Friday, May 27, 2011

Ontario License Plates For Small Trailers

The Room, dir. Tommy Wiseau (2003)



"The Room" is an example in every respect a very bad movie, only popular due to its ułomnościom . Evil cult film. It is loud now, and for a year or two, will be even louder, just as the host more often on the lists of the worst films of recent years (decades, ever ...) video Wiseau doing more and more career. There is a growing number of fans to him, but the world cinemas that show it at least once a month. You could buy a shirt with the image enactors lead role, or play a computer game created under it, and uploaded to youtube video fragments date back to tens of thousands of hits ...

main attraction of "The Room" is its director, producer, screenwriter and impersonator Tommy Wiseau central role. His completed without a gram of talent and discipline any narcissistic film was conceived as a melodrama about betrayal, and proved to be unintentionally hilarious in its ineptitude act of self-embarrassment. Viewing it as moonshine irritable fourteen nestling to the pillow (the camera) and the dreamer's waking dream of its beauty, nobility, and underestimation by heartless people. And how everything will be sad when it runs out ...

Wiseau in his film is a loving partner, a loyal friend, caregiver, worker - as each of them is betrayed, but also as each of them is equally convincing as a child pretending to be an adult (no exaggeration in this comparison). Of merge your character with the biggest stereotypes can not up to laugh at the same time not forgetting that the game, but the creative antytalentem shown in all other respects. In "The Room" until everything is surprisingly awkward, bad, from the title, the acting, dialogue, directing, scenery ... After I finished movie took on notoriety Wiseau slowly began to argue that the whole has been conceived as a black comedy. Thus, the unwanted, forced as he assumed the role of rail, in which no one believed the role of jester.

laughed often watching the movie. But I have a problem with it, something that makes it difficult to write about him settle for a promise of fun. The key to the phenomenon of "The Room" is its author: in contrast to the other very bad - but doomed to quick oblivion - movies, laughing, that there are not aimed at something, but for someone. Somewhere in all this emerging around the shell entertaining bad movies converted to the rather distasteful freak show. A Wiseau Tommy becomes the source of the same joy that provides viewers appearing in programs such as 'have talent' loser, who turns only to have a talent in his own opinion. So inept as to be grotesque. Cult.

Sunday, May 22, 2011

Identity Of Greek Hellenic Descent

O "Twentynine Palms" Bruno Dumont. With nostalgia.


"Twentynine Palms" I saw in February 2005. At home. I do not remember what made this movie after I reached. Certainly not the person the director, which I had no idea. Maybe the poster can do - the case, but maybe somewhere I obiło ears (eyes) that this movie is very controversial and tempted. In any event, sitting for the session did not quite know what to expect, so probably the greater surprise was it eventually. To this day, is only known to me the movie, which is still afraid to return, and which I consider to be outstanding at the same time.

Two heroes, David and Katia travel by the California wilderness. Lots of riding, a little talk, argue, have sex - often depicted in a way which definitely closer to determine the approximate copulation than love. There are a couple, so it is kind of closeness between them, but it is very imperfect agreement. Frequent quarrels long seem to be the fault of the girl, alternately tender and irritating, a "difficult", although sometimes it is found that difficult, because wronged, fleeing before the memory of something bad, what must happen to her earlier. This will be explained, but not entirely: the act of violence, which will meet the heroes of this thing will repeat. Except that now the victim is not a girl, but her partner, which in turn will lead to a shocking finale that makes you look at all that previously shown otherwise. Seen in the earlier announcement of bad attitudes and trivial dialogues. But also in the journey the characters representing the background of the desert, overwhelming, and in some sense, even absorbing them, as in the extraordinary scene of the pictures above, when the naked, tanning on the rocks, David and Katia almost make impression that these rocks were part of it. Although

"Twentynine Palms" has nothing to do with the cinema genre, actually due to a single scene (and everything it carries behind him) is sometimes classified as a horror movie. Dumont himself calls his film an experimental horror film. What can always be obvious to me - if only subconsciously, I do not necessarily have to think about it - film (and fictional) terror was used to tame fear, przetrawiania, but by no means to convince that evil is real. Film Dumont went outside this invisible feature parentheses, nothing became familiar with. It was not the first of that shelf, I have seen, but it was the first of the shelves so convincing. He was like a trip to Conrad's heart of darkness, but not written in beautiful prose. The naked version. With evil, which does not philosophise about themselves, and simply is, the original and definitely closer than the African jungle, or the California desert.

After watching the film, at night, I listened a long time, "Self-Help Serenade," the debut (and it seems only) boards of the American indie-rock band Marjorie Fair, very ... nice, nice - what was my mature counterpart to hide under the covers. And what is the only result is that coming back to this - not necessarily pretty - plates, to this day I can hear in her first film Dumont and anxiety after watching. And the eyes are images of the American wilderness, a roadside hotel ... and Katia, so unfairly, judged superficially at first.

After some time - not right away - I realized that "Twentynine Palms" is one of those films that does not like very much. Of which if you've written / said is usually in the style that the director has no talent, manipulator that "the shock of strength." And besides, that is, nothing happens. In July the same year I went to my first New Horizons, the last taking place in Cieszyn. The repertoire was a lot of different reasons, "shocking" films ("A Hole in the heart of" Lukas Moodysson, "The Great Ecstasy of Robert Carmichael," Thomas Clay, "The Wayward Cloud," Tsai Ming Ling, "Calvary" Fabrice Du Welz .. .), and complaining about too extreme cinema could be heard among the audience even more than the standard, the annual cinema complaining about boredom. Sometimes it led to as much fun exaggeration: remember large group of spectators who came out of the "Los Muertos" Linsandra Alonso, after the hero of the film - living in primitive conditions somewhere in the Argentine outback - he killed a goat.

Before overheard one of the sessions, as one of the viewers of the row next to your friend telling "Twentynine Palms" (which was shown in competition nowohoryzontowym year earlier). He spoke just as the bad guy, having nothing to offer video, which masks its nothing drastic final. I remember that was annoying and he used the phrase "psychology for the masses. "Nevertheless, when passed to the end - forgetting his earlier, mocking tone - quite seriously said that for the first time in my life watching a movie, he had the impression that he saw in him the devil.

Tuesday, May 17, 2011

Benzoic Acid Quinine Flowchart

(Men's) Takashi Miike film - notes on the margins of


The text below is a bold attempt at a comprehensive recognition of achievements Takashi Miike, and only a timid (and fragmented) attempt to draw attention to some of its aspect, one of the few / several characteristic motifs recurring in different, but the majority - a consistent, coherent work of the controversial Japanese director. Miike is now the author of about 80 films over the age of 20. The following titles are just recall a few of them, it seems to me important, but topic is by no means exhaustive.

Miike Writing about cinema quite often draws attention to the alleged misogyny characterized by having a large part of his films - "gangster" taking place in the brutal man's world, where a woman is reduced to the role of the additive, mostly sexual. Less commonly, it is noted that this is somewhat the opposite. Men Takashi Miike film is targeting men in the movie ... which is the expression of specific, exaggerated and zwulgaryzowanym, while critical and reflective. Japanese film director, on the one hand it puts great emphasis on the weaknesses, frustrations, complexes standing - usually unspoken grounds of gangster movie and the surrounding area, on the other - that goes beyond pure criticism and pastiche. It is also one of the few contemporary artists around-quality, which in their sensational plots devotes so much attention to niepowierzchownej associated with male gender, and sexuality.

Filming manga Hideo Yamamoto, "Ichi the Killer" (Koroshyia 1, 2001), one of the most famous images is a model example of a Miike film, in which the sensational story is brought to przerysowanego, grotesque extremes. The "classic" male duel it takes the form of masochistic game two monsters: masochisty Kakihairy and sadist - Ichiego, which is one of the most perversely-critical clean painted comic / superhero films in the history of the genre. Superheroes, and thus form, which at its roots are the ideal (reference) ziszczeniem men (boys) dreams of power and triumph. Injury, which normally lies at the base of this type of character there is nothing else but a very far-reaching psychological curvature. Ichi is not nothing attractive in itself, is a superhero-Measurbator, smelly walking sperm complex sexual frustration, susceptible to manipulation hurt and harm a psychopath.

decidedly less dangerous, because less sexually frustrated (but still), theirs is a twin of the campowego Kensuke "Full Metal Yakuza (Full Metal Gokudo, 1997). Subordinate member of the yakuza, who after several shooting is transformed into another film version of "Robocop" (without the Copa this time). However, unlike in Verhoeven's improved as a hero is made up of metal, as the body of another man, and the first thing on which to draw the attention of his transition will be larger penis, at which point of obsession (as the equivalent of masculinity) is indeed one of the characteristic across pastiszowych leitmotivów Miike oeuvre. What especially in "Full Metal Yakuza" is accented with a particular consequence. At the end of the film kills his wounded Kensuke main antagonist with phallic energy escapes from his crotch, and the whole ends grotesque scene in which his creator - proud of his work and getting ready the next - be stripped before the camera (and viewers) ekshibicjonistycznie presenting at the fullness of his manhood (power).


the great, surreal, and gendered "Gozu: gangster theater of terror" (Gokudo Kyofu Dai-Gekijo: Gozu, 2003) almost all the "weird" characters appear in only seemed a sensible little story are subordinate to the topic sexual ambiguity and indeterminacy of sex (leading bar transvestites, yakuza boss sexually stimulating to insert through the anus spoon ...). When one of the characters in the film admires Ozaki (literally) of his friend's penis Minami is a scene clearly reminiscent of the hidden homosexual fascination with combining a few characters, not without reason, but Miike goes in this film even further. Ozaki so much soaks into the male world of the yakuza, to which they belong, that leads him to madness. The loss of mental balance of sometimes takes him a total loss of balance (?) fleshly. After his body is crushed at scrap yard (as a result, it looks not like a delay, but - just - uniform) Ozaki transforms into a beautiful woman. And then, after a very gay scene heterosexual approximation of Minami reborn (literally) as a new man, that henceforth with Ozakim Minamim-woman and a nicely complementary, and true emotional triangle. Theater gangster thriller.

Those who produce milk are stronger than those who drink it - one of the key sentences spoken in "Gozu" is reminiscent of "Visitor Q" (Q Bijita, 2001). Here too there is a very important symbolically postać old woman squeezing milk from their breasts and all related psychoanalityczne clues. As a consequence - also a grant of a woman (feminine), the dominant role leading to a positive resolution and happy ending in the final. This way of presenting women (as women-mothers), although important (and taking into account the overall significance of the two most important films may be) does not appear, however, Takashi Miike movies too often. Another, though also very common to present women as heroines as active as men (in "Fudoh: New Generation" in 1996, one of those 'as active' female heroines turns out to be a woman with a penis ....)

For this latter group should also include the outstanding Asami "foreplay" (Odishon, 1999), most feminist Takashi Miike film, which is not so much a story about a woman taking revenge on men for their grievances, what a story about fear man. This is his perspective is dominant here, a long time also the only one. Quite popular and in my opinion, erroneous interpretation of "pre-Games" tells treat all events in her place as a true (real), while these are only those outlined in the first part, starting from 63 minutes to wake up in the finals - the action "pre-Games "is nothing like the hero fears dreamed, as a consequence of all previous events (his wife's death, loneliness, love affair with his secretary, casting ...) and are growing so out of fear, and - perhaps above all - of remorse conscience dictated his parent (for male) position, the instrumental treatment of women (y), selfishness, lust and displaced ... Demonic Asami in the "Game of the initial" only a projection of images (poor) man, and on some other inter-film at - It is also revenge for all those tortured, humiliated, beaten, raped, murdered, at best, ignored the women who appear in most Miike.

what is now typical for many other contemporary - conscious its conventions and restrictions, tired - gangster films in cinema Takashi Miike objective demonstration of male power is often nothing more than just a demonstration of strength. And consequently, in the finale - an absurdity. In a sober (realistic) way it expresses them Rikuo Ishimatsu, unpleasant, and yet pitiable hero camusowy excellent gangster drama "The Graveyard of Honor (Shin jingi no hakaba, 2002). Rikuo a gangster without purpose, without meaning, apparently due to some stupid mistakes, in fact, since the beginning of his career pursuing a criminal to self-destruct. In a slightly different way the same (?) Underlined the absurdity is too complicated in the more Miike films: in a surprisingly bitter end, "theirs" in the famous final apocalyptic scene of the first "Living or dead" (Dead or Alive: Hanzaisha, 1999), and finally - for example, the ambitious title character, though failed experiment, "Izo" of 2004, the film which is extremely pessimistic and very brutal vision of reality, as a place of constant, constantly regenerating (meaningless) violence.

Against the background of the above firmly stands as the penultimate film Miike "13 Assassins" (Jusan-nin no Shikaku, 2010). Of course, absurd as the final men's game is not the only applicable rule in the cinema, but perhaps never before (probably does not know the whole works) heroes Miike is not distinguished themselves as far-reaching sense of purpose and meaning inherent in them (even self-destructive) action. Referring to the traditional jidai-geki "13 Assassins" can be regarded as a decisive retreat to the formula of cinema, whose films Miike had previously, in their majority, expression. The retreat of the more intrusive in this context that this is a film where the director resigns from burdening their - master from beginning to end - the male heroes of any complexes and frustrations (the exception is justified by the sadistic villain.)

What distinguishes "13 Assassins" from the classic jidai-geki is characterized by a very far-fetched plot of conventionality. This movie just as modern (postmodern), like most works of Miike, so that the postmodern finer than - let's say - a little too showy, "Sukiyaki Western Django" in 2007. The figure of the thirteenth killer, no-samurai, who initially appears to be only a fairly clear reference to the character played by Toshiro Mifune in Seven Samurai, "Akira Kurosawa, in the final" 13 Assassins "turns out to be a spirit (kami ) comes not from a historical and, on the mythical order, in which - the same - are included other heroes. Tadeusz Sobolewski, writing about "13 killers" very aptly stresses present in the movie quotes. Charismatic almost directly to the viewer Miike samurai are exalted as heroes to present fully aware that they are the heroes of the sublime performances. There are pełnokrwistymi characters, but only a beautiful new ("restored") point of reference, a myth.

Monday, May 16, 2011

Will Klonopin Hurt A Dog?





Once, long ago there were no tomatoes in winter, strawberries in March, and cabbage on the table appeared only at the end of May.
waited for her longing for something fresh and green.

Mama always did it the same way:
Young cabbage

1 large head cabbage, 1 tablespoon lard
or oil 1 tsp cumin
,
2 onions, 1 tablespoon flour
,
salt, pepper,
lemon juice.

purified from cabbage leaves unsightly upper, wash and coarsely shred.
finely chopped onion in a deep pan fry in fat, add to the sauerkraut, caraway seeds and pour several tablespoons of water. Simmer, covered, until softened.

Young cabbage quickly loses its volume, so the large head of fresh cut is really little. Make

spread a little water and add to the suffocating with cabbage. Hold a minute over low heat, season with salt and pepper and lemon juice.

At the end of the cooking can evaporate excess water without a lid.


way of cooking cabbage today by my mom a little reformed:
- I do not use lard, but only 1 tablespoon of oil to the onions,
- not watering the cabbage water,
- do I add flour,
- I add lemon juice and cabbage at the beginning, so as not to lose a nice color.

cabbage soul just for a few minutes, stirring vigorously at a fairly high heat without water, and so after quite a lot of wilderness posoleniu juice.

Yes cabbage braised short is beautifully green and slightly crunchy.

For those who do not like caraway seeds (apparently there are some people:)) - well suited to cabbage fresh dill.

Punnett Squares In Horses

Tokyo!, Dir. Michel Gondry, Leos Carax, Bong Joon-ho (2008)


O films consisting of several short stories by various authors signed a tendency to often say that they are uneven whole. Sure it would be difficult to find a compilation, this inequality someone who will sooner or later does not point out to. "Tokyo!" at its center piece also asks about it. Leos Carax directed by the story definitely stands out from the excellent films Gondry'ego and Bonga, both its level, as also to some extent the style of how he chose the director. But it was only the second is to some extent. As a whole, "Tokyo!" it is nevertheless a coherent film: and approach to the subject, and used this measure. Refers to the latter has an exclamation point in title. Balanced, realistic analysis of presenting contemporary life of the capital of Japan to look for in vain here, but instead is a surreal, grotesque, symbolically. In this instance, although more or less at different intensities.

This is not necessarily a lot of Tokyo, "Tokyo." The plots of movies Carax Gondry'ego and after minor changes ahead could be played out in a western city such as New York. Signed by the author of "The Science of Sleep" - "Interior Design" is the land transferred to the Japanese comic book adaptation "Cecil and Jordan in New York", the city itself also appears in the finished film mocking Carax as a place of his alleged continuing. A little different in the case of the novel, directed by Bong, directly relating to the purely Japanese phenomenon - Hikimori (meaning a person completely withdrawn from social life), but is perhaps nothing more than an extreme version of loneliness in the crowd. And that invariably occupies a leading position in the list of cardinal sins of modern city - no need to look up in Tokyo, is also in Krakow. Because - why promote stem from differences of the Japanese, not with their former (imperialist, insulation ...) the history of stereotypical ideas about them - Tokyo film grows here on the metaphor of today's city and its inhabitants in general. And here comes another common feature films Gondry'ego, Carax and Bong - "Tokyo!" is not a film for tourists as an "Paris, je t'aime", merrily it is not. City in "Tokyo!" is a bit of a trap, a little prison. With fewer prospects for the unit will also continue to jealously guarding the space of their borders and identities. However, and for je t'aime there will be some space.


Starting a whole, "Interior Design" is a return Gondry'ego to very good form after an unsuccessful "Be Kind Rewind." Eccentric, as much fun at a sad movie that could probably only go out of his hand. The heroes have come from somewhere if known: Akira, a young director like an amateur heroes "Be Kind Rewind", but it also has a lot of eccentricity Stephane from "The Science of Sleep," Stephane is very much like a girl Akira - Hiroko, in fact, is his next, no less a lost version. Hiroko It is here in the foreground. After arriving in Tokyo after failed attempts to find housing and work, staying in the shade of the first successes relating boyfriend more and more you start to feel the lack of its place - the role, which could be fulfilled. In the end it finds. Excellent, surprising ending makes an impression as if this story went to the front of the best short stories by Etgar Keret. In a similar way combines the absurd - surreal solution with a bitter, and thus all the more compelling lyricism.

similar, also, to some extent, Keret streaked with return sensitivity still directed by Bong last nowelce. In the central part of emotions will not.


title character, "Merde" is a mysterious Carax individual with devilish appearance, which, having arisen in one day on the streets of Tokyo begins to wreak terror upon them: the first only by his boorish manner, with time using a more powerful artillery. A word which probably best give the style you chose in your video Carax will - charge. His nowelka is absurd, satirical, ironic, even embarrassing (deliberately), it is also often surprising: the grotesque unexpectedly goes here in a more serious tone and he can indeed give rise to discomfort at all stupid. The only pity is that eventually all turns out to be strongly overloaded multiplicity of meanings which the director stuffs here. As long as the film seems to be primarily a satire on ethnocentric (nationalist ethnocentric) is a foreign idea well. Merde (from the monarchy. Word for "shit") grows here on the symbol all sorts of evil, which is identified with a stranger: it is savage, the yokel, racist, terrorist ... This is accompanied by the irony of duty imposed as much in Japan, which in their Western stereotype. Unfortunately, the director does not stop at one point throws in here have a truly messianic tropes. And this is nothing more than pretentious, is not pretentious and it's no small importance. Because, as in the same place refers to Godzilla and Christ ...


hero of "Shaking Tokyo" is hikimori Bonga, isolation from the world of a man who spent more than ten years alone in the walls of his house. His only contact with the outside is limited to a weekly repeal the door and pick up pizza at all costs which he avoids eye contact with another human being. But just a thoughtless glance at the exposed part of the thigh area of \u200b\u200ba young dostarczycielki pizza to raise our eyes and for the first time in years to see an attractive girl's face ... And whoever for Yu Aoi did not leave the house? Like the previous movies Bonga "Shaking Tokyo" impresses a great sense of directorial technique. Apparently a lot is happening, but what happens is brought to perfection. I first captivated a very subtle sensuality adopting the perspective of what a hero looks at the camera here on the first woman that he meets the ten-year post. But there is also a superb use of light and color, well-balanced static frames in succession, by which Bong creates a closed, sterile world of the hero, the world on the one hand tempts with its tranquility and security, on the other hand - are invited to shake it, tear down, to revive . Therefore, when the hero's life will be feeling, it will have the strength of the earthquake.

[text is a slightly amended version of the review, which at one time posted on the page Filmwebu]

Sunday, May 15, 2011

Free Online Converter .ipa To .jar

cabbage cake green meadow


cake for 8-year-old girls, had to be a lot of pink ..

Poszperałam a little on the internet.

inspired me this meadow and cow Green Strawberries


Monday, May 9, 2011

Picutres Of Strep Thorat

Carlos, dir. Olivier Assayas (2010)


Realized for Canal + "Carlos" Olivier Assayasa in complete over a five-hour version falls somewhere between a television miniseries and movie cinema. He is considered the first, but in its design looks more like a feature film. As such, it may at least in France, was released (previously screened at the Cannes Film Festival, according to some French critics - wrongly outside the main competition.) Looking at this angle is a video Assayasa may still relatively fresh, but an interesting example of a "new quality" , which appears in the cinema, among others due to the changes taking place in the latest television. In the increasingly important way of competing on movies, finding their advantage primarily in the ability to create longer narratives - enabling a more comprehensive, total approach to the subject.

Conceived initially as a film focusing on a single event in the life of the famous terrorist Iljicha Ramirez Sanchez, "Carlos" in the hands of Assayasa grown into a period of history, eventually covering more than twenty years (from 1973 to 1994) . History executed simultaneously with the panache and discipline; impressive factual meticulousness with which the whole gives the impression of the places almost paradocumentary reconstruction (which inform the original subtitles movie is based on historical research and journalism, however, supplemented with elements of fiction.) "Carlos," bringing to mind a few others in recent years, high-profile films with similar problems ("Munich," Steven Spielberg's "The Baader-Meinhof," Uli Edel) are distinguished for their background primarily a wider perspective: a holistic approach to the subject, which in no small measure Here's biography is due to the title character, whose international activities were wrong with terrorism antysyjonistycznym Palestinian as well as with the anti-imperialist, rozpowszechniającym in Western Europe in the 70's and 80's. By showing both

decade include from the leftist terrorist-related activity following the revolutionary faction (from the German group after the Revolutionary Marxist-Leninist Japanese Red Army ...) Assayas presents characters as representative of the representatives of the generation shaped by the revolutionary slogans and ideas of the 60s (although because of the way of resistance, representative in the discussion the way). I try to be objective as possible in this portrait. Portraits more varied types appearing in the film as sometimes indulges in sarcasm (as if the Japanese revolutionary shoots portrait of French President Georges Pompidou, not realizing that the Pompidou died a few months before), but ultimately neither put forward a critical edge (about that was easy), nor idealizes. Rather seeks to possibly the most faithful devotional mood and climate of the time; making the viewer to believe that they believe. In this case, is in his film, this special kind of distance that makes the impression does not apply, if the director was telling that story in advance, all the while mindful of its completion, but if it remains somewhere nearby, thus allowing for a fairer show of attitudes relevant to a particular historical moment. When the future, the outcome and consequences of action are not known (the defeat of the revolution is not a foregone conclusion) and the background for the "struggle" heroes - as believers in the truth preached by them, as well as in their idealism - is primarily unknown, and historical and political volatility.

The moment the film begins, it begins the most important period of 24-year-old Carlos (excellent Edgar Ramirez). Constantly accepting attitude fighter, soldier of the revolution willingly abusing militaristic rhetoric in the style: weapon is an extension of my hand (what it says in the course of rapprochement with his mistress, during which garnet acts as an erotic fetish) is a charismatic, intelligent, and, it seems really strongly believe in the revolutionary slogans, which seeks implementation. On the other hand, the more personal - the first time making an impression over time is emphasized marginal harder and harder - Carlos from the beginning has the vanity, manifested both in his terrorist activities (the killing of his superior, Assayas suggests unequivocally that this is not only due to "necessity" and the alleged treason, but the desire to take his place) as well as In the normal narcissism, the carefully cultivated macho attitude attractive and consistent drive for media fame


final end terrorist activity was linked to Carlos the end of the Cold War, but the revolution ends here before. Perhaps the greatest measure of Olivier's directorial talent Assayasa is the way depicted in his film is the passage of time, and subordinate to him to change: that the historical and political prostration, and this unit. Temporary skipping, blank space, inevitable in a film whose action affects more than twenty years, does not make the impression here, though in this respect played a decisive role. The change comes smoothly, without sudden breaks, a bit like in the ordinary, everyday experience - not really know when, but right before our eyes. Constantly dynamic political balance of power slowly but consistently co-creates a new era - with others already in spirit. The new approach contrasts are reflected in those earlier. Carlos-revolutionary "who knows when" transformed into a cynical mercenary who at the service of the communist regimes shall be further paid work, while retaining the ability to continue the same rhetoric about the fight against imperialism, and Carlos-narcissistic macho in one scene, a prostitute because it strikes he did not like that after the oral sex she spits his semen into the sink.

These two agendas - their thinking about the world and my thinking about myself - sometimes with There are close to each other more and expose each other. When giving an interview hero admits that only what is certain is that it will ever be killed, is the finding that, although legitimate in the mouth of the terrorist pursued by successive interviews countries also raises some willingness to enroll in the likeness of revolutionary myth even the one that immortalized Che Guevara (hero of which, moreover, the stylises). In the history of Iljicha Ramirez Sanchez, but there is no room for a similar "glory" in a slow, consistent and relentless historical order ends not only a revolution, but also a revolutionary.

Monday, May 2, 2011

Oxfort Pocket Dictionary Register Number

Flesh and Blood, dir. Paul Verhoeven (1985) Moonlight Whispers


1501 years. Led by the charismatic Martin group of mercenaries, betrayed by its recent employer Mansion Arnolfiniego , during a raid his retinue accidentally kidnaps the young bride's son Arnolfiniego - Steven, Agnes ...

first film, which Paul Verhoeven realized in the U.S. and at the same time one of his best. Looked impressive, even today, uncompromising - and ultimately the freshness - with which the director came up to the chosen topic. "Flesh and blood", despite a quarter-century the neck is still one of the few not at all (large) Hollywood films, which so far departs from the powieściowo-romantic and attractive vision of the Middle Ages. It is naturalistic, and bluntly, with plenty of sex, rot, filth, primitivism, superstition, inequality and immorality.

This makes the film not quite accurately writes often, as a realistic attempt to portray the Middle Ages. What makes a big difference - in the "body and blood" rather reigns however understood naturalism than realism. At the same time there is not an end in itself but a means to revive and revitalize the traditional strong point of departure in his adventurously-adventure story, and now especially the heroes who are entering into certain archetypes eventually turn out to be rude enough to dye and to do not go outside.


At the first meeting of Steven and Agnes are both classic as a knight and a princess classic (in a sense, moreover, are so to the end). But the meeting takes place under a tree on the branches of which dangle two hanged corpse, and talk about the mandrake roots growing below relate to both the alleged afrodyzjakowych properties of the plant as its origin (in the Middle Ages it was believed that the mandrake is formed from the seed of a hanged man). A romantic exchange of views ends with a kiss heroes, filmed from a distance far enough to the staff there were also hanged corpses rotting.

Although the aforementioned scene has its place somewhere around the thirtieth minute - is a very good introduction to the proper action film, and everything will be fought soon after, when what is clean and the unclean thing shall not be separated from each other, but woven into the his unembarrassed an order in which each of the three characters will be characterized by early perspective from each other at all ambiguity.

The latter may be most striking in the case of girls, superbly played by a young Jennifer Jason Jeigh. Agnes is in the same way as innocent lewd, is also a bitch and princess torn in their feelings between Steven and Martin, which, moreover, will say at some point, they are like the same person - so that younger and older. A duel with the woman, as in the classic romance, is in the "body and blood of the" essence of the action. In the duel, however, the key will not fight between good and evil, but more and more like the heroes approaching the 'good' for this 'evil'. In a more traditional story told this would be pessimistic - Steven would become angry. In the "body and blood" - in the medieval background of shares constituting a brothel - only takes character, becomes a man. And not only does not lose anything with the sympathy that inspires, but still it gets.


When Martin companions after the seizure of the fortress and the accidental murder of her owners in a manner accept vulgarized recent roles, the hosts of noble birth - another depicting a scene reminiscent of unambiguously medieval carnival, which was a similar reversal of roles the essence of fun. But the concept of carnival lies perhaps the key to the whole movie. "Flesh and Blood" looks a bit like a narrated by a storyteller bezpruderyjnego medieval romance for adults: equally immoral and graceful, with no distinctions between what is high and every low, vulgar and refined.