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byneddiedingo · 2 years ago

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Michael Caine and Harvey Keitel in Youth (Paolo Sorrentino, 2015) Cast: Michael Caine, Harvey Keitel, Rachel Weisz, Paul Dano, Jane Fonda, Alex McQueen, Ed Stoppard, Paloma Faith, Madalina Diana Ghenea, Luna Zimic Mijovic, Sumi Jo. Screenplay: Paolo Sorrentino. Cinematography: Luca Bigazzi. Music: David Lang.

Is it just accidental that in Youth, wearing a slouchy hat and dark-rimmed glasses, Michael Caine often looks like Woody Allen? Or is Paolo Sorrentino suggesting some kind of connection between Caine's character, a reclusive composer-conductor trying to drift into retirement, and the prolific but scandal-plagued writer-director? The resemblance might have been more on point if Caine had played Harvey Keitel's part, a writer-director trying to put together what turns out to be his last film, meanwhile obsessing on the lost past and approaching death. But then nothing quite fits together right in Youth, a somewhat scattered and occasionally enervated film. Caine's Fred Ballinger and Keitel's Mick Boyle are old friends -- there is even a suggestion, not followed up, that they may once have been lovers. They are also tied by the fact that Fred's daughter, Lena (Rachel Weisz), is married to Mick's son, Julian (Ed Stoppard). Fred and Mick have come together at a spa in Switzerland, Fred to undergo medical examinations, Mick to work with an entourage of screenwriters to put together the final touches on a script that's meant to star one of his longtime collaborators, the actress Brenda Morel (Jane Fonda). Also on hand, as a kind of confidant for both Fred and Mick, is a young actor, Jimmy Tree (Paul Dano), preparing for a film in which he would play Adolf Hitler, an attempt to counter his popular image as the star of a sci-fi movie in which he played a robot. Sorrentino tries hard to bring together all the threads of each character's plot, including the breakup of Lena and Julian's marriage, Fred's resistance to a command performance for Queen Elizabeth and Prince Philip, and Mick's difficulties in coming up with a final scene for his film. But the pacing of Youth is too slow, and the manipulation of the themes of youth and age, past and present, too superficial. Caine and Keitel are two of the most dynamic actors ever, and Weisz and Dano are certainly worthy of their company, but Sorrentino tamps down their energies. The only time Youth ever comes to life is when Fonda finally makes her appearance as the aging, rather blowsy Brenda, in a performance that reminds us how good she has always been. She delivers the worst news Mick could imagine: that she has decided not to appear in his film but to do a TV series. But Sorrentino follows up her scene with one that feels ripped off from Federico Fellini's 8 1/2 (1963), in which Mick, like Fellini's Guido long blocked from completing his film, finds himself surrounded in an Alpine meadow by the women from his earlier movies. It's not so much shamelessly derivative as it is pointless. Sorrentino is a formidably imaginative writer-director, as demonstrated by his dazzlingly off-beat TV series The Young Pope and his Oscar-winning The Great Beauty (2013) -- also indebted to Fellini but with a more inventive twist. Youth has touches of inspiration, but too often gets snarled in its own plots.

#Youth #Paolo Sorrentino #Michael Caine #Harvey Keitel

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worldfoodbooks · 7 years ago

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NEW IN THE BOOKSHOP: EVERGREEN REVIEW MARCH 1970 (1970) • Vol. 14 No. 76 March 1970 issue of Evergreen Review. This issue features Kay Boyle (Long Walk from San Francisco), Bill Amidon (short Story), Michael Rumaker (For Charles Olson, a poem), Nat Hentoff (The Joke), Antonin Liehm (Interview with Jaromil Jires), Al Young (Poem), Ed Sanders (short story), Raymond Bertrand (Erotic Drawings), Roy L. Walford (Original Irreplaceable Vision), Richard Brautigan (short Story, The Betrayed Kingdom), Strong & Sterling (Frank Fleet and His Electronic Sex Machine), John Lahr (Putting Shakespeare in a New Environment), plus regular features, illustrations and much more. • The Evergreen Review was a U.S. based literary magazine founded by Barney Rosset, publisher of Grove Press, and editor Don Allen and Fred Jordan in 1957. It existed in print form until 1973. Evergreen Review debuted pivotal works by Samuel Beckett, Jorge Luis Borges, Charles Bukowski, William S. Burroughs, Marguerite Duras, Jean Genet, Allen Ginsberg, Günter Grass, Jack Kerouac, Norman Mailer, Henry Miller, Pablo Neruda, Vladimir Nabokov, Frank O’Hara, Kenzaburō Ōe, Octavio Paz, Harold Pinter, Susan Sontag, Tom Stoppard, Derek Walcott and Malcolm X. United States Supreme Court Justice William O. Douglas wrote a controversial piece for the magazine in 1969. Kerouac and Ginsberg regularly had their writing published in the magazine. "Evergreen published writing that was literally counter to the culture, and if it was sexy, so much the better. In the context of the time, sex was politics, and the powers-that-be made the suppression of sexuality a political issue. The court battles that Grove Press fought for the legal publication of Lady Chatterly's Lover, Tropic of Cancer, and Naked Lunch, and for the legal distribution of the film I Am Curious: Yellow, spilled onto the pages of Evergreen Review, and in 1964, an issue of Evergreen itself was confiscated in New York State by the Nassau County District Attorney on obscenity charges... • One copy available via our website and in the bookshop. • #worldfoodbooks #evergreenreview #1970 (at WORLD FOOD BOOKS)

#worldfoodbooks #1970 #evergreenreview

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theoneloneblogger · 5 years ago

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Retrospective Rumours Part Four: The Monster That Was Queen Godwin Ist

Perry’s Retrospective Rumors: S2E4 - The Monster That Was Queen Godwin Ist

Note: Some of the following is a fictional and romanticized version of true accounts and should not be held to historical scrutiny.

It is approximately the time of year for my regular school reunion. Although I look forward to such events I have to ask myself the question of fortune and how lucky I have been in the face of such debilitating conditions as dyslexia. Looking at such fortunes as that provided by the 70’s makes me reflect on today’s educational standards. The aim of most cultures is to advance their ability and knowledge base in all aspects of life. In the prehistory civilizations of Europe and other middle eastern cultures that ability was addressed with a point of view edging towards Mechanical Solidarity to a high degree. However, today all education instructing the young in varying topics is difficalt to the tenth degree. Even getting into collages has become stacked with barriers. The new students today flock into differing schooling systems and their families are forking out immense sums to get a good education for their future. Unfortunately, academic places of learning have had to gather together to uphold the legacies left by such famous intellectuals as Shelly and Byron. It was 1814 and Mary Godwin was meant to be on a secret getaway with her lover, Percy, but they seemed to have brought others with them to the small hamlet of Cologny near Lake Geneva. There ensued a battle of the minds that evening, where all would be challenged to come up with the most compelling ghost story. Frankenstein: A Modern Prometheus would go down as a great work. Reworked throughout history even to this day.

The real question we have to ask ourselves is how education is to be formed in our modern age compared to the way in which inspiration was generated in such a classical century of literature as the 19th). Stimulants are no longer the norm within the context of educational development and so we look to more conservative ways in which to promote its understanding. As I have mentioned numerous times before, Dialactic Eductaion as propounded by Karl Marx was a founding basis upon which we look at our conformist state in the 20) th. Marx said that his reasoning was that to build a Hidden Curriculum lying below the Real Curriculum which was a product of a culture that can be given material rewards that are for the good of the whole rather than the individual. A bonding of two classes. A Cultural Capital. By organizing what would later be described as a State Apparatus, around a quantitative basis, children could be compartmentalized and structuralized, (lesson timetables, individual leaning programes, and a very regimented regime), at an early age to prepare them a life within the workplace. Critical Education. His approach was very much based upon a Macro point of view and his reasoning was that society creates people rather than people creating society.

Our literary talent is on the decrease should we leave the EU and Louise Richardson says, “A university’s excellence comes from its academics.” Richardson is the Vice-Chancellor of Oxford University. She believes that if universities lose their fame EU students will have to pay more than the British. Over the last 13 months, says Richardson, there has been a 14% drop in applications to British universities. More and more home Eductaion is looking like a viable alternative. It is a choice made by the individual parent which reflects on the teacher’s job.

The idea of Critical Eductaion as thought of by Marx, can only be applied to those within working class, or comprehensive systems of education. Those in Grammar schools have a higher status in the system because they focus mainly in academic subjects which allow them to escape the fate that critical education provides and move into well paid and high status occupations. Consequently, this Fragmentation creates a divide within the class system we see today. The idea of collective consciousness is something David Émile Durkheim (1858), advocated. Perhaps neither of these two options is preferable and our future should be left to find the answers to its own questions and the tutor should be trusted to achieve this. In 2017 Literature based works promote breakdown of the boundary between author and reader.

Barley’s description of the modern home seems, on reflection, quite stayed and confined in various respects, but it is most useful. It can be argued that it is quite accurate also. Certainly, within the context of the family unit he is correct in that rooms are mainly sectioned off and segregated according to how they are used. This tends to be different within the UK at least according to various outside influences from, finance, to comununal living, and construction of a family unit. It is evident that this description is not a universal one but it is definitely not good for educational stability. A Functionalist point of view towards this would be called Teleology. This indicates the projection of viewpoints to find out the likelihood of future sociological developments. This is a vital part if the functionalist theory as without this ability there would be no social progression. A theory that is debateable at best.

Internet/Satellite TV/Mobiles, ECT are Mostly screen based and interactive. Does this promote control over our learning abilities? The Marxists believe that ownership is control and that is exercised by those in such control. The Pluralists believe that the audience control through sales and diversity, via the Government who oversee censorship and content. Evidence for this is very difficult to find. Sales and controlling powers are easier to see if you are an insider, (Editors and such like). Glasgow Media Group looked into the control of TV News, examining the content, (70’s), and editorial process. Is it better today just to look outside onto our nearest lake and wonder at the oncoming storm to get our inspiration? One might wonder whether this might be the case. Certainly getting high and promoting the use of copious amounts of electric shocks worked for Mary Shelly. We ought to try it. Maybe not. Within years fast becoming residue. Education lies within our kin

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· Mary Shelly’s Frankenstein, 1994, Kenneth Branagh, Francis Ford Coppola, James V. Hart, John Veitch, Helena Bonham Carter, Robert De Nero

· Frankenstein Chronicles, 2015, Benjamin Ross, Barry Langford, Sean Bean, Tom Ward, Richie Campbell, Vanessa Kirby, Ed Stoppard, Ryan Sampson, Robbie Gee, Anna Maxwell Martin, Charlie Creed-Miles

· Penny Dreadful, 2014, John Logan, Andrew Hinderaker, Krysty Wilson-Cairns, Harry Teadaway

· Mary Shelly, 2017, Haifaa al-Mansour, Amy Baer, Elle Fanning, Douglas Booth, Bel Powley, Ben Hardy, Tom Sturridge, Maisie Williams

· Michael Tellinger, Ancient Civilisations Before Samaria and Egypt, Dec 11 2015

· The Effects Of A Gender Neutral education, No More Boys and Girls Command Our Kids, Nov 3 2018

· Karl Marx: The Dialectic Process, Debra Marshall PhD, Dec 24 2012

· Knowing Your ILP, (Interactive Learning Plan), Aug 15 2016

· The Big Picture, Louise Richardson, May 2017

· ‘Home Education’ How Beneficial Is It? – Learning Word, 29 Nov 2013

· Durkheim Collective Cociance Jan 7 2017

· Durkheim Collective Cociance, How Feminism Destroyed The Nuclear Family, Aug 19 2016

· Durkheim And Collective Conscious, How Feminism Destroyed The Nuclear Family, Functionalist Approach, Feb 18 2017

· Durkheim And Collective Conscience, How Feminism Destroyed The Nuclear Family, Interactive Design and Technology, Dec 20 2016

· Durkheim And Collective Consciousness, How Feminism Destroyed The Nuclear Family, How To Generate Leads Trough Social Media, July 12 2009

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helloworlddemo1122-yahoopar-blog · 7 years ago

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Why 'Knightfall' Star Ed Stoppard Was 'Happy' to See His Character Kill in Season Finale (Exclusive)

The season one finale of Knightfall definitely didn't disappoint.

The final hour of the History series was full of surprises, from King Phillip's (Ed Stoppard) bloody fight with Queen Joan (Olivia Ross) to the Knights Templar's massive battle against De Nogaret's (Julian Ovenden) mercenaries -- and the queen's ultimate death at the hands of her husband.

Joan's murder was a huge jump from the forgiveness Philip appeared to show at the beginning of the episode, but for Stoppard, it couldn't have been more "satisfying."

"Up until then, Philip had sort of been at the mercy of other people's actions, and other people's choices, and suddenly he is in charge of his own destiny," Stoppard explained to ET. "Even though that destiny becomes a very violent and a very bloody one, I really loved him having that kind of urgency and that agency."

Bloody is right. After beating Landry (Tom Cullen) to a pulp, Joan, on the verge of giving birth to her and Landry's child, begged Philip to let her lover go -- which Philip obliged after forcing his sword through her chest.

"I know that his actions were ultimately pretty appalling, but I was pretty happy for him," Stoppard said. "I was happy that the truth was revealed to him, and he had the wherewithal and the necessary self-belief and self-assertion to act on those revelations and to take ownership of his own story. And as an actor, it's something really nice to play, particularly when your character has somewhat dwelled in a state of ignorance for periods of his story. It was just really satisfying."

History

"[Showrunner] Dominic Minghella had given me the story arc, so I knew there was going to be an opportunity for the character to have a moment of awareness and then act upon that revelation, but you hope that when the script is handed to you that it feels very truthful," he continued. "He had these really fantastic, nuanced scenes with Joan and Philip and De Nogaret, and then due attention was given to that final confrontation with Landry."

Stoppard and Cullen also worked together to makes sure the fight between the former best friends resonated with audiences, filming the scene against the just seven hours of light they had during a harsh winter. "I think often the best days come about when you're up against it, and you haven't really got time to sit and indulge yourself too much, and Tom was completely committed on that day, just in particular," Stoppard revealed.

"He'd been in those woods for a week fighting, so, in some respect, it made my job easier, because he was just so immersed in that moment for his character," he shared. "I just really loved the way that the scene was choreographed, and the way it progressed on the page, and then the intervention of Joan. I just felt very true to the character of Philip, the moment of him murdering his wife, the woman he loved, the woman he's loved since he was a teenager."

History

Despite Landry's attempt to save Joan with the Holy Grail, the queen succumbed to her wounds -- but not before her and Landry's daughter was saved via an old fashioned C-section courtesy of Draper (Nasser Memarzia). As for what this means for season two (the series is still awaiting renewal), Stoppard said he thinks the fight between Philip and Landry is far from over.

"I don't expect Philip to open a hippie commune in southern France and retire to grow grapes and make wine," he joked. "I think the after-effects of this will probably scar his character, and by extension, his behavior... [and] now that it's been revealed that the Grail is in France and close by, I would imagine that Philip would use everything within his power to try and take the Grail back. And I would also presume that Landry will be doing his utmost to keep it out of Philip's hands."