grusinskayas - Tumblr blog

[grusinskayas]

The Blue Mountains | Aoi sanmyaku (1949) dir. Tadashi Imai

[grusinskayas]

beatles opinion kinsey scale

[grusinskayas]

Arnold Genthe (1869-1942) ~ Isadora Duncan dancer, nude (with veil), between 1915 and 1923 | src alamy

view more on wordPress

[grusinskayas]

The Blue Mountains | Aoi sanmyaku (1949) dir. Tadashi Imai

[grusinskayas]

Setsuko Hara in The Blue Mountains | Aoi sanmyaku (1949) dir. Tadashi Imai

[grusinskayas]

Setsuko Hara in The Blue Mountains | Aoi sanmyaku (1949) dir. Tadashi Imai

[grusinskayas]

Grand Hotel (1932)

[grusinskayas]

Setsuko Hara in The Blue Mountains | Aoi sanmyaku (1949) dir. Tadashi Imai

[grusinskayas]

Yōko Sugi, Setsuko Hara and Setsuko Wakayama for The Blue Mountains (1949) dir. Tadashi Imai

[grusinskayas]

Yōko Sugi and Ryō Ikebe in The Blue Mountains (1949) dir. Tadashi Imai

[grusinskayas]

He can take on Erika only under the condition of violence. He is to love Erika to the point of self-surrender; she will then love him to the point of self-denial. They will continually hand each other notarized evidence of their affection and devotion. Erika waits for Klemmer to abjure violence for the sake of love. Erika will refuse for the sake of love, and she will demand that he do to her what she has detailed in the letter, whereby she ardently hopes that she will be spared what is required in the letter.

The Piano Teacher, Elfriede Jelinek.

[grusinskayas]

the most important thing about screwball couples is that their relationship must be fundamentally unbearable to be around. i mean like if you met them at a party they would be so off-putting, or rude, or weird, or be like conversing in code basically on a whole other plane of existence that the relationship is just intolerable. and thus they are perfect for each other

[grusinskayas]

It was her own body, but it is dreadfully alien to her.

The Piano Teacher, Elfriede Jelinek.

[grusinskayas]

that one scene in the awful truth where irene dunne is pretending to be cary grant's sister and of course being very inappropriate about it and then she makes a joke and he can't help laughing at it and then she laughs and the two of them are the only people laughing at the joke in the whole room. THAT'S what it's all about

[grusinskayas]

screwball comedies make me extremely anxious, all that miscommunication drives me absolutely insane. i love them very much but whenever i'm watching one i can't wait for it to end because my goodness it's such an anxiety inducing film experience for me

[grusinskayas]

Erika compulsively sees people and food dying everywhere; she very seldom sees that something is growing and thriving.

The Piano Teacher, Elfriede Jelinek.

[grusinskayas]

Klemmer issues an order. Erika obeys. She seems to be deliberately racing toward her own destruction; it is her final, her friendliest destination. Erika gives up her will. Her mother has always possessed Erika’s will, and now Erika hands it, like a runner’s staff, to Walter Klemmer. She leans back, waiting to hear his decision. But, though giving up her freedom, she stipulates one condition: Erika Kohut is using her love to make this boy her master. The more power he attains over her, the more he will become Erika’s pliant creature. Klemmer will be her slave completely when, say, they go strolling in the mountains. Yet Klemmer will think of himself as Erika’s master. That is the goal of Erika’s love. That is the only way that love won’t be consumed prematurely. He has to be convinced: This woman has put herself entirely in my hands. And yet he will become Erika’s property. That’s the way she pictures it.

The Piano Teacher, Elfriede Jelinek.