, which was distributed by Weinstein-owned Miramax Films. “I had a bad experience with Harvey Weinstein in my youth, and as a result, chose never to work with him again and warn others when they did,” she told The New York Times. Another was Gwyneth Paltrow, who alleged that, prior to shooting what would prove to be her breakthrough role in 1996’s Emma, Weinstein approached the then-22-year-old actress in a Beverly Hills hotel suite, put his hands on her shoulders, and intimated that they move to the bedroom for “massages.” She immediately left, disgusted. “I was a kid, I was signed up, I was petrified,” she recalled to the Times. The testimonies of Jolie and Paltrow proved particularly disturbing because they proved that Weinstein had the power and influence to silence anyone—even Hollywood royalty. Jolie, after all, is the daughter of Oscar-winning actor Jon Voight, and Paltrow the progeny of director Bruce Paltrow and actress Blythe Danner, and the goddaughter of Steven Spielberg. Another thing these two talented women have in common is their proximity to the actor Brad Pitt. Paltrow dated Pitt from 1994-1997 before breaking off their engagement, while Jolie was Pitt’s partner from 2005-2016. Their divorce is still pending. In the Times piece, Paltrow said that she’d confided in Pitt about the Weinstein episode, and that the actor proceeded to confront Weinstein at a film premiere and warn him to never do anything like that to his girlfriend again. (Pitt confirmed as much to the Times.)“Brad threatened Harvey. He got right in his face, poked him in the chest, and said, ‘You will not ever do this to Gwyneth ever again,’” a source told People, adding that if Weinstein did try anything again, the Springfield native told the portly New Yorker he’d get a good “Missouri whooping.” Many online were quick to praise Pitt, then a rising star, for giving a studio bigwig like Weinstein the business—something that precious few Hollywood men felt compelled to do both during the mogul’s three-decade reign of terror and after the sickening revelations came to light. But why, then, did Pitt continue to work with Weinstein not once, but twice: on 2009’s Inglourious Basterds and 2012’s Killing Them Softly? The Weinstein allegations have led to a broader discussion of Hollywood complicity—the power brokers who were not only aware of his despicable behavior but may have helped facilitate his hotel liaisons with a bevy of up-and-coming actresses. Paltrow told the Times that her hotel “meeting” with Weinstein was listed “on a schedule from her agents,” while the actress Rose McGowan, who reportedly agreed to a $100,000 settlement with Weinstein after a 1997 hotel incident during the Sundance Film Festival, tweeted out an alleged email sent from an agent to the actress Lindsay Lohan requesting a hotel “meeting” with Weinstein at the Peninsula Beverly Hills, the site of many an alleged Weinstein attack, for a cameo in an unnamed Scream sequel. The tweet has since been deleted.

While a parade of agents, executives, producers, and assistants were no doubt aware) October 10, 2017 @benaffleck “GODDAMNIT! I TOLD HIM TO STOP DOING THAT” you said that to my face. The press conf I was made to go to after assault. You lie.

George Clooney, a work friend of Pitt’s, claimed to The Daily Beast that he and many of his high-profile actor friends in Hollywood were unaware of Weinstein’s purported penchant for sexually harassing and assaulting women. “If you’re asking if I knew that someone who was very powerful had a tendency to hit on young, beautiful women, sure. But I had no idea that it had gone to the level of having to pay off eight women for their silence, and that these women were threatened and victimized,” he offered. But Brad Pitt knew. By his own admission, Paltrow informed him that Weinstein had sexually harassed her all the way back in 1996. While Paltrow explained to the Times how she felt she had to “suppress the experience” of being attacked by Weinstein, and, after being threatened by the exec, went on to act in several other Weinstein-shepherded films (including an Oscar-winning turn in 1998’s Shakespeare in Love), by the late-Aughts Pitt had the power to affect change. He was, as Clooney told Esquire, “the biggest movie star in the world… he’s bigger than me, bigger than DiCaprio.” He ran a successful production company in Plan B Entertainment, responsible for hits like The Departed. And yet, he opted to star in Quentin Tarantino’s 2009 film Inglourious Basterds, which was distributed by The Weinstein Company. A source close to Pitt confirms to The Daily Beast that Pitt knew of the Paltrow incident with Weinstein but that “Quentin went to him directly to bring him into the project, and Brad did it because of the relationship and the contact. Interaction with Harvey was very limited.” The source, however, went on to explain that since every Tarantino project has been distributed by Weinstein, Pitt understood that Inglourious would be as well. They could not confirm whether Pitt knew at the time of his then-girlfriend Jolie’s alleged incident with Weinstein, and representatives for Jolie and Pitt would not respond to multiple requests for comment on this story. And, while Pitt’s interactions with Weinstein may have been limited, the exec’s involvement in the project was anything but. Weinstein, who’s earned the nickname “Harvey Scissorhands” for his tendency to demand film edits, usually shies away from meddling with Tarantino movies but was rumored to have demanded that its initial three-hour running time be cut down by at least a half-hour (its final running time: 153 minutes). Weinstein also launched aggressive Oscar campaigns for the film and Pitt, fresh off a Best Actor nod the previous year for The Curious Case of Benjamin Button, doing interview after interview touting their credentials and flooding Academy voters with cheap, non-watermarked DVD screeners. You see, there was a lot riding on Inglourious Basterds. The Weinstein Company was in dire financial straits, having recently hired a high-powered financial advisory firm to restructure after incurring heavy debt. The film’s ultimate success, earning eight Academy Award nominations and grossing over $321 million worldwide, helped keep the company afloat. Following the release of Inglourious, Pitt agreed to star in and produce an adaptation of the book Cogan’s Trade, directed by Andrew Dominik and developed by Plan B. After a heated bidding war, the of Weinstein’s appalling behavior, it’s not entirely clear how many actors were—particularly big-name male actors who had, as Lena Dunham so eloquently wrote in the Times, “the least to lose and the most power to shift the narrative, and are probably not dealing with the same level of collective and personal trauma around these allegations.”

McGowan charged on Twitter that the actor/filmmaker Ben Affleck, who dated Paltrow from 1997-2000, knew full well about Weinstein’s reputation (McGowan starred alongside Affleck in Phantoms, released by Miramax one year after her alleged hotel incident with Weinstein). — rose mcgowan (@rosemcgowan distribution rights to the film were sold to The Weinstein Company, who promised a $20 million ad spend. The film, ultimately titled Killing Them Softly, was released in 2012 by Pitt and Weinstein, earning a meager $15 million stateside. Our source in Pitt’s camp said that they were “unable to provide any context” about exactly why Pitt chose to collaborate with Weinstein again on the crime drama (and in a much more involved capacity) despite his ex-fiancée telling him that she’d been accosted by the exec, and that he’d allegedly—perhaps unbeknownst to Pitt, perhaps not—attacked his then-partner Jolie. The Harvey Weinstein sexual-assault scandal has not only underscored the remarkable courage of the women who chose to come forward, but the cowardice and complicity of the myriad men in power who didn’t. As Lena Dunham wrote, “Hollywood’s silence, particularly that of men who worked closely with Mr. Weinstein, only reinforces the culture that keeps women from speaking. When we stay silent, we gag the victims. When we stay silent, we condone behavior that none of us could possibly believe is O.K. (unless you do). When we stay silent, we stay on the same path that led us here. Making noise is making change. Making change is why we tell stories. We don’t want to have to tell stories like this one again and again. Speak louder.”

[diatriblicaljottings]

How significant is the representation of masculinity to the way Othello functions as a tragedy?

Literature review

Believed to be written in 1603, the existence of ‘Othello’ has not only been disputed to be one of Shakespeare’s most successful plays due to the “treatment of such timely issues as race, gender, homoeroticism and domestic relations” (Evans, 2015), but also one of the most controversial – mostly due to how the aforementioned topics were approached. This is particularly surprising as Othello is widely acknowledged as “the least political (Shakespeare play) and even the least philosophical but also as the most domestic and personal” (Evans, 2015). Perhaps this disdain comes from a place of misunderstanding towards Shakespeare’s often critical yet atypical approaches to what could be described as sensitive topics. However, the representation of masculinity throughout ‘Othello’ can be linked to most of the mentioned analytical approaches, particularly masculinity and race, in a way that enriches our overall understanding of the text, and how it fit into the genre of tragedy. A critical essay by John R Ford reads, “the play powerfully critiques the racist and misogynist constructions of Venice by making its codes and conventions so visible to the audience” (Kolin, 2001) Othello’s extreme desire for achieving an ultimate state of masculinity directly correlates with the gender politics of the time, a time in which the misogynistic attitudes Ford refers to were rife in popularity, yet still unidentified as problematic and were therefore routinely normalized. In their masses, men synonymous to Othello encouraged and expected each other to actively participate in the discrediting of women to obtain their dominance and in turn, their sense of masculinity, or at least, what they believed to be attributes of masculinity. Whilst they have been greatly unacknowledged for thousands of years, both gender and race have still influenced political structures, including the ‘constructions of Venice’ addressed in Othello and Ford’s critical essay. This directly contrasts with Evans’ earlier observation of Othello being ‘the least political’ play to come from Shakespeare, as it could arguably be one of the most.  Alongside political ideals being a key function in the representation of masculinity, there are many contributing factors as to why Othello as a character could be protective of his masculine ego (the manipulation he endures at the hands of Iago being a namely one), though it is undeniable that as a person of colour with the ability to exist in such a high rank of power, despite living in a racist society, he faces much harsher judgement from other characters. Naturally this would also have significant impact on Othello’s personal difficulties with his insecurities, or when approaching threats to his masculinity. This becomes one of many tragedies described in the text – one that is very much involved in how the fundamentals of tragedy are incorporated into the thematic structure of Othello. “Culture is a masculine region, and everything that lies beyond its purlieus ± untamed nature, the sea, forests, brutes, cannibals, foreigners, belongs to the domain of the wild” (Wells, 2000)  – in this case, ‘the wild’ could be referring to the existing fear of the unknown, but more importantly it could be used to define ‘the Other’ - a term that refers to “the creation of a dichotomy between Europe and its ‘others’ … central to the creation of European culture… part of the process of maintaining power over them” (Loomba, 1998). This coincides with the social context of Othello, particularly with the reference to ‘foreigners’ in the culture Wells speaks of.  The often subliminal struggles that Othello faces as a black male character propel the tale of tragedy depicted within the text – as it is these very struggles that are used against him consistently, driving him to a point of ultimate self-questioning: when he makes the decision to kill Desdemona. Burning “with a desire to avenge the imagined loss of his masculine honour” (Wells, 2000) is quite a bleak outlook, given that many would dispute that this ‘imagined loss’ is not imagined at all. Societal norms, especially in the historical setting of this play, are so very much ingrained into the typical thinking patterns of many of the characters, that it is certainly realistic for the character of Othello to predict the tarnishing of his name or reputation. The vengeance referred to by Wells would not appear to be Othello’s true motive to kill her, as he denies having any knowledge of her death, so it plays no part in the restoration of his honour. It seems to be, however, a result of extreme expectations that Othello has internalised becoming a malformation of fear and unattainably high levels of self-respect.  The main tragedy at the core of the play depicts the impact of unrealistic and limited implications of masculinity being a motive for murder. Othello had been systematically brainwashed into believing his only option was taking drastic measures to prove his worth in terms of his masculinity, threatened with the negative societal impacts the alleged misdemeanours of his wife would cause. Whilst his actions may not be remotely excusable in any way, they serve the purpose of truly representing how toxic masculinity can result in tragedy – and the lengths a man of his tragic circumstances may go through to preserve his ‘masculine honour’.

   Analytical essay

The importance of masculinity in “Othello” is crucial to the genre of tragedy, as the desired trait of authority, achieving a true masculine status, is shared amongst the primary male characters - a persistent battle that eventually results in disastrous consequences. Iago’s personal lack of masculine identity is the cause of the downfall of multiple male characters, as he so clearly uses it as a tool of manipulation. Othello being such a high-status character, linking to his "manhood and honour" - is quite vulnerable in terms of becoming increasingly paranoid and suspicious of Desdemona betraying him. While Othello is being manipulated by Iago, Iago creates insinuations of Desdemona committing adultery in order to pressure Othello into a state of jealousy - before proceeding to essentially warn Othello not to worry about it. Iago’s mockery of the very concept he introduced into this discussion proves just how manipulative he is, and how he is manifesting Othello’s insecurity in his own masculinity proves this - "Oh, beware, my lord, of jealousy! It is the green-eyed monster which doth mock. The meat it feeds on." (Act 3, Scene 3). Othello’s perceived ‘fragile masculinity’, which has been even further amplified by Iago’s antics, births the creation of what would become Othello’s hamartia in the tragic events to come. Furthermore, Iago creates the lie of Cassio being a violent alcoholic. In order to steal his job, Iago persuades Cassio to partake in heavy drinking, which leads to him being disgraced from his job, and in turn, his reputation. Iago’s discrete manipulation is used once again in the form of reverse psychology “"I had rather have this tongue cut from my mouth than it should do offence to Michael Cassio" (Act 2, Scene 3). This becomes a tragic flaw in Cassio’s story, continuing to destroy not only his masculinity, but also his self-worth and livelihood. With all of this being due to Iago’s jealousy of Cassio’s higher-ranking position, it reinforces the link between the pressures of maintaining masculinity and how highly men rank in both works, but also society. “Iago seems to have too many motives for his evil and thus paradoxically, no motives for it at all." (Evans, 2015). Iago's own drive - to gain a higher rank - pushes the ideology that honour equates to your level of masculinity, something which Shakespeare is almost critiquing through his creation of Iago’s character – a erratic, self-serving and desperate person whom projects his own masculine insecurities for personal gain.  

  Within the play the character of Emilia is a key part of how masculinity is portrayed, with strong opinions and an understanding of the masculine ideology she said some of the most noticeable things about how significant masculinity is within the tragedy. “They are all but stomachs, and we all but food, They eat us hungerly, and when they are full / They belch us” (Act 3, Scene 4). This phrase clearly shows that for the men within this play, women are the source of sexual satisfaction and not much more than that. Not allowing women to have any position of authority or experience a liberty of decision-making - clearly shows how society’s obsession of masculinity at the time built a hierarchy, in terms of gender. Women only really had each other to rely on, and Shakespeare progressively shows Emilia's loyalty to Desdemona only growing stronger. As a woman of practical intelligence, shown to not be led by her emotions, Emilia becomes a key character in relation to masculinity within the tragedy. The juxtaposition between Emilia and her partner Iago creates the potential of her strong-minded personality being one of many causes towards Iago’s pathetic drive to emasculate himself. Although Emilia stands by Iago through the play, in the end she denounced his lies to defend Desdemona’s reputation after her death. With regard’s to Desdemona’s murder, after being severely wounded by her husband and close to death, she remains adamant on her refusal to reveal Othello as her murderer and claims it was suicide – “Nobody. I myself. Farewell. Commend me to my kind lord. Oh, farewell!” (Act 5, Scene 2) This may be because of how much she loved her husband, but it was primarily due to the extreme effects of Othello’s desire to achieve true masculinity – a virtue Desdemona herself intends to assist with as to prove her true loyalty in her final moments.   Othello’s goal to prevent other men from being betrayed by Desdemona, further perpetuates the idea that truly masculine men must adhere to the heroic stereotype and make sacrifices for the sake of other people, even when it concerns the love of their life.

During Shakespeare’s life, there was a strict social construct of gender norms, as well as a hierarchy of sexes. As each gender experienced their own role in society, it was only logical that they'd be shown within Shakespeare’s plays. Throughout Shakespeare’s ‘Othello’ the ideology of masculinity is presented to us through the different themes that are addressed, whilst being set in a regressive and male-dominated world. The unachievable goal of obtaining an elite state of masculinity results in many conflicts of character, with horrific atrocities being committed as a result of this - from degradation of race and gender, to the sheer manipulative nature of many characters, there are a stark amount of negative consequences that can be construed as being tragic. Alongside the more obvious defining factors of tragedy within Othello, masculinity - and the constant urge to exude it – is the most consequential catalyst that results in the melancholic epilogue of this play.

 Bibliography

Evans, R. (2015). Othello: a Critical Reader, Bloomsbury Publishing Plc.

Kolin, P. (2001). Othello: Critical Essays., Taylor & Francis Group.

Loomba, A. (2015). Colonialism/postcolonialism (Third ed., New critical idiom).

Wells, R. (2000). Shakespeare on Masculinity, Cambridge University Press.

[stephaniesoftwares]

These Are the Best Period Romantic Movies You Can Watch Today

Period movies are always interesting to watch as they take you in the historical world, which does not exist now but still portrays the situations which are relatable in the contemporary world. Usually, such movies are adapted from novels, and there is nothing to beat this genre if romance is also added to it. In this article, we have listed the top-rated Period romantic movies. Let’s scroll down and find the best picks for you to watch.

Pride & Prejudice

Pride & Prejudice is undoubtedly one of the best period movies you can watch. This film is an adaptation of Jane Austen’s popular novel with the same title. Darcy and Elizabeth are in the center of this novel and movie, and the unfolding plot witnesses their romantic affair. This movie is directed by Joe Wright and Keira Knightley (Elizabeth Bennet), Matthew Macfadyen (Mr. Fitzwilliam Darcy), Rosamund Pike (Jane Bennet), and Jena Malone (Lydia Bennet) are starring in this movie. Pride & Prejudice has received an IMDb rating of 7.8.

Titanic

Titanic is unarguably one of the best movies ever created. The story of this movie revolves around Rose, who comes from an aristocratic family and falls in love with an artist, Jack Dawson, on the Titanic ship, which will meet a fateful end. James Cameron has directed this movie, and the likes of Leonardo DiCaprio (Jack Dawson), Kate Winslet (Rose DeWitt Bukater), Billy Zane (Caledon Hockley), and Kathy Bates (Margaret Brown) make it worth watching. This all-time popular movie has received an IMDb rating of 7.8.

Jane Eyre

Jane Eyre is another popular period romance on our list, which was released in 2011. This movie is based on a popular novel by Charlotte Bronte with the same title. This movie is the story of  Jane Eyre, a governess falling in love with the owner of an old mansion, Edward Rochester, who has a dark secret. Cary Joji Fukunaga has directed this movie while Mia Wasikowska (Jane Eyre), Michael Fassbender (Edward Rochester), Jamie Bell (St. John Rivers), and Judi Dench (Mrs. Fairfax) have decorated it with their performances. This movie has received an IMDb rating of 7.3.

The Great Gatsby

If you are looking to watch something with a famous star cast, then watch The Great Gatsby. This movie is based on a novel by F. Scott Fitzgerald that was released in 1925. Nick Carraway, a World War I veteran, is in the center of this movie who finds Jay Gatsby and his flamboyant lifestyle appealing. Talking about the star cast, Leonardo DiCaprio (Jay Gatsby), Carey Mulligan (Daisy Buchanan), Tobey Maguire (Nick Carraway) and Joel Edgerton (Tom Buchanan) are starring in this movie. Baz Luhrmann has directed this wonderful film, and it has received an IMDb rating of 7.2.

Shakespeare In Love

If you like Shakespeare, you will love this movie. This movie was released in 1998, and it features the story of William Shakespeare and his love interest in Viola. John Madden has directed this movie, and Gwyneth Paltrow (Viola De Lesseps), Joseph Fiennes (William Shakespeare), Judi Dench (Queen Elizabeth I), and Geoffrey Rush (Philip Henslowe) are starring in this movie. Adorable dialogues and comical script should add this movie to your watchlist. This movie has received an IMDb rating of 7.1.

Watching a good movie is always great, and period romance is one of the most interesting genres. This article lists the best Period romantic movies that you can watch and make your day great.

Source: https://stephaniesoftwares.wordpress.com/2020/11/13/these-are-the-best-period-romantic-movies-you-can-watch-today/

[tenaciouscupcaketaco]

1989-2020 Poetic Work Of Mario William Vitale

1989-2020 Poetic Work Of Mario William Vitale (Manuscript of Poet Mario William Vitale) From 1993-1997 - Attended State University in Connecticut,Attempted plays : Tartuffe, Miracle Of St. Anthony and Balm in Gieade,( His poetic aspirations had in 1989 from submitting his first poem entitled, "Remembrance Of A Loved One"- (Sparrowgrass Poetry Forum)Next from 1989-1997 ( Wrote primarily for Poetry.com and The International Library Of Poetry),* Received editors choice award in 1997 for poem, " A Beacon Of Light ",(1998) Sent poetic manuscript to N.Y. Time Magazine and Chief Editor " John Hyland".Back with rave reviews !* ( From 1999-2008:Had adapted a real keen sense of style for writing poetry: ( 1999- Sent Editorial to:New Man Magazine for the Passion of Christ Movie;Sent followup letter to company with poetry platform information attached,* 2000-2007 : Magazine : ( Catholic) Maries Rose Ferron Magazine submitted poem" Beacon Of Light", which had excellent editorial reviews as the outset !2008- Wrote poem entitled: ( The Heavy Cross) to Poetry.com* Achieved Poetry status of work of Excellence in writing from the Academy Of American Poetry in which still having received rank and status as a member of Academy;* ( The Connecticut Poetry Society)* Short story submitted entitled, "China Dog Ray" submitted to Virginia WritersQuarterly, West Virginia, Also having member status on their board of Poetry.* ( Attribute Poetry to an ever increasing love of God and his unconditional love that he has for us in return,Thankfulness toward family and friends.( To our past ancestors who fought to uphold freedom that far too many of us take for granted ?One needs a pure heart that's fixed on truth,This is in order to withstand the true great test of time !Life is way too short,Press toward the goal or mark of our high calling that is in Christ Jesus The Lord !~My contempoarry artists include that of ellan Bryant Voight, Kay Ryan and carl Phillips.Which all three are Participants in the Academy Of American Poetry.* Having been a member since 2006,My work reflects the likes of past poets such as C.S.Lewis, Hawthorne and edgar Allen Poe.Most of my work reflects with the values of religious beliefs intact,( In my personal view it is essential in demonstrating a real heart of creativepassion !The reader I believe will benefit by my artistic style of development in a verypositive light.)To further the need for poetry to become more main stream, Mario Vitale was born in Bristol , Ct Has developed a skill for writing poetry in the free verse form. has been featured on Hubpages.com, Starlitecafe.com & Poetry soup. Vitale lives with his elderly mother Ann Soulier in Wolcott, Ct. Currently has written well over 1,000 poems & 2 short story's toward credit platform. Vitale has taken the poetic world by storm being featured on Google, Yahoo & MSN. Looks up to contemporaries in the poetry industry such as John Ashbery & Major Jackson. Has been a favorite featured poet reader at Barnes & Noble in Waterbury, Ct. Also featured on such sites as Poetry soup, Writer's café & Neo Poet. Mario William Vitale 1 Winfield Drive Wolcott, ct 06716 A Beacon Of Light Written by: Mario Vitale A beacon of light to a much hurting world in need ! Can't help but to claim.., Some sense of identity, Stregnth and encouragement only come from above ! Amidst in the distance, the trapped seagull.., Lieth frightened but still yet adrift ! In a most vengeful fashion striking the passing fish, A true source of hope, Yet a most triumphal beam ! This beacon of light shineth forth, Passerby's can err' escape the helping hand.., To the most sparkling of radiance ! (2)Thanksgiving Dinner by Mario Vitale Home for the holiday from New Orleans, with Mother and Father at the tiny drop leaf, brown rosewood, mahogany table with the gold, grinning claw feet; Father, choler- red-in the-face, short- sleeved white shirt and cane, says the blessing as Mother brings in the turkey and cranberry. Then Mother asks, “Won’t you have more?” and father : “Do you think Moll Flanders was a *****?” (I have suffered and bleached my hair blond.) I am silent before their replies. Mother sighs. “I can scarce speak to her.” And Father, too, quotes Shakespeare. (I am thin as paper and the rose- colored bowl of blown glass sitting on the silver stand, half- filled with water.) “How sharper than a serpent’s tooth it is to have a thankless daughter” (3) Song of Spring Today I heard a robin sing heralding the coming spring A song of exultation to the sky an ode to earth's awakening I saw a willow on the hill It's branches greening in the sun and all the earth seemed hushed & still sleeping streams began to run I heard a softly rising breeze whispering through the grass singing through the still bare trees waiting winter's chill to pass I saw the sun, so bright and warm warming the earth after the rain the buds and leaves, no frost to harm at least, at last, it's spring again. (4) The Ancients It's my last day with the old giants In mourning I hike the lost trails, sniffing the aroma of the bark, that cinnamon of the forest Under tepees of wood in a membrane of shadows, I stalk the earth, its mammal traces, its elusive tracks, to sit on a fallen log where spiders macramé, moss sloping to my knees unaware of invisibles within, grubbing in their tunnels A lizard taps my foot, responding, I muse to its touch, my thoughts like Indian visions, And when daylight mushrooms into night, and an owl hoots from cedar, I still sit with a lizard on my shoe Huddled with the ancients of the woods (5) Epiphany Written by: Mario Vitale It clings to the cliffed shore, to the wintered face of the thistle path, to the fingers of the old man's glove as he waves his memory homeward In that breath between come and go she moves up from the bay; gold turns her stride, the line of her dress, the soft sea pulling at her feet When he reaches out and the frail birds fly and the sun and the sky have married deep into the sea, it clings Even as his shadow threads retreat, it clings, even now as it dissolves to mist (6) A Return Home, Only Time Will Tell Written by: Mario Vitale Oh blessed hope ! Both hardly a believable dream, Sweltering heat with bloodshed in the street... Send the troops home ! There is no clear reason for them to roam.., These are desolate times ! For we have chosen ill faded rhymes.., The casualties are enormous ? For a stated cause that clearly atrocious.., A mother's cry as the door chime rings, A vanishing salute to freedom as the church choir sings ! Let us look above to all the heavenly love.., Merciful one, take this chip off my shoulder.., Stop the senseless fighting before our dear nation grows a bit colder, Suddenly, seeds were dropped out of a farmers bag, In time roots spring up fresh out of the fertile soil... As the sun heats up, Time will tell when this harvest will soon boil... In the vast game of life, One's time is so very brief ! The soul yearns for its' heavenly relief.., Share with others who may want to turn over a brand new leaf.., Time will tell of the true importance of helping one another, To never give into the finish line.., Nor harsh criticism that our society puts out ! Like a famous fighter in his final bout ! Time will tell of the return home, To the open arms of a loved one ! (7) A Valiant Knight Written by: Mario Vitale A Valiant Knight Death springs a new day basking in the breeze In solemn moments lets pause to think of a place A far off castle in the mountains away from it all A valiant knight lived in the structure of it's dwelling Those days of old where mere men had a noble demise A beautiful maiden was in waiting for her knight He would often fight for the cause of stregnth and dignity The draw bridge where the castle stood had a very unique aura A mystery of sort sought up in the vast array of crowned nobility For the king on his thrown was humble yet greedy Always would take care of himself caring nothing for the needy A valiant knight was concerned about the kings trust Often they would disagree on who it was to serve A joker came in front of the king one day with a magic wand Waving the wand in the air then there floated ivy everywhere For the court jester was a fool in the making of his legacy The maiden would often come forth and see For she treasured a red rose that was plucked sometime before Cherished the calling of her stature to the glory of the throne A valiant knight would often sing sweet songs in the night Had a following of village people that would sit before his feet Having a way of words that he would often share The castle was filled with dragons and warlocks searching for love A cause to be brave amidst uncertainty of the kingdom The legacy of golden capulets filled ardent vestibules Let us toast to the valiant knight who keeps a watch on all that is good (8) Hampton Beach The smell of fresh fry doe Time had elapsed playing at the casino Fresh lobster with a side order of fries Those spacious wonderful sky's Down at the shell the continental were playing A walk by the lady of a statue in waiting Flip flops and the sound of laughter A playground for kids in the middle The boardwalk with seagulls flocking over head Fire works in the midnight air with a cheer (9) God's World It is raining again. Summer will be over before it ever gets here Thunder rolls far away, drops hit the windshield, the sky turns gray The Sunflower, the blue Delpinium, the white Stinkwood drink the moisture greedily. The green and silver leaves of the Aspens sparkle as the rain hits them, and the wind turns them round and round The creek flows on, oblivious to the change in the weather. A break in the clouds allows a bit of sun to hit the side of a towering mountain Three cows slowly wend their way homeward. It is dusk. The gray clouds lift and the sun bursts through, before sliding behind the hills for the night It is God's World. He gives it to us to enjoy and to share with each other (10) Jake's House There was a man whose name was Jake Who had a house upon the lake Every morning he would wake And for breakfast have a piece of cake He had a private fishing hole; He always used a long cane pole He fried his fish on red hot coal And served it in a great big bowl For a pet, he had a cat (11) In The Zone Written by: Mario Vitale In The Zone whispers... through the dark deranged portals you evoke fear filled with angelic fervor on it's textual base yet we dig much deep then ever before cries in the dark will light the spark of what we need to know still we stand idle as the average novice introduces its spell along again then the sadness evokes a newer feeling dwindling through the vain extraction of the never world we visually see a flash then a new day approaches on the lawn two lovers having passionate *** the screams of vile extreme explodes throughout perhaps this is the place where Nero tread yet again I sit alone in my house now huddled in the corner the twilight sun has tainted my inner vision the howls of Satanic laughter gives a piercing shriek through a candle was lit by the edge of my bed One can remain lax in the quietness of the moment yet again the setting of the sun a new day has begun as we embark on the moment Does death hurt you the most or is it fear You can equate logic through a firm grasp of the hand whispers again... then a faint cry, we construct living pyramids to honor the dead A stroke of luck an the impulse ensues onto so much more but for what are we grasping for straws what are we searching for ? quietness again this time I'm in the zone as if zombie creatures with viscous long fangs that bite dripping blood off side we run away to hide no one questions anymore no one has a voice alone one last time yet feelings of grandeur awake to the message of hope that spills from the sky a challenge to be free is a question of time eyes with spots digging holes in a pool of blood Satan laughing again spreads his wings Suddenly I awake but to what ? (12) An End Of The Age Of Innocence Part III Written by: Mario Vitale In our fast paced twentieth century world.., We oft' have neglected to stop to smell the roses, Oft' we used to bow our heads silently to pray, As we reflect back to the sixties is had launched a pad to rebellion ! With a vast amount of liberal bias and thinking, No wonder why our nation is sinking.., Sinking amidst a cuss pool of mere morality.., For now it is a quite different time, A very unique but different type of day.., An end of the age of innocence, One hath been enlightened.., From seeking truth, Some fresh out of a garbage can.., Yet for Gods' sake, He hath such an amazing plan ! Hence, to shun the broad road, Yet to seek to venture in the narrow.., Such as a distant bird in flight ! You might see this creature venture out at night ? Of the Eagle nor the Sparrow.., It used to mean something to have a sense of common courteous.., To hold open the door for your neighbor ? Yet for the time being we relent and waiver.., Would you prefer another taste of a certain ice cream flavor ? To ponder we must be content with who we are in the inside.., Nor, a mere fancy suit or blazing sport's car, Life is a roller coaster.., In what you do while busy making other plans.., Finding solace among the height of nature., Such to think at what is quite simple, As a young child reflects on his or her poster board, Playing with their magic crayons.., For in eternity it is such a very long time ! Take heed in what you do, Now is the expectant hour ! What will one choose to do ? There can be no place nor need for any compromise, Within it's vast perpetual spectrum ! One just can't put a price tag on a genuine but unique heart ! Hence, with honest integrity.., The time for change is today ! (13) He Was There by Mario William Vitale From the inner silence of the lamb he was there In welcoming to the world to share Within the multiple of words the mouth speaks As a heart beats through the passage of time To every poem that was ever written To every burden ever lifted To rivers crossing where people living Sometimes loving other moments giving In storms that were outside brewing What is the significance of this love In painted pictures from above To every soldier in a battle To every cow amidst the cattle Not a second glance at any real romance A field of dreams throughout our head From both fire and ice will make you think twice Perhaps another chance at a roll of the dice When every kingdom comes thy will be done Shadows in the shining morn if there's a rose it bears a thorn, He was there in every circumstance When they tried to throw stones at her He was there drawing a line with his finger in the sand It is my hope that some day all will understand A glance at the past will tell us of our future Amidst the inner pain & uncertainty Through shadows in a field of dreams In moments of solace amidst the pain A light moved out upon the street outside A day that wasn't meant to be Thorn crown was pulled upon his head Those shouts of intense anger from the mob There was only one who would help him back on his feet, A light that brought only a few to greet Let us not run away & hide Each one of our sins was placed on that cross To lose the battle now would end in tragic loss Father please forgive them for they know not what they do He said the prayer now the rest is up to you That cross that broke a sinful world apart With his blood-soaked crown with spear in side To show the whole world he had nothing to hide The summoned cry brought about healing in the sky Watch the free angelic dove fly! (14) Momma Of Pearls by Mario William Vitale Since there's nothing I could find That was worth giving you, I sat down to think a while And write a line or two If I had a magic wand I'd wave it just for you, And give you anything you'd like No matter how many or few If I could give you back the years You so willingly gave to me I'm sure that you spend them over again The same as they used to be Remember when those days and nights Instead of going to the fair I'd always say tell me again The story of the three little bears I tried to get a strawberry pie But they were out of season Then I thought of gold Mario William Vitale Written by Mario William Vitale 48/M/Wolcott, Ct 310 Please log in to view and add comments on poems

[writing-prompts-for-friends]

Notes on Robert McKee’s “Story” 20: How to Write Authentic, Unique Characters

We can all recall characters that we love, that we relate to, whose actions are different from everyone else’s, but perfectly fit who they are. As a fanfiction writer and consumer, I understand keenly that there is nothing the reader hates more than when a character is “out of character.” Yet as a writer of original works, I find myself struggling to create characters that are each their own unique person, whose actions and reactions are individual and fitting. 

Today’s section has given me great insight into this issue that has been plaguing me for years.

Writing from the Inside Out

McKee states that it is paramount that we find our way to the center of each character and experience every event from their point of view. We can stay on the outside and observe their habits, their ticks, their behaviors, and create an intriguing characterization. But this will not lead us to true character, who this person is when we peel back all the layers. The only way we can understand their true character is to get inside them, watch the story’s world through their eyes, and ultimately gain their emotional truth.

“The only reliable source of emotional truth is yourself. If you stay outside your characters, you inevitably write emotional cliches. To create revealing human reactions, you must not only get inside your character, but get inside yourself. So, how to do this? How, as you sit at your desk, do you crawl inside the head of your character to feel your heart pounding, your palms sweating, a knot in your belly, tears in your eyes, laughter in your heart, sexual arousal, anger, outrage, compassion, sadness, joy, or any of the uncountable responses along the spectrum of human emotion?

You’ve determined that a certain event must take place in your story, a situation to be progressed and turned. How to write a scene of insightful emotions? You could ask: How should someone take this action? But that leads to cliches and moralizing. Or you could ask: How might someone do this? But that leads to writing “cute”--clever but dishonest. Or: If my character were in these circumstances, what would he do?” But that puts you at a distance, picturing your character walking the stage of his life, guessing at his emotions, and guesses are invariably cliches. Or you could ask: “If I were in these circumstances, what would I do?” As this question plays on your imagination, it may start your heart pounding, but obviously you’re not the character. Although it may be an honest emotion for you, your character might do the reverse. So what do you do?

You ask: “If I were this character in these circumstances, what would I do?” ... It is no accident that many of the greatest playwrights from Euripides to Shakespeare to Pinter, and screenwriters from D. W. Griffith to Ruth Gordon to John Sayles were also actors. Writers are improvisationalists who perform sitting at their word processors, pacing their rooms, acting all their characters: man, woman, child, monster. We act in imagination until honest, character-specific emotions flow in our blood. When a scene is emotionally meaningful to us, we can trust that it’ll be meaningful to the audience. By creating work that moves us, we move them.”

I feel really bad every time I shamelessly quote such a large chunk of text like this, but I love McKee’s wording too much to change it. This. This is what I have needed to hear for years now. This entire time, I have been asking myself the wrong questions. 

Creating Within the Gap

The gap, as was defined in my previous post, is the difference between the outcome that the character expects, and the actual outcome when he acts to obtain his desire. 

Now we are in our characters’ heads. And not only are we in the head of one character; we must be able to flit between all characters in the scene. 

The writer’s next question is: How to progress the scene?

What action does the character take? What outcome does he expect? But we must not give him what he expects--instead, we must open the gap. To do so, we step back and ask ourselves, “What is the opposite of what he expects?”

“Writers are by instinct dialectal thinkers. As Jean Cocteau said, ‘The spirit of creation is the spirit of contradiction--the breakthrough of appearances toward an unknown reality.’ You must doubt appearances and seek the opposite of the obvious. Don’t skim the surface, taking things at face value. Rather, peel back the skin of life to find the hidden, the unexpected, the seemingly inappropriate--in other words, the truth. And you will find your truth in the gap.”

Fine Writing Emphasizes Reactions

gasps in telenovela

Let’s face it, a lot of the actions in any story are expected. The lovers in a Love Story will meet. A police officer discovers a clue in a Crime Story. The audience anticipates them, and there is no getting around these genre conventions. So how can we make our jaded audience react anew? 

“Fine writing puts less stress on what happens than on to whom it happens and why and how it happens. Indeed, the richest and most satisfying pleasures of all are found in stories that focus on the reactions that events cause and the insights gained.”

Even in the quietest, most internalized scenes, a dynamic series of action/reaction/gap, renewed action/ surprising reaction/gap builds the scene to and around its Turning Point as reactions amaze and fascinate. 

Once you have a scene in your mind, complete with its beats and gaps, start writing it. You write so that when it is read by someone else, they will, beat by beat, gap by gap, live through the roller coaster of life that you lived through at your desk. 

The Substance and Energy of Story

At the beginning of this chapter, McKee asks, “What is the substance of story? What do we mold and hew to create a tale?” The answer is not “words.” They are just a means to an end. 

“The substance of story is the gap that splits open between what a human being expects to happen when he takes an action and what really does happen; the rift between expectation and result, probability and necessity. To build a scene, we constantly break open these breaches in reality.

As to the source of energy in the story, the answer is the same: the gap. The audience empathizes with the character, vicariously seeking his desire. It more or less expects the world to react the way the character expects. When the gap opens up for character, it opens up for audience. This is the “Oh my God!” moment, the “Oh no!” or “Oh yes!” you’ve experienced again and again in well-crafted stories.

...

As a charge of electricity leaps from pole to pole in a magnet, so the spark of life ignites across the gap between the self and reality. With this flash of energy we ignite the power of story and move the heart of the audience.”

 A well-told story isn’t made by beautiful prose or witty dialogue. It’s made by cracking open the world we think we know to reveal the truth beneath it. And if we can do that, we’ve done well.

Source: McKee, Robert. Story: Substance, Structure, Style, and the Principles of Screenwriting. York: Methuen, 1998. Print

[enchantedbyhiddles]

For anyone interested, there is a podcast that has all of Shakespeare’s plays being read by members (former and present) of the Royal Shakespeare company since 1998. 

A Midsummer Nights Dream (63.5Mb)

All's Well That Ends Well (71.8Mb)

Antony and Cleopatra (92.8Mb)

As You Like It (67.7Mb)

The Comedy of Errors (40Mb)

Coriolanus (86.4Mb)

Cymbeline (91.2Mb)

Hamlet (94Mb)

Henry IV Part 1 (76.2Mb)

Henry IV Part 2 (83.8Mb)

Henry V (86.3Mb)

Henry VI Part 1 (72.9Mb)

Henry VI Part 2 (83Mb)

Henry VI Part 3 (80.3Mb)

Henry VIII (77.3Mb)

Julius Caesar (67.1Mb)

King John (67.7Mb)

King Lear (85.3Mb)

Love's Labour's Lost (66.9Mb)

Macbeth (63.6Mb)

Measure for Measure (68.1Mb)

The Merchant of Venice (62.6Mb)

The Merry Wives of Windsor (61.7Mb)

Much Ado About Nothing (58.9Mb)

Othello (83Mb)

Pericles (62.6Mb)

Richard II (78.9Mb)

Richard III (97.9Mb)

Romeo & Juliet (83.7Mb)

TheTaming of the Shrew (62.8Mb)

The Tempest (60.1Mb)

Timon of Athens (63.3Mb)

Titus Andronicus (74.3Mb)

Troilus and Cressida (84.7Mb)

Twelfth Night (60Mb)

Two Gentlemen of Verona (54.6Mb)

The Two Noble Kinsman (80.7Mb)

A Winters Tale (79.1Mb)

Just some casts (full list at source)

The Comedy of Errors David Tennant - Antipholus of Syracuse Brendan Coyle - Antipholus of Ephesus Alan Cox - Dromio of Syracuse Jason O’Mara - Dromio of Ephesus Niamh Cusack - Adriana Sorcha Cusack - Luciana Trevor Peacock - Egeon Helen Ryan - Abbess

Hamlet Simon Russell Beale - Hamlet Imogen Stubbs - Ophelia Jane Lapotaire - Gertrude Bob Peck - Claudius Norman Rodway - Polonius Paul Jesson - The Ghost/Gravedigger Alan Cox - Horatio Damian Lewis - Laertes

Richard II Rupert Graves - Richard II Julian Glover - Henry IV John Wood - John of Gaunt Isla Blair - Duchess of Gloucester Saira Todd - Queen Isabel John Nettleton - York

Romeo and Juliet Joseph Fiennes - Romeo Maria Miles - Juliet Elizabeth Spriggs - Nurse David Tennant - Mercutio Trevor Peacock - Capulet Jonathan Tafler - Tybalt/The Apothecary Clive Swift - Friar Laurence/Chorus

[your-fave-is-catholic]

Your Fave Is Catholic: Alan Rickman

Known for: Emmy Award winning & Golden Globe winning English actor & director, he is best known either for playing Hans Gruber, the villain of Die Hard, or for playing Professor Severus Snape in all of the Harry Potter film adaptations. He trained at the Royal Academy of Dramatic Art, & he started his acting career as a member of the Royal Shakespeare Company. He worked as a stage actor for many years, & continued doing theater productions even after becoming an acclaimed film actor. His first film appearance was in the previously mentioned Die Hard, & since then he has found major success as a film actor. Other notable films he has done include The January Man, Truly, Madly, Deeply, Robin Hood: Prince of Thieves, Close My Eyes, Bob Roberts, Sense & Sensibility, Rasputin: Dark Servant of Destiny, Michael Collins, Dark Harbour, Dogma, Galaxy Quest, Help! I’m A Fish, Blow Dry, Love Actually, The Hitchhiker’s Guide to the Galaxy, Perfume: the Story of a Murderer, Nobel Son, Sweeney Todd: the Demon Barber of Fleet Street, Bottle Shock, Alice in Wonderland, Gambit, The Butler, A Little Chaos, Eye in the Sky, & Alice Through the Looking Glass. He was also greatly known for his sophisticated yet cold & menacing voice, which rivaled that of other great English actors like Jeremy Irons in terms of cool voices.

Evidence of Faith: This is an interesting example, because the truth of the matter is that there isn’t too much clarity about what Alan’s faith was when he was alive. According to an article from The Guardian that was written in 1998, it states that Alan’s father was an Irish Catholic man. But at the same time, the article also mentions that Alan’s mother was a Welsh Methodist woman, indicating that Alan & his siblings grew up in a bi-religious household. There aren’t really any sources besides this that discuss his religious beliefs. A People Magazine article does mention that in 2012 he married his love Rima Horton.... but they mention that the ceremony was private, & thus it’s unclear if it was a religious ceremony or not, & the name of the church is never mentioned. He was also cremated when he died, which means he’s not buried in any sort of religious cemetery. One source did mention that he was the godfather to actor Tom Burke, but the source was lost. Still, that could mean a little something. Either way, people who follow this blog have insisted that Alan was Catholic, & I suppose a small bit of evidence is better than no evidence at all.

[cto10121]

RetJ Origin Story

So this began as a response to @freshprinceofverone’s reblog about Presgurvic’s similar procrastinating (actually epic LYING) skills, but then I decided that the origin story of RetJ deserves its own post as it is actually the best thing ever quite interesting.

It was 1998, thereabouts. Presgurvic was a not-so-young composer absolutely gung-ho in doing a musical, any musical, but of course, French producers at the time said no because France didn’t care for musicals, Starmania being pretty much the exception that in many ways proved the rule. And maybe Les Parapluies de Cherbourg (Les Mis was just a minor, very modest hit at that and disappeared quickly before Cameron Mackintosh picked it up and made it British a hit). But that was, of course, pre-Notre Dame de Paris. After Notre Dame, over which the whole of the Francophone went bat-shit crazy, producers started seeing potential $$ and so it was in this hope that Presgurvic went to producer Gerard Louvin of GLEM. Louvin was interested, all right, but he wanted some suggestions. Did Presgurvic have a subject or subjects in mind?

“Sure,” he lied. 

BUT, as it turned out, Louvin had a poster of Baz Luhrmann’s Romeo + Juliet up on his wall, like a Leo fangirl he most certainly did not resemble. So picture the scene: Louvin the jaded producer, Presgurvic the nebbish-looking composer with a heart full of songs in search for a plot, and a poster of a kissing Claire Danes and Leonardo di Caprio in a Hawaiian shirt looming on them, emitting a faint aura like a positive Horcrux. 

Huh, thought our intrepid composer. Quel bizarre. As it turned out, his own wife had mentioned Romeo and Juliet as a subject for a musical just a couple of hours before, when Presgurvic voiced his ideas aloud. 

“You should do it, I think it’d make a good musical,” she told him.

“Nah, it’s too old,” he had replied, like an idiot he would soon discover he most definitely was. ‘‘No one would like it.” 

And now there it was, the poster like a beacon or a sign from destiny. Dare he take it? Dare he risk it? 

“I was thinking maybe Romeo and Juliet,” he blurted. 

It was as if he had uttered a magic word, like Abracadabra! or Billions in potential profits! Gerard Louvin lit up like a Christmas tree. He leaned forward, eyes gleaming, like a cougar about to pounce on some really profitable prey. 

“Go on,” he said. “You have some songs written?”

“Oh, yeah, a couple.”

This was a lie, Presgurvic was lying, these were lies, lies, lies. So immediately after this promising meeting, (which ended with Louvin opening his maw and uttering “Give me MOAR,” true fact(tm)) he rushed home and started cranking: “Vérone,” “Aimer,” possibly “La Haine” — all the major songs, in short, hitting the major themes of the play, the ones he could remember, anyway. He went back and showed at least “Aimer” to Louvin, who definitely approved. 

So. Presgurvic got his chance to do a musical. So now he can relax a bit (though not too much because, ha, show), thank his wife (hopefully), tweak some tunes, and, most importantly, actually read the damn play.

He isn’t terribly excited about it, to be honest. Like most people, he has this rather odd notion of R&J being this moldy, nonsensical story about two silly teenagers in love who just die for no good reason.The tragedy of the commons and inept English teachers, alas. Luckily, this preconception has a shelf life.

Because WHOA. Presgurvic just straight up falls in love with this beaut of a play, this gem. It is one of Shakespeare’s best, after all. Love, hate, death, misunderstandings, friendship, wedding, freedom, tragedy…it’s all there! (Actual quote from Papa G himself). Pure music, in other words. Presgurvic starts cranking out songs like crazy, full of inspiration (I think he may have even watched the Zeffirelli R&J version at some point or West Side Story, but don’t hold me up on that). And, as they say, the rest is history. 

So to conclude: Follow your dreams, listen to your wife, pay attention to weirdly well-situated posters, and lie. Shamelessly. 

(N.B. My main source is this article I was lucky to save, as it has tons of fascinating information on how Presgurvic conceived his version. I know I also read a different source for how it all came about, but on the life of me, I can’t quite remember. I think it may have been in one of my local newspapers, weirdly enough.) 

[phimhdonline]

Shakespeare In Love

Shakespeare In Love – Câu chuyện tình yêu bị ngăn cấm

Thông tin phim:

Quốc gia: Anh

Thể loại: Phim hài, phim lịch sử, phim tâm lý

Đạo diễn: John Madden

Diễn viên: Geoffrey Rush, Gwyneth Paltrow, Joseph Fiennes

Công chiếu: 1998

Thời lượng: 123 phút

Nội dung phim:

Shakespeare In Love là một bộ phim tâm lý của Mỹ do John Madden làm đạo diễn. Nội dung xoay quanh câu chuyện tình bị ngăn cản của nhà soạn nhạc nổi tiếng.

Thế kỷ 16 tại Anh, trong khi phụ nữ bị cấm không được diễn trên sân khấu thì một cô gái xinh đẹp say mê nghiệp diễn đã giả trai để được tham gia vở diễn của nhà soạn kịch mà cô ngưỡng mộ. Không ngờ chính cô gái này lại là ngọn lửa thổi bùng cảm hứng sáng tác vốn đang lụi tàn ở tác giả trẻ tuổi này. Bộ phim kể về câu chuyện tình thời niên thiếu của chàng trai Shakespeare.

Mối tình lãng mạn xảy ra tại London vào mùa hè năm 1593. Nhà soạn kịch trẻ tuổi Will Shakespeare đang cố gắng hoàn thành vở kịch của mình nhưng lại gặp nhiều khó khăn do không có cảm hứng sáng tác thực sự và vở kịch rơi vào bế tắc.Điều Will Shakespeare cần là một nàng thơ và trong khoảnh khắc cuộc sống phản chiếu hình ảnh của nghệ thuật thì anh đem lòng yêu cô diễn viên Viola xinh đẹp.

Bởi anh nhìn thấy khao khát cống hiến cho nghệ thuật của cô. Đây chính là chất liệu sống động cho anh xây dựng hình tượng Romeo và Juliet. Nhưng tình yêu của họ bị ngăn trở bởi Viola là vợ sắp cưới của Huân tước Wessex. Liệu rằng mối tình không được ủng hộ này sẽ có kết quả ra sao?

>>> Xem thêm phim bom tấn tại Phimhdonlinetv1

Các câu hỏi thường gặp:

01. Xem phim Shakespeare In Love có mất phí hay không?

Tất cả những bộ phim của chúng tôi đăng tải hoàn toàn miễn phí và sẽ không bị tốn bất kỳ chi phí nào.

02. Tôi muốn kết nối thiết bị xem phim Shakespeare In Love với Smart Tivi?

Hiện tại phim Shakespeare In Love chưa có chức năng tự động kết nới với smart tivi nhưng các bạn có thể xem phim xxx trên thiết bị smart tivi bằng cách mở trình duyệt và đăng nhập vào website của chúng tôi.

03. Tôi muốn tải phim Shakespeare In Love về máy tính?

Bạn có thể tải hoặc download phim Shakespeare In Love về máy tính bằng cách click vào nút tải về dưới màn hình hiển thị.

04. Tại sao khi xem phim Shakespeare In Love hay bị đứng hình

Trường hợp đường truyền tín hiệu kết nối kém sẽ dẫn đến quá trình xem phim, chúng tôi khuyên bạn sử dụng trình duyệt Google Chrome và kiểm tra đường truyền ổn định trước khi xem phim.

05. Tại sao phim Shakespeare In Love không có vietsub hoặc thuyết minh?

Nếu phát hiện bất kỳ bộ phim nào mà không có vietsub và thuyết minh hoặc phim lỗi không xem được hãy liên hệ với chúng tôi thông qua hình thức gửi email để chúng tôi có thể khắc phục trong thời gian sớm nhất.

06. Tôi muốn xem phim bộ và phim tập ?

Rất tiếc hiện nay chúng tôi chưa có đăng tải phim bộ, phim tập trên trang web. Tuy nhiên, theo kế hoạch sẽ có thêm danh mục phim bộ trên trang web trong năm nay. Xin lỗi cho sự bất tiện này!

Trailer film Shakespeare In Love

The post Shakespeare In Love appeared first on Phim HD online - Kênh xem phim HD online tổng hợp miễn phí trực tuyến.

source https://phimhdonlinez.com/shakespeare-in-love/

[whileiamdying]

My Own Private Idaho: Private Place

It’s night in the desert. Mike (River Phoenix), a teenage hustler given to bouts of narcolepsy, and Scott (Keanu Reeves), a slumming preppy prince, are huddled over a campfire. “I just want to kiss you, man,” says Mike softly. The words and the barely audible sound of his voice, caught between hope and despair, speak to anyone ever ripped apart by unrequited love. For all its flannel and Gore-Tex, the scene is a startlingly naked expression of lovelorn longing. Credit both Gus Van Sant, the director, and Phoenix, his perfect actor, with the heartbreak that floods My Own Private Idaho.

Released in 1991, Idaho was Van Sant’s third feature film and remains his most anarchic and, in many ways, ambitious. It’s certainly the film in which his art-school sensibility and the postmodernist aesthetics that dominated the art world during the seventies and eighties are most in play. Van Sant attended the Rhode Island School of Design from 1971 to 1975 (among his schoolmates were David Byrne and other members of the Talking Heads), shifting his focus from painting to film partway through his time there. The explosion of the sixties underground film scene was over, but Andy Warhol was still an influence, as were Kenneth Anger and other avant-garde film diarists who toted their 16 mm and Super 8 cameras everywhere. After a brief stab at working in the Hollywood film industry and a stint in advertising in New York, Van Sant made his first released feature, Mala Noche, in 1985, with roughly $20,000 of his own money. A gritty, lyrical black-and-white stunner about a gay skid-row store clerk’s obsession with a Mexican migrant worker, it caught the eye of some discerning Hollywood producers and led to his making his second, slightly more conventional feature, 1989’s Drugstore Cowboy, starring Matt Dillon as the leader of a quartet of junkies who rob pharmacies to feed their habits. The toughness of both films, the director’s obvious empathy for alienated adolescents, and his talent for getting shockingly genuine perfor­mances from his actors helped him land the teenage idols Phoenix and Reeves for My Own Private Idaho.

What is striking about Idaho today, in light of Van Sant’s later films, is its extraordinary hybridity. Where Psycho (1998), Gerry (2002), and Elephant (2003) are each structured by a single daring formal device—the shot-by-shot mimicry of Hitchcock’s original in Psycho; the extended tracking shots in Gerry and Elephant—Idaho is a collage that includes even a kitchen sink and some Dutch Boy cleanser for scrubbing it down. Van Sant mixes and matches scenes of documentary-style realism with campy musical set pieces, improvised dialogue with bowdlerized Shakespeare, dream sequences shot in grainy Super 8 with 35 mm vistas of the Pacific Northwest, and, on the soundtrack, Rudy Vallee with the Pogues. The main source materials for Idaho’s screenplay were two completely separate scripts and a short story, all written by Van Sant. One of the scripts was a modern-day adaptation of Shakespeare’s Henry IV.

Van Sant ties these various elements together by filtering the entire narrative through Mike’s consciousness. The irony is that the narcoleptic Mike is among the most unconscious characters to ever hit the screen. Abandoned by his mother early in life, he was raised by his brutish brother/father (with echoes of Chinatown, although, since Mike’s origins are below the poverty line, his incestuous parentage is no Greek tragedy, just an extra oedipal wrinkle in a disenfranchised existence). Mike’s narcolepsy is his defense against his childhood agony of abandonment. Anything that reminds him of his lost mother triggers a severe psychosomatic reaction. He shakes so violently he looks like he’s going to explode, and then keels over in a stupor. Idaho’s fragmented editing style—its heterogeneous visual associations and dense layering of words, sounds, and music—and its split-second shifts between the burlesqued and the heartfelt evoke Mike’s confusion of inside and outside, past and present, dreams and waking life.

The film opens on the road, for it is, above all, a road movie. It is the road onto which both Mike’s interior journey from fragile adolescence to precarious adulthood and his desultory attempts to find his missing mother are mapped. We look down a long stretch of two-lane highway, bisecting the desert scrubland, curving upward as it disappears into the distant mountain haze. Like a shot, Mike skids into view. His cheek, with its ragged blond sideburn and faint tracing of acne, is disorientingly close. He looks down the road and decides he has been here before. “There’s not another road anywhere that looks like this road . . . It’s one kind of place . . . Like a fucked-up face,” he says, talking not entirely to himself but not quite to us either. Just in case we’re not yet in touch with Mike’s way of seeing, Van Sant helpfully irises down around the relevant features: the eyes are two bushes and the smile the shadow of a passing cloud. Suddenly, Mike collapses in the middle of the road. He dreams a faded home movie of himself as a child, safe in the arms of his mother, a blowsy strawberry blonde with a Mona Lisa smile seated on the porch of a wood-frame house. Clouds rush across the sky, salmon leap in slow motion upriver toward their spawning grounds, and Mike wakes in a Seattle hotel room, being sucked off by a balding, beer-bellied john. Mike reaches orgasm and a wooden barn comes crashing out of the sky, splintering onto the highway.

Having shown us something of Mike’s dreamy mindscape and the way he makes a living, Van Sant then introduces us to his social set, and in particular to the object of his desire, Scott Favor. The son of the mayor, Scott is sowing his wild oats by hanging out with this group of homeless rent boys and turning the occasional trick himself. Scott is the film’s Prince Hal. Its Falstaff is Bob Pigeon (William Richert), a fat, beer-­guzzling chicken hawk who’s got a thing for the narcissistic scion. Scott has also fallen into the habit of taking care of the vulnerable Mike.

It’s on a trip to find Mike’s mother that the two friends spend the night, like so many cowboy duos have done, huddled over the campfire. And Mike, more daring and desperate than those cowboys before him, risks, or perhaps courts, a repetition of his primal loss by confessing his love to Scott. When I interviewed Van Sant at the time of the film’s release, he said that he’d originally thought the scene would be much more casual. “The character of Mike was originally kind of asexual. Sex was something that he traded in, so he had no real sexual identity. But because he’s bored and they’re in the desert, he makes a pass at his friend. And it just sort of goes by, but his friend also notices that he needs something, he needs to be close, so he says, ‘We can be friends,’ and he hugs him. That was all it was going to be. But River makes it more like he’s attracted to his friend, that he’s really in love with him. He made the whole character that way.”

Mike’s raw need is too much for the self-protective Scott to cope with. After a terrifying encounter with Mike’s alcoholic brother/father and an acrobatic bedroom threesome with Hans (Udo Kier)—the ubiquitous john who seems to have pursued them across several states—they wind up in Rome, where Scott, in a homophobic panic, falls in love, not with a French princess but with a mysterious Italian beauty.

Idaho juxtaposes the societal extremes of haves and have-nots. For the first time, Van Sant includes a leading character whose upper-middle-class origins correspond with his own. But unlike Van Sant, who for most of his career has stayed true to his own Americanized version of the “art film,” Scott betrays not only his friends but his sexuality for money and power. The film climaxes with a double funeral. Scott’s two fathers—Mayor Favor and Bob Pigeon—have died one right after the other and are being buried in the same graveyard. The schizoid structure of the scene is, for once, not a projection of Mike’s fragmented psyche but rather a mini-allegory of the economic polarization of America that was already grotesquely evident during the Reagan–Bush I era and is even more pronounced today. Eyes front, spines stiffened, the properly heterosexual Favor clan, now led by Scott and his wife, is desperately trying to ignore the carnivalesque spectacle taking place a few hundred meters away. Mike and his fellow outcasts are furiously dancing on Bob’s grave. One close-up is enough to suggest that Mike’s first eruption of anger is also his first taste of liberation.

Threaded with home-movie images (no filmmaker has ever been better than Van Sant at forging and integrating them), My Own Private Idaho is a crazy quilt of family romances. Everybody is either looking for or escaping from their families, or organizing new families, or poring over photographs of other people’s families. In the campfire scene, Mike prefaces his confession of love by agonizing, “If I had a normal family and a good upbringing, then I would have been a well-adjusted person . . . Didn’t have a dog, or a normal dad, anyway.” “What’s a normal dad?” asks Scott, the sophisticate, with a shrug. Something in the way he says “normal” recalls the moment in Stanley Kubrick’s Lolita—another absurdist road movie about impossible love—when Quilty (Peter Sellers), masquerading as a lonely policeman, terrorizes Humbert (James Mason), who has been passing off the underage Lo as his daughter. “I wish I had a normal, nice, little, normal daughter like that,” leers Sellers.

Deeply regressive, Mike’s desire is for the safety of the mother’s body. “Locked in the arms of love,” the last line of “Deep Night,” the Rudy Vallee recording heard several times during the film, is the last line on Idaho’s soundtrack, played over the closing credits. To what, then, does the film’s title refer? “My Own Private Idaho” is an imaginary place where one is locked in the arms of love—that is, both protected and free. It is the promise of America, chronically out of joint with reality, especially for its most vulnerable inhabitants. At the end of the film, Mike is once again alone, lying unconscious on the highway. The occupants of the first car that stops steal his shoes and leave. A second car pulls up, and the driver gets out, picks him up, deposits him in the backseat, and drives off. It’s the last we see of Mike. Throughout the scene, we hear the strains of “America the Beautiful,” the anthem couched as a prayer for the inhabitants of this natural paradise of “purple mountains” and “fruited plain” to treat one another as brothers. Is it “brotherhood” that Mike finds, or some darker fate? Given the temper of the times, the glimmer of hope in Van Sant’s open ending has all but faded away.

— By Amy Taublin, 07/OCT/2015