#the way it frames paul's face during the last charge............. its all beautiful

[jedaos]

all quiet on the western front is literally a movie discussing the futility of war, of how little boys sign up to march to their death because of propaganda fed to them by their teachers and mentors who prey on their idealistic view on life. it is a film that makes you watch death after death after death, without giving you a single cause or philosophy or ideal for you to soothe yourself with—because there is none. there are only boys and men, bleeding cold and alone on the dirt and mud. there is no worth. there is no reason. there is only death.

and you reduce it to a "war movie". it's based off a book brave enough to depict the realities of war in the charged political climate of 1929, and you call it "the war movie".

[michelles-garden-of-evil]

Shadow Over Seventh Heaven Review, Part I: Last Night I Dreamt I Went to Maljardin Again

Once, April Tennant had been the greatest screen star of all. Even now that this stunning creature was gone, the victim of a hideous accident, her name still cast a magic glow. And nowhere was her haunting spell more alive than within her great walled estate of San Rafael.

It was here that April had lived in her storybook marriage with famed actor Richard Morgan. It was here that her memory was worshipped still. And it was here that lovely young Jenny Summers came as Richard Morgan's new bride--to discover the terror behind the tinsel in this place transformed from a paradise of the living to a hell of the undead.... (inside front cover)

Welcome, fellow Strangers and all others who happen upon this post. This week, I have decided to begin a new series exploring the Gothic novels written by co-creator and first headwriter of Strange Paradise, Ian Martin, under the pen name Joen Arliss. Mostly, the purpose of this series will be to compare the plot and characters of Strange Paradise and those of his novels and what that may indicate about his original intentions for the overarching story of the soap opera.

I got the idea to start this series while writing my review of Episode 26, after the contents of an article referenced in one of the scenes reminded me of the events in this book. On his now-defunct website Maljardin.com, Curt Ladnier covered some of the similarities between “Here Goes the Bride,” the CBS Radio Mystery Theater drama from which this book was adapted, and Strange Paradise, but I wanted to dive deeper and do one of my characteristic overanalyses. So fly with me to the grand southwestern estate of San Rafael and together let’s explore Shadow Over Seventh Heaven--and let me warn you, there will be spoilers for the entire Maljardin arc of SP.

As noted above, Shadow Over Seventh Heaven is an adaptation of a radio drama that Martin wrote for CBS Radio Mystery Theater. CBSRMT is, perhaps unquestionably, Ian Martin’s most famous work. Created by Himan Brown in 1974 and running for 1,399 nightly episodes, Martin wrote a total of 243 (including many adaptations of literary classics) and acted in 255, typically in supporting roles. He continued writing and acting on the series all the way until his death in 1981 at the age of 69. Given my tendency to procrastinate, which sometimes makes it difficult to write just one episode review a week even when I’m not busy, I envy him for being such a prolific writer. I suspect that all the soap scripts he wrote got him into the habit, and he just couldn’t break it.

Even more extraordinary is that he wrote and published five novels during the same period that he worked on CBSRMT. His first was Nightmare’s Nest (1979), an adaptation of the CBSRMT play “The Deathly White Man” (and not the other drama, also by him, of the same name), which is his answer to Jane Eyre and which also has some interesting connections with SP which I plan to explore in another review series. Next came this novel, and then Beloved Victim (1981), adapted from “A Lady Never Loses Her Head,” which I don’t recall having anything noteworthy in common with SP, but I may need to re-read it to make sure. He also wrote two mystery novels, The Shark Bait Affair and The Ladykiller Affair, for the Zebra Mystery Puzzler series, but those are both very rare now and I haven’t yet read either, so I can’t say anything about them. The book Mystery Women: An Encyclopedia of Leading Women Characters in Mystery Fiction does, however, provide some information on their protagonist, Kate Graham, along with short plot summaries. As someone with two trunk novels from the last decade and about fifty pages of a third--which I mostly stopped working on after I started this blog--I also envy him for this. How on Earth did he find the time?

But I digress. Like that of “Here Goes the Bride,” the plot of Shadow Over Seventh Heaven draws heavy inspiration from Daphne du Maurier’s famous Gothic romance Rebecca, but with some major differences in plot and characterization. The novel fleshes out the radio drama some more, adding additional details and plot twists that aren’t present in the original play, which arguably make it more interesting. One gets the impression that he had a lot of story in mind while he penned the original drama, but knew he could only squeeze so much into a 45-minute radio play and so had to leave many of the most interesting details out.

But that’s enough background information. Let’s begin our analysis and see what Ian Martin’s later work can tell us about his original intentions for Strange Paradise.

Introduction

The face is lovely, matchless....

Opening like some gigantic and exotic flower as the camera zooms in...

It fills the screen, flawless, enticing....

The lower lip glistens, pulled away from those perfect teeth, trembling ever so slightly, promising undreamed-of delights for the man brave enough to taste its forbidden fruit....

The skin glows with an inner light....

The eyes beyond the thick fringe of dark eyelashes shimmer with the deep violet of a tropical night....

The pitiless exposé of the camera is defeated, no matter how close it probes in close-up....

This is beauty without blemish....

This is everyman's dream woman--sex symbol of the nation, and most of the world....

This is April Tennant!

Strange to think of her dead, for on the screen she is captured forever in all her vibrancy and stunning beauty....

Impossible to think of her lying, mangled and bleeding on the rocks, while the hungry sea licks out as if to possess her.

Incredible to think of her cold and in the grave. Which she has been for twelve months--or this story never would have begun (p. 5).

The first page of the novel introduces us to April Tennant, this novel’s Rebecca and also its Erica Desmond. Like Rebecca, she is the first wife of the protagonist’s love interest, whose tragic death will cast a shadow over her former estate. Like Erica, she was a famous actress--probably more so than Erica ever was--but the cause of her death is not the same as the alleged cause of Erica’s. In Episode 5 of Strange Paradise, Erica’s grieving husband Jean Paul claims that she died of eclampsia while pregnant with their son, although evidence uncovered by other characters in later episodes leads them to contest that claim. Instead, April’s death resembles that of Huaco, the wife of Jean Paul’s ancestor Jacques Eloi des Mondes who died when she fell from a cliff on Maljardin, Jacques’ island estate.

In this introduction, we also see what will become a theme of the novel: gaze. Not just the male gaze--the obvious POV of the introduction--but, more generally, the viewing of April Tennant almost exclusively through the eyes of other characters, both male and female. We never learn much about her inner life, even as we learn those of Jenny (our protagonist), Richard, and others. April is largely a mystery, a larger-than-life figure of ideal beauty who, in the eyes of the public, is more a legend than she is flesh and blood. It’s the same mystique that surrounds celebrities in real life that often makes other people forget that they, too, are human--if, indeed, that’s what April was. Or is there more to it? I guess we’ll have to find it.

Chapter 1

The first chapter begins with a detailed description of San Rafael--and by detailed, I mean that Ian Martin spends one and a half pages describing its wall, followed by two on the mansion itself. I won’t type out too many passages from this book for copyright reasons--for, unlike Strange Paradise, this book is still under copyright--but I will include some highlights. The wall surrounding the castle “was thick enough at the bottom to withstand any tremor of the California earth...topped by a corona of jagged broken glass and it ran for a mile and three-quarters in a great semicircle away from the rocky Pacific coast and back to it again” (p. 6). On its gate,

The ironwork swept and swirled in great balanced curlicues, and the frame was heavy and studded. The studs held great sheets of blackened steel, heavy enough to withstand a battering ram, blocking any vision of the grounds the wall concealed. And the vertical members of the scrollwork reared high above the frame of the door and the top of the wall in a bristling array of spikes, sharp as swords, arched forward to further discourage any hardy trespasser who might try to climb their height (pp. 6-7).

In case you haven’t already figured it out, Martin loved his purple prose. If you don’t like Byzantine descriptions of architecture, ironwork, clothing, or anything else, you probably shouldn’t read this book or any of Martin’s other novels. (Nightmare’s Nest is far purpler, however, than this one. There’s an entire chapter in there devoted to describing the protagonist’s lush Edwardian finery.) Fortunately for me, I love this kind of thing and will gladly devour description after description of gates covered in iron curlicues. My literary tastes tend toward “more is more” and I’m not ashamed to admit it.

We learn that San Rafael is a reconstruction of an old Spanish mission, commissioned by April and built in part by Richard himself, “who personally took charge of putting in all the glass that fronted on the sea.” The gardens that surround it give it “a riot of color--bougainvillea, hibiscus, passionflowers, trumpet vines--all enhanced and set off against the majesty of rows of carefully spaced Italian cedar, or Lombardy poplar” (pp. 7-8).

Despite all this radiant beauty--and as one might expect for reconstructed ruins from the era of Spanish colonialism--the estate is believed to be cursed, at least by “the superstitious peons who built the walls” (p. 9).  (That’s what the book uncharitably describes the Mexican builders--some parts of this book haven’t aged well, as you will see.) Two men died while rebuilding it, followed by April herself around a decade later.

Surprisingly, we learn at the end of this chapter that Richard Morgan’s background differs from that of Jean Paul Desmond. An actor himself, he “was king of the theater, and of East Coast entertainment. Their marriage was a royal one, and it vaulted both of them to new and undreamed-of heights of popularity” (pp. 9-10). It was this popularity that drove them to wall themselves in at San Rafael and use the police and guard dogs to keep rabid fans and paparazzi away--which, ultimately, didn’t work and only led to “a new wave of interest and snooping” (p. 10).

Chapter 2

Here we meet Richard’s sister Lisa, who is...well...quite an interesting character. She’s a beautiful woman with short hair, a deep voice, and--most importantly--an unusual, creepy level of attachment to her brother.

Cersei Lannister Lisa Morgan.

Lisa has just received a phone call from the Philippines where her brother is. The call has left her “literally stunned” (p. 11), which means that the modern slang meaning of “literally” dates back 30+ years longer than I thought. Surprisingly, she isn’t drinking wine to calm her nerves like Cersei above, but that’s her loss.

As she gazes at the ocean to the west, her housekeeper, Conchita Aguilar,  enters. Chita (as she is usually called) has not just worked as April’s housekeeper for most of her life, but also "she and her husband, Juan, had quite literally brought up April” (p. 13); as a result, she is fiercely loyal to the family of her deceased mistress. Here is a portrait of her:

Looking at the tiny woman with her bright button eyes, the black Indian hair swept stiffly away from her face, parted in the middle and tidily put away in a tight bun low on the back of her neck, Lisa was surprised at the sudden urge to go and take this familiar person in her arms--or better still have Chita take her in hers.[...]Chita might be tiny, but she was all steel and whipcord (p. 13).

Sound familiar?

Yes, Chita bears a resemblance to our beloved Raxl. They even have a similar background, for Raxl, too, comes from a people indigenous to Mexico, according to Episode 23.  Like Raxl, Chita is very old and has a mysterious magnetism that draws some people to her (which, in Raxl’s case, includes me). There are some minor differences--Chita doesn’t worship the Great Serpent, she uses gratuitous Spanish instead of gratuitous French, she has a living husband and grandson--but they are, in most ways, the same character. It’s clear that Ian Martin didn’t want to part with Raxl, and I don’t blame him one bit.

Also, for whatever reason, he was oddly insistent on both of them having a specific hairstyle. If you read the original script for the show’s pilot, you will see that he was almost as specific about Raxl’s hairstyle, mentioning “her hair tightly drawn over her ears to a small bun,” but less detailed about those of the other characters. Just an odd detail that probably bears little significance, but that I noticed.

Lisa tells Chita that Richard is on his way home with a new wife, a young, very wealthy orphan named Jenny Summers whom he met in the Philippines. This angers the ancient housekeeper, who argues that Jenny can never come to San Rafael

Because there is no place for her here--en la casa de La Señora! Everything here is hers--she still lives here, and will always live here. Her perfume is in every room, her pictures are everywhere, every ornament and ashtray and book I keep just the way she last touched it. There is no room for any other wife here! Oh, she will feel it, she will know it, because La Señora would never permit another woman to take her place (p. 16)!

Lisa insists that, despite the risk that Jenny won’t want to live on the estate and despite her equal displeasure about the situation, Chita keep an open mind regarding her and try not to be such a Mrs. Danvers about the situation. (OK, so she doesn’t actually say the last part; that’s just my paraphrase.) She also tries to pressure Chita into helping her take down the mementos of April at Richard’s orders, which she objects to, both for sentimental reasons and because they don’t have time to have the enormous fresco of April that adorns the former chapel. (Symbolism!)

“It was a breathless and yet terrible beauty. For any woman who stood next to it had to be eclipsed” (p. 20).

Yes, you read that right: they rededicated the mission’s former chapel to the silver screen sex goddess April Tennant. After their wedding, Richard had a giant fresco of her painted there in place of its former altar. This is a clear indication that one or more of the people in this household worship April, whether literally or figuratively. More than that, the portrait glows like that of THE DEVIL JACQUES ELOI DES MONDES, and seems, like Jacques’ portrait, to be alive, the living essence of a dead person. “Most haunting of all was the feeling that this was the woman--that she could not have died, that any moment she would step off the wall, and her silver laughter would fill the house again (p. 20).”

I’m sorry, Jacques. ;)

Coming up next: Jenny arrives at San Rafael and tries to adjust to living on an estate where almost everyone but Richard acts like they hate her.

{ Next: Part II -> }

[pamphletstoinspire]

Our Universal Mother - Part 28

Our Lady of Czestochowa - Czestochowa, Poland - Date Unknown- Feast Day: May 3 rd

O Mary, our dear Lady of Czestochowa, look graciously upon your children in this troubled and sinful world, embrace us all in your loving and Motherly protection. Protect our young from Godless ways; assist our dear ones grown old with age to prepare for their journey home; shield our defenseless unborn from the horrors of abortion, and be our strength against all sin. Spare your children from all hatred, discrimination and war. Fill our hearts, our homes and our world with that peace and love which comes only from your Son, whom you so tenderly embrace. O, Queen and Mother, be our comfort and strength! In Jesus’ name we pray. Amen.

The origin of this miraculous image is unknown, but a charming legend has prevailed through the ages. It reveals that after the Crucifixion, when Our Lady moved to the home of St. John, she took with her a few personal belongings—among which was a table built by the Redeemer in the workshop of St. Joseph. When pious virgins of Jerusalem prevailed upon St. Luke to paint a portrait of the Mother of God, it was the top of this table that was used to memorialize her image. While applying his brush and paints, St. Luke listened carefully as the Mother of Jesus spoke of the life of her Son, facts which the Evangelist later recorded in his Gospel.

Legend also tells us that the painting remained in and around Jerusalem until it was discovered by St. Helena in the fourth century. Together with other sacred relics, the painting was transported to Constantinople where her son, Emperor Constantine the Great, erected a church for its enthronement.

The portrait of Mother and Child was revered by the people, but not so by the Saracen tribes who besieged the city. History records that during the siege the senators and citizens carried the precious image in procession through the streets and around the dikes. The Saracens are said to have been frightened by what they saw and fled in dismay.

Later, during the dreadful reign of Emperor Izauryn, who was embittered against holy objects and destroyed many by fire, the image was saved by his wife, the Empress Irene. She displayed remarkable cunning by hiding it in the palace of the Emperor—the very place where Our Lady’s enemies would never think of searching for it.

The portrait remained in Constantinople for 500 years, until it became part of several dowries and eventually found its way to Russia and the region of Russia that later became Poland.

After the portrait came into the possession of Polish prince St. Ladislaus in the fifteenth century, it was installed in a special chamber of his castle at Belz. Soon afterward, when the castle was besieged by the Tartars, an enemy arrow entered the chapel through a window and struck the painting, inflicting a scar on the throat of the Blessed Virgin. The injury remains to this day, despite several attempts through the years to repair it.

Chroniclers tell us that St. Ladislaus determined to save the image from the repeated invasions of the Tartars by taking it to the more secure city of Opala, his birthplace. This journey took him through Czestochowa, where he decided to rest for the night. During this brief pause in their journey , the image was taken to Jasna Gora (meaning “bright hill”). There it was placed in a small wooden church named for the Assumption. The following morning, after the portrait was carefully replaced in its wagon, the horses refused to move. Accepting this as a heavenly sign that the portrait was to remain in Czestochowa, St. Ladislaus had the image solemnly returned to the Church of the Assumption. This occurred on August 26, 1382, a day still observed as the feast day of the painting. Since it was St. Ladislaus’ wish to have the portrait guarded by the holiest of men, he ordered the building of a church and monastery for the Pauline Fathers, who have devoutly ensured the security of their charge for the last six centuries.

Having escaped the rampage of Emperor Izauryn, and damaged by a Tartar’s arrow in the area of the Blessed Virgin’s throat, the portrait was next placed in peril by the Hussites who embraced extravagant heresies. They invaded the monastery of the Pauline Fathers in 1430 and plundered the richly decorated sanctuary. Among the items stolen was the portrait of Our Lady.

After placing it in a wagon the Hussites proceeded only a short distance before the horses refused to move. Recalling that a similar incident had occurred to Prince Ladislaus some 50 years before—and realizing that the portrait was the cause—the heretics threw it to the ground. It broke into three pieces. One of the robbers drew his sword, struck the image and inflicted two deep gashes.

While preparing to inflict a third gash, he fell to the ground and writhed in agony until his death.

The two slashes on the cheek of the Blessed Virgin, together with the previous injury to the throat, have always reappeared—despite repeated attempts to repair them.

The portrait again faced danger in the year 1655. At that time 12,000 Swedes confronted the 300 men who were guarding the sanctuary. Though vastly outnumbered, Our Lady’s defenders were successful in bitterly defeating the enemy. The following year, the Holy Virgin was acclaimed Queen of Poland.

Closer to our own time, on September 14, 1920, when the Russian army assembled at the River Vistula and prepared to invade Warsaw, the people had recourse to Our Lady. It is recorded that the following day, the feast of Our Lady of Sorrows, the Russian army quickly withdrew after the Image of Our Lady appeared in the clouds over the city. In Polish history this victory is known as the Miracle at the Vistula.

Unlike the Russian army, which failed to take the city, the Germans proved more successful in invading and capturing Poland. After they had claimed the city of Warsaw, one of Hitler’s orders was the suspension of all pilgrimages. In a demonstration of love for Our Lady and their confidence in her protection, a half million Poles secretly journeyed to the sanctuary in defiance of Hitler’s orders. Following the liberation of the nation in 1945, a million and a half people expressed their gratitude to the Madonna by praying before the miraculous image.

Twenty—eight years after the Russians’ first attempt at capturing the city, they successfully took control of the entire nation in 1948. During that year more than 800,000 brave people pilgrimaged to the sanctuary on the feast of the Assumption, one of the three feast days of the portrait, even though they passed under the gaze of Communist soldiers who routinely patrolled the streets. Today, the people continue to honor their beloved portrait of the Madonna and Child, especially on August 26, the day that has been reserved for its celebration since the time of Prince Ladislaus.

Because of the dark coloration of the Madonna’s face and hands, the image has been affectionately called the Black Madonna, a phrase reminiscent of the Canticle of Canticles, " I am black but beautiful." The darkness is ascribed to various conditions, of which its age is primary. During its existence it was hidden for safekeeping in many places which were far from ideal for the storage of works of art; furthermore, countless candles were burned before it, causing it to be almost constantly embraced by smoke. Additionally, it was handled innumerable times, resulting in unintentional abuse.

Without the frame, the painting is approximately 19 inches high by about 13 inches wide and is almost a half inch thick. A cloth stretched across the back depicts scenes and designs representing the history of the painting and some of the miracles performed through the intercession of the Madonna.

The miracles attributed to Our Lady of Czestochowa are numerous and spectacular. The original accounts of these cures and miracles are preserved in the archives of the Pauline Fathers at Jasna Gora.

Papal recognition of the miraculous image was made by Pope Clement XI in 1717. The crown given to the image by the Pope was used in the first official coronation of the painting, but this symbol of Our Lady’s Queenship, unfortunately, was stolen in 1909. The crown was replaced by one of gold encrusted with jewels, a gift of Pope Pius X.

Among the most distinguished visitors to the shrine can be counted Jan Casimir, King of Poland, who journeyed there in 1656. After placing his crown at the foot of the Virgin’s altar he vowed, "I, Jan Casimir, King of Poland, take thee as Queen and Patroness of my kingdom; I put my people and my army under your protection…"

May 3, the day on which this vow was made, was designated by Pope Pius XI as the feast of Mary under the title "Queen of Poland."

In modern times, Pope John Paul II, a native son of Poland, prayed before the Madonna during his historic visit in 1979, several months after his election to the Chair of Peter. The Pope made another visit to Our Lady of Czestochowa in 1983 and again in 1991. 

[introvertguide]

Lawrence of Arabia (1962); AFI #7

The next film that we watched for the AFI top 100 project was the epic British drama, Lawrence of Arabia (1962). It is the story of how the famed English hero T.E. Lawrence worked with the Arab nomadic tribes in the Middle East, including Hejaz and Greater Syria, during World War 1. There is a particular focus on his efforts to unite the Arabic tribes and form an Arab National Council. The film was nominated for 10 Academy Awards and won 7 of them, especially in the technical realm. David Lean is considered one of the greatest British directors of all time and this is one of the greatest British films of all time. Notice I keep saying British. I want to delve more into that, but let's go over the plot of the film first. Before that, though...

SPOILER WARNING!!! I AM GOING TO REVEAL ALL OF THE PLOT TO THIS FILM!!! THIS IS SUPPOSED TO BE A HISTORICAL DRAMA SO IT ISN'T MUCH THAT CAN'T BE FOUND IN A HISTORY BOOK, BUT HERE IS A WARNING ANYWAY!!!

----------------------------------------------------------------------------

The film opens in 1935, when Lawrence (Peter O'Toole) is killed in a motorcycle accident. At his memorial service at St Paul's Cathedral, a reporter tries, with little success, to gain insights into the remarkable, enigmatic man from those who knew him. There is a feeling that there is a secret behind the real T.E. Lawrence as the people who actually worked with him do not seem to have liked him.

The story then moves back to the First World War. Lawrence is a misfit British Army lieutenant who is notable for his insolence and education. There is some issue of motivation because the film does not really explain why Lawrence is being helped nor why he isn't simply just discharged. It turns out from reading a biography blurb that Lawrence is the illegitimate son of a nobleman and so many of his actions are hidden. The movie does not address anything that Lawrence did before the war and a little background information helps when watching this movie. Over the objections of General Murray (Donald Wolfit), Mr. Dryden (Claude Rains) of the Arab Bureau sends him to assess the prospects of Prince Faisal (Sir Alec Guinness) in his revolt against the Turks. On the journey, his Bedouin guide, Tafas (Zia Mohyeddin), is killed by Sherif Ali (Omar Sharif) for drinking from a well without permission. Lawrence continues into the desert alone and later meets Colonel Brighton (Anthony Quail), who orders him to keep quiet, make his assessment, and leave. On arriving at the camp, there are German planes strafing the residents and many are killed with no way for the Prince to fight back. Brighton says that the prince does not understand modern weapons and wants the group to retreat back to English protection. Lawrence ignores Brighton's orders when he meets Faisal and his outspokenness piques the prince's interest.

It turns out that Sherif Ail is at the meeting with Prince Faisal and he does not seem to like Lawrence. Something to note is that the Arabic people in this film assume that the character is named "L' Orense" and refer to him often as "OR-ins." It is a little confusing, but that is the way culture shock happens. Brighton advises Faisal to retreat after a major defeat, but Lawrence proposes a daring surprise attack on Aqaba. Its capture would provide a port from which the British could offload much-needed supplies. The town is strongly fortified against a naval assault but only lightly defended on the landward side. Lawrence convinces Faisal to provide fifty men, led by a pessimistic Sherif Ali. The teenage orphans Daud (John Dimech) and Farraj (Michael Rey) attach themselves to Lawrence as servants. They cross the Nefud Desert, considered impassable even by the Bedouins, and travel day and night on the last stage to reach water. One of Ali's men, Gasim (I.S. Johar), succumbs to fatigue and falls off his camel unnoticed during the night. When Lawrence discovers him missing, he turns back and rescues Gasim, and Sherif Ali is won over. There is no reason for him to be won over because Lawrence risked his life to go back and rescue a man that will likely die in the battle ahead and the Sherif does not care about. He gives Arab robes to Lawrence to wear that have a light veil which no other man in the group has. I looked it up and they basically gave him women's robes and Lawrence has a scene where he runs around in a circle so the robes will catch the wind. OK. He is caught by a man while running around and this man goes with Lawrence back to the group.

Lawrence persuades Auda abu Tayi (Anthony Quinn), the leader of the powerful local Howeitat tribe, to turn against the Turks. Lawrence's scheme is almost derailed when one of Ali's men kills one of Auda's because of a blood feud. Since retaliation by the Howeitat would shatter the fragile alliance, Lawrence declares that he will execute the murderer himself. Lawrence is then stunned to discover that the culprit is Gasim, the man whom he risked his own life to save in the desert, but Lawrence shoots him anyway.

The next morning, the Arabs overrun the Turkish garrison and it is one of the most underwhelming attack scenes of all time. They overtake the city with almost no resistance at all but do not find the gold that Lawrence promised would be there. To make up for it, Lawrence heads to Cairo to inform Dryden and the new commander, General Allenby (Jack Hawkins), of his victory and to secure funds for the Arab tribes. While crossing the Sinai Desert, Daud dies when he stumbles into quicksand. Lawrence is promoted to major and given arms and money for the Arabs. He is deeply disturbed and confesses that he enjoyed executing Gasim, but Allenby brushes aside his qualms. Lawrence asks Allenby whether there is any basis for the Arabs' suspicions that the British have designs on Arabia. When pressed, Allenby states that there is none.

Time for an intermission!

Lawrence launches a guerrilla war by blowing up trains and harassing the Turks at every turn. It seems that all of the Arab tribes are willing to follow Lawrence and it is still unclear why he gets universal appreciation from everybody who is not a politician. An American war correspondent, Jackson Bentley (Arthur Kennedy), publicizes Lawrence's exploits and makes him famous. On one raid, Farraj is badly injured and, unwilling to leave him to be tortured by the enemy, Lawrence shoots him dead before he flees.

There comes a point where Lawrence seems to believe that he is actually Arabic and decides to try to pass through a city and believes that nobody will notice. When Lawrence scouts the enemy-held city of Deraa with Ali, he is taken, along with several Arab residents, to the Turkish Bey. Lawrence is stripped, ogled, and prodded. Then, for striking out at the Bey, he is severely flogged before he is thrown into the street. The experience leaves Lawrence shaken. He returns to British headquarters in Cairo and wants to return to a simple soldier's life, but he does not fit in. A short time later in Jerusalem, General Allenby urges him to support the "big push" on Damascus. Lawrence hesitates to return but finally relents.

Lawrence recruits an army that is motivated more by money than by the Arab cause. They find a column of retreating Turkish soldiers who have just massacred the residents of Tafas. One of Lawrence's men is from Tafas and demands, "No prisoners!" When Lawrence hesitates, the man charges the Turks alone and is killed. Lawrence takes up the dead man's battle cry; the result is a slaughter in which Lawrence himself participates. Afterwards, he regrets his actions and has a melodramatic breakdown.

Lawrence's men take Damascus ahead of Allenby's forces. The Arabs set up a council to administer the city, but the desert tribesmen prove ill-suited for such a task. Despite Lawrence's efforts, they bicker constantly. Unable to maintain the public utilities, the Arabs soon abandon most of the city to the British.

Lawrence is promoted to colonel and immediately ordered back to Britain, as his usefulness to both Faisal and the British is at an end. As he leaves the city, his automobile is passed by a motorcyclist, who leaves a trail of dust in his wake. End of movie.

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The biggest star of this film has to be the desert scenery filmed in Jordan and Spain. The expansive background that frames these small bands of people really gives the idea of isolation, whether it be of Lawrence himself or of the bands of nomadic tribes. The biggest fear is not of death by a rival tribe or even the machines that bring death from the outside world. It is from the desert itself and it is both beautiful and horrific. The film score by Maruice Jarre is beautiful and generally considered one of the best film scores of all time. The music is also widely recognized as representing Middle Eastern adventure in visual and audio media.

Three major issues I have with this movie are the bad acting from the lead, the lack of historical accuracy, and then insulting use of brown face. First of all, Peter O'Toole did not seem like he based his performance on the historical figure of Lawrence as was written at the time. Instead of creating a character around Seven Pillars of Wisdom, the book on which the screenplay was supposed to be based, O'Toole went with the screenplay of Bolt and an overly dramatic egotist character of his own creation. Historians and biographers have generally agreed that this was a poor interpretation of the historical figure and just an unflattering version made to be dramatically more interesting for film.

Also, why did the have to put so many white actors in brown face? There is proof on the screen in the great Egyptian actor Omar Sharif that strong dramatic actors of Middle Eastern, North African, and South Asia exist. Why didn't the casting group try and find somebody to look the part. They really didn't have to pick the standard actors and it just meant a plethora of white British actors on screen in brown face doing the same old over dramatic acting. There was a large population of English speaking people of Middle Eastern and South Asian descent in and around Britain at the time of shooting (as evidenced by the giant number of extras), so why did they have to fall back on the standard white actors. I suppose that the white actors were proven and had box office draw (also Alec Guinness is always great), but I still have objections. I am specifically looking at the part played by Anthony Quinn. He did not knock it out of the park and the part would have benefited from being played by a true Middle Easterner.

Like The Bridge on the River Kwai, this film seems to have been appropriated by the AFI when it is clearly a British film. The film is listed as a "1962 British epic historical drama" and is based on the life of a British soldier who was the illegitimate son of a British lord. The film was directed by David Lean, a man who was born and died in England and worked with mostly English actors. There was only one American character in the whole film, and he was just a reporter that found Lawrence interesting and blew the story out of proportion. The movie was produced by German Sam Spiegel and the screenplay was re-written by English playwright Robert Bolt because the original American screenwriter Michael Wilson was blacklisted for being a communist. The production company was based in Great Britain and shot entirely in Europe and the Middle East. The only American connection was actor Anthony Quinn and the distributor was Columbia Pictures. This movie belongs on the BFI top 100 (it is ranked #3) and not on the AFI lists.

This review seems to be coming across more harshly than this film deserves, so I will be candid about this movie experience. I found this film to be extraordinarily boring. There have been other movies on the AFI list that have been difficult for me to watch: Who's Afraid of Virginia Woolf was extremely cringy, Intolerance was hard to stay awake through because it was long and silent with a pretty peaceful score, and Bringing Up Baby was just frustrating. For me, Lawrence of Arabia has all of these issues. I find the lead to be embarrassing, the film is so long that it is hard to stay awake through, and the way that everyone in the film worships the ground that the lead walks on is so annoying. I admit that this opinion is extremely personal and my parents both enjoyed the film thoroughly. It is really just not my cup of tea for reasons listed above.

So does this film belong on the AFI list? No, because it is not an American film. It may have been distributed in America, but the director was from England, the lead actors were English, the crew was mostly English, the studio was English, and the production company was English. It is not appropriate to put this film on the greatest American movie list and instead leave it where it is and belongs: the BFI top 100. Would I recommend it? I guess so. It is most definitely a classic and it is a beautifully shot movie. I am not going to watch with you, though. I can see why many people enjoy this movie, but it just hits all of the wrong buttons for me and I don't want to watch it any more. Feel free to give a watch, though, because it is an enduring epic and you might seriously enjoy it.

[recentanimenews]

THE GREAT CRUNCHYROLL RE:ZERO REWATCH Endures Heartbreak In Episodes 11-15

Hi people! I'm your host for this week's GREAT CRUNCHYROLL Re:ZERO REWATCH, Carolyn Burke! Time has been really flying by during this particular rewatch venture as we zero in on the last two weeks the Re:ZERO rewatch! Last week's episodes 6-10, we saw the revelation of Rem's demonic nature and Emilia and Subaru grew a little closer as he sought emotional comfort in his friend... and all of that is about to come crumbling down in this week's episodes 10-15. Let's just say we're about to build on commenter Pure6Evil's disdain for Subaru. Ready or not, let's go!

  Before starting this rewatch we heard a lot of things about Rem being Worst Girl. For a while there, it wasn't too hard to see why. But this block of episodes has shown a gentle, very loyal side of Rem. How are we all feeling about her at this point?

  David: I have to disagree with this premise. The season this show aired, she was essentially the most popular character of the season, if not the whole year. One of my personal Discord servers has a whole channel dedicated to posting Rem fanart. To properly answer the question though, yeah, I like Rem.

  Joshua: People were saying Rem is worst girl? Just who's been spreading these lies and slander? Why, I oughtta give em a piece of my mind!

  Rem's sweet, adorable, and her willingness to stand by Subaru no matter how much he degrades himself is admirable, but she's also a truly tragic figure. She has no sense of self-worth and cannot see the qualities in her that I described, because shes always comparing herself to Ram, and shouldering the blame for what happened. I know how hard it can be to watch talented siblings succeed while you flounder, so I can empathize with Rem. I like her and want her to be happy, but falling for a guy with his heart so set on another, also makes me feel sorry for her.

  Paul: I don't want to see Rem end up as Subaru's doormat. Their relationship is deeply unhealthy, imbalanced, and rooted firmly in Rem's internalized sense of worthlessness. Much as Subaru fixates on Emilia and frames his own selfish behavior as self-sacrifice, so too does Rem fixate on Subaru, and I don't see much good coming of that.

  Jared: I'd always assumed she was the popular one of the twins. I think she has a good deal of complexity of growing up and feeling inferior to Ram, which was something I wasn't expecting. Nothing about her seems offensive. Although, like Paul says, I don't like the way the relationship between her and Subaru is heading. You can do so much better than him Rem!

  Rene: As much as I would love this to be a reality, Rem really is far away from being categorized as Worst Girl (except by people like me who dunk on her for fun). I do strongly agree with Paul on her unhealthy relationship to Subaru and have always had a problem with how her entire backstory was basically shoved into one flashback episode as almost every other character gets a much more natural development. And while she does get one of the most beautiful scenes in the show later on (if viewed in a vacuum), my main point of contention with her is that she feels somewhat artificial and too much of a wish-fulfillment in a show that otherwise revels in denying exactly those positive feelings to its protagonist and the viewer. While I did find her intriguing in the beginning, but she devolves too much into idealistic waifu exhibit A for me. Maybe if she weren't so heavily defined by Subaru, I would find her far more interesting and likable.

  Noelle: People really say Rem is worst girl? Really? Why? I think Rem has her flaws, but those flaws are part of her character, and honestly make her more interesting. She isn't my favorite type of character, but I think if they explore her co-dependency with Subaru and her internalized poor self-image, she could be really interesting? She has a lot of potential.

  Kevin: Ever since the first time I got to this point in the show, I was definitely a Rem fan. I can see Emilia's appeal, but I realized over time that her and Subarus relationship brings out the worst in each other, and is largely based on making up excuses to disobey the other. Meanwhile, Rem and Subaru's relationship is generally built on mutual trust and tends to bring out the best in both of them. Also, Rem can kick ass on her own, while Emilia needs a spirit whos only awake during business hours.

  Kara: I mean, I'd be lying if I said I wasn't calling Rem Worst Girl just because she is the fave, but I wasn't impressed with her early on. While Ram is still my fave, the show really has redeemed Rem for me and now I think she deserves better than Subaru to be honest.

  Austin: Worst girl is news to me. I honestly like her a lot, even if I do like a lot of the other girls more. I think her admiration towards Subaru is cute and touching in a lot of ways even if it does get to be a bit much at times.

  Danni: I think that was kind of just us goofing on her being by far the most popular. After this batch of episodes, though, I think it might actually be the case. Now that she's in love with Subaru she's basically affirming Subarus actions as the show is trying to discourage them.

    There's a lot of contention (and prejudice) around this royal selection. Who would you choose and why?

  David: Crusch. She seems like the most level-headed candidate, the one that would be able to deal things out fairly. Everyone else has some inherent biases I wouldn't trust.

  Joshua: I'd swear my loyalty to Beatrice, but as she isn't a candidate, I'm also Team Crusch. She has an air of maturity around her that the other candidates appear to lack, and she's already shown not just humility, but how committed she is to her word. Not only did she take in Subaru, an ally of her political rival, but she gave him counsel, and upheld her contract even after Emilia had left. She definitely strikes me as someone who could be trusted to lead a country. I like Anastasia's design and dialect, but she strikes me as a bit of a warmonger!

  Paul: I don't know what the royal election really is, and I don't trust the information that's been provided so far, so I can't in good faith pick a candidate. When I realized that every contender is female, and that they were referred to as dragon priestesses, it set off every dramatic irony alarm bell in my brain. Why did the original royal family go into hiding? What hold does the dragon exert over the nation of Lugunica? The whole thing smells like a set up for human sacrifice, like the lottery in the 1981 movie Dragonslayer, and if this were my Dungeons & Dragons campaign, that's how I would script it for the big mid-story twist.

  Jared: Felt, because hell yeah let's tear down the idea of nobility and commoners and cause absolute chaos.

  Rene: The thing I love about the royal selection is how it doesn't have a right answer. While my allegiance obviously belongs to Team Emilia. if you look at it from the outside, everyone has their up- and downsides. Emilia has idealistic views in abolishing goals in abolishing racism and while she has a sense for what is appropriate to do in royal politics (as Subaru contrasts beautifully) but she can push that to the point of naivete. Krusch is certainly the most level-headed but seems to not have as strong a humane side to her. She's far from cruel but give off too strong of a military vibe. Anastasia has a similar aura around her, just that she is more focused on monetary concerns instead of the military. Felt doesn't want to rule and doesn't have the experience to do so but you could argue that not egotistically striving for power is a good quality of a leader in itself. The only real contender that seems to be exclusively on the negative side is Priscilla - but she has the fact going for her that there seems to be some reason why Al is such a loyal servant of hers. It is a mystery that makes her far more interesting than she should be. Its really great how each contestant is balanced out in a way that you don't automatically expect Emilia as the main girl to win because logically speaking, every one could rule the country in their own way and still work as a ruler that doesn't result into pure awfulness.

  Noelle: Crusch, absolutely. A leader who is able to take advice from their subordinates, but also has the ability to apologize when they genuinely make mistakes and work on assumptions is very important. Although, I find her the most inspiring leader from the group; the others definitely have their moments and things worth bringing to the table. Social change, economics, and criticism of the class structure are all issues and challenges that the general populace would face, and having goals oriented in that direction is important. The only one I can't really see ruling is Priscilla, but that's more because she seems to be a reflection of the current aristocracy. Her aim, if I'm reading this correctly, feels like keeping the norm, and that in itself is a position to take.

  Kevin: At this point, I don't think we really have enough information to be able to choose a side. We've followed Emilia, but have almost no idea what she wants to do when in charge (the most specific we know is that she wants everyone to be equal, and her sponsor wants to kill the dragon), and Felt doesn't even want to be there. The other three, we have even less to go on. So for now, I abstain from picking, but let's revisit this in a week or two.

  Kara: Give it to Anastasia, she sounds like she knows how to party.

  Austin: Felt! Emilia may be my favorite girl in the show but I desperately want to see how far her running mad with power would go, as bad as that may sound.

  Danni: Team Felt all the way. Burn it all down! I could also be swayed towards backing Crusch, if only because Felix is now my husband.

    Subaru and Emilia's relationship came into focus a bit more during this arc and he seems to have messed things up pretty badly with Emilia. Do you agree with her choice to walk away or do you understand where he's coming from? Do you think hell set things right in his next life or move on with Rem?

  David: Ignoring the questions about the future, nothing Emilia said or did was wrong. Subaru has gotten a lot in his head and needed to be metaphorically clocked at this point.

  Joshua: The worst thing Subaru did was double down when he should have back-pedaled. I cringed as he raved about how everything worked out because he was there, which was the breaking point for Emilia too. He shouldn't have disobeyed her orders in leaving the inn, and he shouldn't have made a fool of himself at the Royal Selection, but if he had owned up to his mistakes and apologized to Emilia, he could have saved himself.

  I get why Subaru was so incensed though. One of the rulers of the land went on an unchallenged, racist rant aimed at the woman he loves. I'd probably have made a fool of myself in the heat of the moment too, but I agree with Emilia that his reason for not following her orders, was his own selfishness.

  Paul: Subaru screwed up big time. He betrayed Emilia's trust at every opportunity, and he exhibits a really shitty sense of entitlement over her that has ballooned from troubling to downright unhealthy. She was right to cut him loose, just as everyone he clashed with was right when they told Subaru (in various ways) that he was way out of line. I don't want to see him run away with Rem, which I know they do in a set of alternate reality spin-off novels, because Subaru needs to fix himself first before he can even begin to consider pursuing a healthy, romantic relationship.

  Jared: Emilia has every right to walk away from Subaru at this point. His delusions of grandeur, self-entitlement, and arrogance causes him to break her trust by not listening to her and then embarrassing her at the royal selection. Plus, with how he acts afterward, he's the epitome of toxicity. So, I hope he doesn't try to just run off with Rem or anything like that. I think where we leave things in this set of episodes makes it so it's going to be extremely hard for him to try and set things right, but at the same time, I'm at the point where I'm rooting for none of the girls to have anything to do with him.

  Rene: This is the scene that made me completely fall in love with this show and ascended it to the next level for me. Its a fantastic payoff after 13 episodes of buildup. Subarus repeated failures/deaths and him being saved by Reinhardt, Rem & Roswaal may have laid the ground that this isn't a regular Isekai show in which the protagonist is the all-mighty superhero but this scene really cements that the world does not, in fact, revolve around him - which is something so many Isekai anime don't get right.

  What I love about this scene is the revelation of how Emilia cant understand what he has (seemingly) done for her. It should be obvious if you think about it for one second yet many Isekai have primed us to think that the protagonist obviously has the ultimate viewpoint - but how could Emilia possibly understand it? She does not know of the time-loop and from her point of view, Subaru just randomly showed up in her life one day, helped her find her crest (after which he had to be rescued by Reinhardt) and then forced his way into her life by becoming her butler, all while lauding her as an angel despite her never having done anything that would make it understandable to get this attention.

  And now this guy, after having seriously jeopardized her chance for the throne, expects her to be grateful! How could she possibly do that? If someone showed up in your life and ruined something you have been working YEARS for, anyone would react that way. The fact that she entertained him for so long really underlines her patience and willingness to get along with anyone.

  But while Subaru is a jackass who needed to be put down a notch, we can also see where he is coming from as we went through all the loops at his side. This makes the scene so powerful and recontextualizes the unhealthy wish-fulfillment fantasy that Isekai can really be if not written or executed well; Subaru even declared his joy about becoming the protagonist of such a story right after his arrival in Lugunica. So while I won't theorize about the future, as I have already seen the show, its really great to see the main character of a genre that can be notorious for only delivering simple power fantasies being put down for seeking exactly that and neglecting the perspectives and emotions of the people around him.

  Noelle: I adored this scene, because it's been a long, long, LONG time coming. Emilia was 100% correct, and that she still wasn't extremely harsh on Subaru is a testament to her heart. Emilia's part in the royal selection is a way to prove herself in a public setting to the military and the nobility. It's her chance to prove the strength of her ideals, to show what she has been planning and what she wants for the new government shed create under her rule. It's her chance to shine, not anyone else's. Subaru, in wanting to save her in the royal selection, is actually just putting a spotlight on himself. It's not helping her out at all, it's proving his loyalty and tenacity, but it doesn't show anything about Emilia's qualifications as a ruler. Subaru doesn't treat her like someone to serve, he shows that shes someone that he thinks should be coddled. In both putting himself in the forefront and not even supporting her that well, all he's doing is undermining what Emilia has been working for.

  Subaru has never once seen Emilia as a person. He has seen her as a prize to be won, one that he deserves because he is the protagonist. He's pretty frank in it this episode, and I love how he's finally honest about what he actually wants-- that the girl he's crushing on should feel grateful to him because he put all this work in for her. He did these nice things for her and so he should get rewarded with her love. He does things, so she should fall for him. Its what he deserves as the protagonist, naturally, because heroes should be rewarded with girls at the end. All Emilia wants is to be treated humanely, like a person, not as something to be feared or as a candidate, but for who she is. And Subaru sure is completely against ever seeing her as an individual and not as a trope, as a prize, as a heroine. You do deserve to get kicked to the curb, Subaru.

  Kevin: I think part of the reason the scene resonates so well is because we understand Subaru due to seeing his viewpoint for so long, but I don't think we're supposed to agree with him. He's basically saying that he deserves to be with Emilia because of how many times he's died trying to protect her, and that's not the basis of a healthy relationship. You never deserve a person, so I totally agree with Emilia leaving. As for how things will go in the next life and with the choice between Emilia or Rem... Begins laughing in spoiler-ese.

  Kara: She was completely right. I get that Subaru's circumstances are unimaginable. I really do. I can't imagine having to survive watching people you care about die over and over. But if he really loves her, then the number one thing he should be able to do is keep a promise to her. He doesn't even have the excuse of having gone through a loop where the meeting went badly without him. Subaru needs to check himself, and then check himself again... At least this explains the cagey reader comments. Up until now.

  Austin: Emilia is 110% in the right for walking away. As much sympathy as I have for Subaru, he took one step too far and started seeing himself as a bit too much of a hero that even death couldn't conquer and screwed up big time. I don't take back any previous comments of feeling bad for him whenever he dies horribly or breaks down under the stress of everything, but that doesn't mean that I don't think he needs to do a little self-reflection. That all said, when I first watched this I really hoped there would be a chance for Subaru to make things right with Emilia in a way that didn't undo the importance of the scene where she leaves him.

  Danni: DUMP! HIM! She was totally in the right without question. There's no interpretation of that scene that doesn't make it clear that he's in the wrong. I've been rooting for Subaru, which made that scene harder to watch than any of the gruesome scenes that followed it. It is refreshing to see his selfishness in self-sacrifice punished after I was just complaining about it last week. That also happened to be before his latest save point, so there's no way he can ever make things right. That doesn't mean he can't regain her trust, though, and I truly hope he reflects on it next week and they're able to patch things up.

    As always, what are our highs and lows for this week?

  David: The ENTIRE scene where they introduce the candidates, culminating in Felt simultaneously being introduced, rejecting the idea, and accepting the concept all at essentially the same time. That's some lore-as-plot being used at its height. While I don't dislike anything here, my low would be how abysmally Subaru treats himself and everyone he loves after the Emilia moment. It's very important to his character arc, but it really, really hurts to watch.

  Joshua: I really appreciate the first episode of this batch, where we learn of Rem and Ram's past. Watching Rem's insecurities manifest as twisted visages of her parents was hard to watch, but it was fascinating to see how even innocuous pleasantries made over the dinner table can, unfortunately, have the opposite effect. Her conversation with Subaru at his bedside was also really touching, with Rem's smile feeling so sincerely peaceful. If only Subaru had acted that cool in all of this week's episodes.

  Subaru's first return to the Roswaal mansion is also a great example of why less can be better than more. Seeing only the trail of blood and trinkets like Emilia's pin on the floor makes me wonder what exactly happened to her, what she had to experience, and what went through her mind. This uncertainty is worse than actually seeing it play out, which I think only added to our understanding of Subarus pain, because of the blame he carries.

  I do worry if the impact of deaths is being lessened by their repetition, though? While the series is doing a great job of showing their impact on Subaru, we've only just cleared the first half and Rems already died three times. How many more will it before I just think "Oh, not again"? Also, Beatrice didn't appear at all! What's up with that?

  Paul: This set of episodes was full of emotional highs, but if I were to pick my favorite moment, it'd be when Subaru after getting the crap kicked out of him by Julius in a fight that Subaru started lets the mask drop and essentially admits without realizing it that his affection for Emilia is one-sided and warped. It's rare that you see the ostensible hero for an anime be so reprehensible and so drunk on his own ego, and I appreciate that degree of candor. My low point would be the latest plot wrinkle with the witch cult. All of these threats are coming so fast and so furious that I don't really have a chance to digest them.

  Jared: The introduction of Felt into the Royal Selection, while I inadvertently spoiled myself on that earlier, was still fun and interesting with how much she was not having it. I've been also pleasantly surprised with how the show has tackled issues with prejudice and racism with regards to Emilia, as while we've heard rumblings about that, they really ramped up with this set of episodes. Low points were the witches' cult stuff which just felt hokey to an extent. Plus it is starting to seem like the numerous times we see someone die is becoming normalized. I'm curious how the series will try to introduce any sort of finality given that wed expect at this point that it'd just get rewritten and not matter.

  Rene: As I already wrote an entire essay above, I'll keep it short and concise: My High was (obviously) Emilia's breakup with Subaru while my low was the way Rem's backstory was handled. If she had forgotten a more fleshed out arc over the entirety of the show, maybe I would've ended up in a better place with her ...

  Noelle: My absolute high of this entire show so far was Emilia cutting Subaru off and his tantrum about it. I'm honestly glad that the show is shining a light on just how entitled this sort of attitude is. Watching that scene felt so, so satisfying. I think it's my favorite moment of the show overall so far? Also, seeing the candidates for the royal selection, and what each wants to bring to the table. That was pretty cool.

Low point is the witch cult, because while it could have a lot of potential, it feels more like they came out of nowhere?

  Kevin: High - Can I just say the entire last episode? Every moment wasn't necessarily the highest point, but everything coming together and leading up to Subaru carrying Rem out of the cave is one of the first things I recall when I think back on Re:ZERO. Low - Really hard to pick something I didn't like this week, especially with how strongly it ended. Maybe Rem struggling off of Rams back to save Subaru? I'm not sure if they ran out of animation budget or it was just a bad perspective, but it never looks like she really struggles, more like Ram just falls over.

  Kara: Gotta agree that my High Point was Emilia just having enough. Good on her. I'm not sure I have a low point, but my WTF Point is that credit roll at the end of episode 15. That entire sequence is now my sleep paralysis demon, complete with the intense orchestral music.

  Austin: The scene that introduces Betelgeuse is excellent. From how easily it paints how absolutely nuts he is to the complete emotional turn around that Subaru made it extremely unforgettable, even with it a bit hard to watch after Rem gets mutilated by the unseen hand. It also seconds as a great display of how powerful the Witchs Cult is in a way Subaru can understand and makes them as an antagonizing force a lot more interesting than just the reason Rem and Ram work for Roswall. As for lows, it's difficult to pick something, but I must say I wish Rem had a bit more self-worth since its a bit sad to see such a cute muffin sacrifice herself so much.

  Danni: My high and low points are pretty much all the same scenes this week. All the gruesome scenes and the sequences of Subaru selfishly centering himself were both hard to watch and important for the point that Re:ZERO is trying to make. All that being said, at this point, it's bordering on becoming simple torture porn, like when the camera and art make sure to emphasize Rems bloody, injured breasts. On a lighter note, they introduced a lot of great characters this week. Even Betelgeuse made me laugh out loud while being incredibly disgusted at everything going on. No Beatrice this week, though, so that alone means my entire week is shot. Thanks for nothing, Re:ZERO.

    COUNTERS:

Week: Barusu - 5 Subaru Deaths - 2 Methods of Death - Freezing, Beheading

  Overall: Barusu - 24 Subaru Deaths - 9 How Subaru Died - Disembowelment, Disembowelment, Stabbing, Curse, Combination (Curse+Dismemberment), Slit Throat / Torture, Suicide, Freezing, Beheading

Wow, what a heavy week! If you're dying to find out what's in store for Subaru and his friends, join us next week for episodes 16-20. If you're new, feel free to catch up on Re:ZERO and join us!

  Here's our upcoming schedule!

  -Next week, on October 11th, David hosts our penultimate week with episodes 16-20

-On October 18th, Danni will finish out with the final episodes 21-25

  CATCH UP ON THE REWATCH:

Episodes 6-10: From Apples To Demons

Episodes 1-5: Starting Life in Another Rewatch

Re:ZERO Introduction Questions

  What are your answers to the above questions? Were you spooked by the creature at the end of episode 15? Let us know in the comments!

-----

  Carolyn also writes for Bunny Ears and Cracked. Follow her on Twitter and Instagram.

Do you love writing? Do you love anime? If you have an idea for a features story, pitch it to Crunchyroll Features!

By: news+feed@crunchyroll.com

[caroleratzer]

Echo

Bibliography

Ryan, P. M., & Mirtalipova, D. (2015). Echo: a novel. New York, NY: Scholastic Press.

Plot Summary

Once there was a king who was anxiously awaiting the birth of his first son, who would inherit his kingdom. Daughters were unacceptable because they could not inherit, and the throne would pass to his much-disliked brother. When three girls in a row are born, the king instructs the midwife to take each baby into the woods and leave them to die. He then tells everyone, including his queen that the babies have died. But the midwife, like many in her position (as someone in charge of killing an innocent princess), is too kind-hearted to allow the girls to perish. Instead, she reluctantly leaves each with a witch and a promise that her “fate is not yet sealed.” When the girls grow up and decide to leave the witch, she places an enchantment on them. The story then shifts to a boy who has purchased a book and a harmonica from a traveling gypsy. Otto becomes lost in the woods and meets the three girls. They tell him that they must take their voices, carried by the harmonica out into the world and pass it on when the time is right. So begins the harmonica’s journey from the woods of Germany in the early 20th century to Nazi Germany, pre-WW I and II America, and 1950’s New York City. Along the way, the harmonica magically finds its way to whomever needs it the most at that moment.

Critical Analysis

The fairy tale that opens this novel could stand right alongside any gathered by the Grimms and leads into a magical journey connecting four vastly different characters from both Germany and America. As different as each story seems on the surface, each character possesses many of the same qualities: a love of music, faithfulness to their family, and a distinct lack of many of the prejudices exhibited by the adults around them. In the final chapters, readers see all characters and stories come together in what is truly a spectacular symphony.

Review Excerpts

NEW YORK TIMES - John Stephens After reading Pam Muñoz Ryan's enchanting new novel, you'll never think of a harmonica the same way again…Long before the three stories came together in the book's last, triumphant section, I'd been won over by the complex, largehearted characters Muñoz Ryan has created and the virtues—bravery, tolerance, kindness—that the novel espouses. But Muñoz Ryan…is also a writer who cares about sentences…Start to finish, the book is a joy to read. PUBLISHER’S WEEKLY ★ 12/22/2014 The fairy tale that opens this elegant trio of interconnected stories from Ryan (The Dreamer) sets the tone for the rest of the book, in which a mystical harmonica brings together three children growing up before and during WWII. Friedrich, an aspiring conductor whose birthmark makes him an undesirable in Nazi Germany, must try to rescue his father after his Jewish sympathies land him in a prison camp. In Pennsylvania, piano prodigy Mike and his brother, Frankie, get a chance to escape the orphanage for good, but only if they can connect with the eccentric woman who has adopted them. In California, Ivy Maria struggles with her school’s segregation as well as the accusations leveled against Japanese landowners who might finally offer her family a home of their own. Each individual story is engaging, but together they harmonize to create a thrilling whole. The book’s thematic underpinnings poignantly reveal what Friedrich, Mike, and Ivy truly have in common: not just a love of music, but resourcefulness in the face of change, and a refusal to accept injustice. Ages 10–14. Agent: Kendra Marcus, BookStop Literary Agency. (Feb.) From the Publisher Awards and Praise for Echo: New York Times Notable Book Publishers Weekly Best Book ILA Notable Book for a Global Society ALA Notable Children's Book SCHOOL LIBRARY JOURNAL *“The story of Otto and the cursed sisters honor timeless and traditional folktales [and] Ryan has created three contemporary characters who, through faith and perseverance, write their own happy endings, inspiring readers to believe they can do the same.”

KIRKUS *“A grand narrative that examines the power of music to inspire beauty in a world overrun with fear and intolerance, it's worth every moment of readers' time.” PUBLISHERS WEEKLY *“Each individual story is engaging, but together they harmonize to create a thrilling whole.” “A masterpiece.” --Christopher Paul Curtis, author of Newbery Medal-winning Bud, Not Buddy “Daring and beautiful.” --Linda Sue Park, author of Newbery Medal-winning A Single Shard Children's Literature - Paula McMillen Five intertwined story lines wend from a magical forest to various locations during WWII; each story leads into the next. Each set of characters’ fates is intertwined with those in the stories that follow—all connected by a small musical instrument. Three babies, who should have been princesses, are hidden away in a witch’s house. Otto discovers the young girls when he gets lost during a game of hide-and-seek. They are trapped in the forest and can only be freed if Otto takes the gift they offer and passes it along. It carries a prophecy of saving a life. Many years later, a young aspiring musician and conductor finds an unusual harmonica in the Hohner factory where he works. The music it makes is unworldly and beautiful, but the harmonica must be left behind when Otto leaves his small town to ransom his father from a concentration camp. The harmonica next finds itself in the hands of two boys, adopted from an abusive orphanage in Pennsylvania. The older brother, Mike, plays his way into the famous Hoxie Philadelphia Harmonica Band. The harmonica is later donated to needy children as Mike’s musical career takes off. In California, budding musician Ivy must leave behind friends and a supportive teacher when her family takes up curatorial responsibility for the farm of an interned Japanese-American family, the Yamamotos. She is shocked to find that while in her new home, she must attend a separate school with other Mexican children even though she was born in the United States. Still, her compelling harmonica solo earns her a place playing the flute in the school orchestra and she passes the harmonica along to the oldest son of the Yamamotos, who is a Marine. The harmonica stops a bullet aimed at his heart. The final part of the book bring closure to all these stories, notably when a concert at Carnegie Hall in 1951 features the conductor Friedrich, the newest flautist, Ivy, and guest piano soloist, Mike. This book deals with difficult issues in an accessible way, thereby inviting discussion about prejudice and the fears and actions that can follow on both personal and national levels. Reviewer: Paula McMillen, Ph.D.; Ages 10 to 15.

VOYA, February 2015 (Vol. 37, No. 6) - Pam Carlson Would you believe that a harmonica can save lives? It all begins with a witch’s curse on her three foster daughters. They will never find their way home until a musical instrument is used to rescue a life on the brink of death. Young Otto meets them when he gets lost in the woods. Later his career as a harmonica maker launches their way to freedom when one of his creations is touched with magic. Three children living during the World War II era unknowingly pass that same harmonica along to one another. Each plays not only with skill but also with a beautiful infusion of intensity and longing. Friedrich dreams of becoming a conductor but must first flee Hitler’s Germany. Pianist Mike, an orphan in Pennsylvania, agrees to join the Harmonica Wizards to protect his brother. Excellent student and harmonica virtuoso, Hispanic Ivy misses an opportunity to play a solo on the radio and is then stunned to discover the depths of racism when her family relocates from Fresno to Orange County. Each of their stories ends in probable tragedy. Years later, their lives coincide in a tearful, joyous night of music. Resilient, smart characters refuse to give in to circumstances seemingly beyond their control. Ryan’s stories never fail to touch the heart, but this one is also a resounding argument to maintain music programs in schools. To quote Ivy’s music teacher, “Everyone needs the beauty and light of music, especially during the worst of times.” Reviewer: Pam Carlson; Ages 11 to 18. SCHOOL LIBRARY JOURNAL ★ 12/01/2014 Gr 5–8—"Long before enchantment was eclipsed by doubt," a young boy named Otto lost in the woods is rescued by three sisters imprisoned there by a witch's curse. In return, he promises to help break the curse by carrying their spirits out of the forest in a mouth harp and passing the instrument along when the time is right. The narrative shifts to the 20th century, when the same mouth harp (aka harmonica) becomes the tangible thread that connects the stories of three children: Friedrich, a disfigured outcast; Mike, an impoverished orphan; and Ivy, an itinerant farmer's child. Their personal struggles are set against some of the darkest eras in human history: Friedrich, the rise of Nazi Germany; Mike, the Great Depression; Ivy, World War II. The children are linked by musical talent and the hand of fate that brings Otto's harmonica into their lives. Each recognizes something unusual about the instrument, not only its sound but its power to fill them with courage and hope. Friedrich, Mike, and Ivy are brought together by music and destiny in an emotionally triumphant conclusion at New York's Carnegie Hall. Meticulous historical detail and masterful storytelling frame the larger history, while the story of Otto and the cursed sisters honor timeless and traditional folktales. Ryan has created three contemporary characters who, through faith and perseverance, write their own happy endings, inspiring readers to believe they can do the same.—Marybeth Kozikowski, Sachem Public Library, Holbrook, NY KIRKUS REVIEWS ★ 2014-12-06 A multilayered novel set in turbulent times explores music's healing power. Sweeping across years and place, Ryan's full-bodied story is actually five stories that take readers from an enchanted forest to Germany, Pennsylvania, Southern California and finally New York City. Linking the stories is an ethereal-sounding harmonica first introduced in the fairy-tale beginning of the book and marked with a mysterious M. In Nazi Germany, 12-year-old Friedrich finds the harmonica in an abandoned building; playing it fills him with the courage to attempt to free his father from Dachau. Next, the harmonica reaches two brothers in an orphanage in Depression-era Pennsylvania, from which they are adopted by a mysterious wealthy woman who doesn't seem to want them. Just after the United States enters World War II, the harmonica then makes its way to Southern California in a box of used instruments for poor children; as fifth-grader Ivy Lopez learns to play, she discovers she has exceptional musical ability. Ryan weaves these stories together, first, with the theme of music—symbolized by the harmonica—and its ability to empower the disadvantaged and discriminated-against, and then, at the novel's conclusion, as readers learn the intertwined fate of each story's protagonist. A grand narrative that examines the power of music to inspire beauty in a world overrun with fear and intolerance, it's worth every moment of readers' time. (Historical fiction. 9-14)

The Newbery Honor – The Kirkus Prize – New York Times Editors’ Choice – ALA Notable Book – New York Historical Society Book Prize – National Parenting Publications Gold Award – Publishers Weekly Best Books of the Year – Washington Post Best Books of the Year – NPR 2015 Great Reads – New York Public Library 100 Titles for Reading and Sharing – New York Times Notable Book – SCIBA Middle Grade Book of the Year – The Audie Award – International Literacy Association Notable Book for a Global Society – Booksource Scout Award – NCTE Notable Book in the Language Arts – ILA/CBC Children’s Choice – The Américas Award

Connections

http://www.pammunozryan.com/echo/ offers discussion questions, reader’s theater, and author interviews

Pair with other books about Nazi Germany such as “We Will Not Be Silent: The White Rose Student Resistance Movement that Defied Hitler” by Russell Freedman in order to make the time period more real for students.

Have students create a timeline or chart the harmonica’s travels.